Tyler

Technically accomplished, narrative painting with

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Sexy Theo. 30" x 40"

The New York actor, model and intellectal Theodore Bouloukos, muse to artists all over the world. Painting him was an intimidating challenge. He was ultimately thrilled with the image. My increasing obession with pattern has become obivious.

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Roads West

Roads of the American West nare a recurring theme in my work and images of them are sprinkled throughout this site.

Oil On Canvas 30" x 40"

Tickling the Ivories Is No Laughing Matter for Elephants

Oil on Canvas 48" x 56"

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The Mormons. 40" x 30"

. A study in contrasts: soft and hard, gentle and rough, dressed and stripped, beauty and ugliness, architecture and nature, tranquil and violent, warm and cool, past and present. I chose a reserved palette of warm and cool colors that from a distance cancel each other's vibrancy to suggest grey tones. The greys are then interrupted by shocking red color surprises that evoke the abrupt physical jolt of hot pain that comes with the cold cruel blow. I am fascinated by random patterns in nature and continue to explore them in this painting through the falling tufts of snow that quiet and cool the heated scene.

The painting is a visual metaphor for the ongoing bullying and personal attacks of the Mormon Church and Republican Party on gay people and their families. Together they helped create and pass the notorious Proposition 8 in California in 2008. In 2015, Mormons attacked the Mormon children of gay parents churchwide by forcing them to choose between their families and the church. The men in the image could just as well be Trump's Cabinet and judicial choices. There is always another attack it seems and they deeply hurt. In 2019 government attacks continue just they did in the lavendar scare of the 1950s. The POTUS filed an amicus brief with the Supreme Court supporting to the right to fire anyone who is percieved gay by nullifying Title VII civil rights protections. Then Republican lawmakers and attorneys did the same arguing that LGBTQ workers are not protected by federal civil rights law. Also in 2019 the Republican Regents of the University of Colorado installed a powerful homophobe as president of a university that rose up and strongly rejected him. This man as a US congressman tried to deny my rights for life by twice introducing and constitutional admendment to ban gay marriage. Later he threw his support to the campaign of another legenday homophobe. Because Mark Kennedy oversees our jobs and the president of the USA and his court appointees actively seek to strip us of our rights to work, no one feels safe, everyone feels the sting of attack..

Portrait of My Mother

This is a portrait of my mother planting tulip bulbs among the aspen trees in the back yard. Now I plant tulips and daffodils by the thousands - and a few aspen trees too.

Oil on canvas, 48" x 43"

Click on painting to enlarge.

Click on painting to enlarge.

Autumn Bells

I have painted the Maroon Bells near Aspen several times. I have depicted their many moods and changing looks with the different seasons. They are monumental icons of my my formative years and are filled with memories. They are my hometown cathedrals. There is a completely different painting underneath this layer, one of my mom's favorites in fact. She was very upset that I painted over it. If you look carefully, you can see parts of the old image peeking through.

Oil on canvas, 56" x 48"

The other painting is of my home in Boulder and dogs.

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Bruz & Laurel 40"x 30"

These children are Bruz Fletcher and his cousin Laurel - Louisa's Fletcher Tarkington’s daughter - running away from home at age 8. They pretended that they walked all the way to Indiana from New York City and maintained their story to the frustration of the police that found them. Laurel later developed schizophrenia and die at age 16. At age 13 Bruz shot himself but survived the wound and finally died by his hand at the age of 34. Both his mother and grandmother prematurely ended their own lives as well. Their fascinating story was lost to time, until my exhaustive research brought it to light.

Complex, irregular patterns and rhythms of trunks, leaves, shadow and light are abstracted and simplified into color and brushstroke. Stylization replaces detail and celebrates the physical paint itself. Paint is not made slave to replicating realistic and exhaustive details of an actual forest. The creative application of paint evokes the feeling of dense woods in a way that also engages the viewers' own imaginations.

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Ponderosa Pines. A favorite spot on a once nearly secret trail across the street.

This painting evokes the old Olympic Lift on Aspen Highlands althought the scenery is made up. It is a variation of the road and powerline motif that I keep returning to.

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Comment Te Dire Adieu? A tribute to Francoise Hardy and Serge Gainsbourg. Ganisbourg brilliantly saw potential in the drab, unsuccessful Margaret Whiting recording of the tune "It Hurts to Say Goodbye." He reinvented it into a very different and infectious French Pop hit recorded by Hardy. He created an unusual rhyme based on the sound of the letter x and set it to the revamped melody of the orginal song.

The painting's graphic composition is based on an x. X's move throughout: in stars, her necklace, hair, umbrella, reflections on the 45, etc. Elements include the original English recording as a 45rpm, the French title and imagery from Gainsborurg's new lyrics such as the cold Pyrex heart, the burning flint heart, the grey-blue morning, and 'white night' (an idiom meaning 'sleepless') spinkled with open eyes. Hardy with the umbrella is a reimagined album cover of hers. She is covered with band-aids as referece to the original English lyric and title "It Hurts to Say Good-bye" no longer used by Gainsbourg in the French.

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