So remember a few blog posts back when I was talking about that inverted black and white triptych series? Well here it is in... “...glorious two color 6 x 9 print versions. Pretty rad, huh?"

See... a few weeks ago I found myself in an artists scrapyard place looking around for frames or paper stock or whatever. I happened across a stack of elegantly cut 6 x 9 boards of card stock. There were maybe thirty or so in the set. …at least that was what I was able to gather from the various debris. I got the whole lot for two bucks. Not too shabby.

I didn’t really know what to do with them. At first, I thought that I might include them in the flux kit that I’m building. However, since I was working on a number of triptych pieces at the time, I leaned more towards making a few small test prints from that. So blammo! They turned into these little two color prints. But you may be asking yourself. “Adam, why would you go through all the trouble in doing these things. Don’t you have, like, money you should be out making or something?"



I pulled apart some of the graphics from my large scale piece and put this triptych together. If you follow it from left to right, it will read as a lifecycle. Birth to death. But you can read whatever you want in it. I wasn't really planning on working with themes of being born, everyday living and an eventual death. All the right pieces just fell into place. I'm also not ruling out that I subconsciously had this planned all along. My brain is funny like that sometimes. 

EXAMPLES: The figure on the far left is one person made up of male and female. Two in one. The heart signifies love (or any emotion where two people are drawn to one another). The liquid represents being spilled out into the world. The platforms and triangles personify obstacles and milestones. The giant eye conveys an ever watching eye. Call it the goddesses or whatever you see in it. Still trying to better define death. Right now, I'm using clouds to signify some sort of universal heaven icon. Lips equal desire and diamonds equal materialism. They follow from beginning to end. 

"Whoa, whoa, whoa.... Man, you're getting a little deep on me. I just want to look at the pretty pictures."

Hey, it's all good. There's plenty here to look at and get lost in. All you gotta do is expand your consciousness and look beyond the composition. Or turn off your mind. That always sort of works better for me.

Besides, I haven't even gotten started so shut up. 



Just completed a pretty big chunk of space in this thing. I am creeping up on the finish line. Then it'll be time to get started on the second triptych piece. The more I look at this, the more I really dig some of depth created. It's like this 3D ebb and flow tapestry that just pulls you in and pushes you away. Or maybe it's because 

"Or maybe it's because this black and white inverse effect is giving me a seizure. Either way, it's giving me a headache."



I had some of my collages on display this weekend at Oddville in Oakland. I managed to take a few pictures before the room became a complete circus. It was a pretty crazy event. In addition to the awesome art on display in the gallery, there were all kinds of festivities going on. I think my work made a nice little contribution to the entire experience. 

"I mean, look... there were people walking around in wizard costumes strung out on ecstasy. It was THAT kind of a night. ...and I totally support my art as a backdrop to that." 

I was talking to a few people about my pieces and the film 'Westworld" came up a few times. I know of it, but I have never seen it. I somehow think this may be some secret passage to understanding my collage work. As if its story connected to something very real within myself. Thus, there is opportunity to unlock a part of myself and further understand life on this planet. I don't know... My spidey-sense is tingling for sure. 

This set up was a mash-up of my "Women Rule" and my "Friday the 13th" triptych 16 x 20 series. No real reason other than I was a frame short to include all 6. It actually worked out pretty good. I noticed some pretty interesting things when some of them were paired next to one another. Which is something I really dig. I look at this stuff for hours at a time. It's always a nice surprise when I see something new in it. 



I'm showing some collage work at this event. Cruise by. There will be some rad stuff to look at and experience. Trust me. Would I lie to you?

Join us Saturday, Nov. 7 & Sunday, Nov. 8, 11am - 6pm for an exciting weekend of playful and provocative creative work by 35 artists and designers. See schedule below and RSVP at http://madeinthemissionfall15.eventbrite.com/ 

Featured artists: Gwen Mercado Reyes, Jorge Molina, Aaron Kissman, Matty Martin, Sun Helen Isdahl Kalvenes, Kenny Leaf, Raul Velayos, Strider Patton, Daniel Dallabrida, Artseed, Joan Phillips, Mary Jeys, Tomo Saito, Bird Call, Susie Hara, Peter Max Lawrence, Balitronica, James Edmondson, An Luc, Julie Blankenship, Anthony Cianciolo, Martin Freeman, Jeepney Projects, Chiara Angelicola, Martine Jardel, Thierry Rosset, Veronica Rojas, Adam Widener, Skooter Fein, Robert Windle, Sahar Al-Sarheed, Deborah Slater, Lachlan The Bray, Antonio Torrez Solis, Brooke Wallace, Joel Hoyer, Denise Benavides (includes 10 artists associated with Visual Aid)



I had a vision. A post-apocalyptic french new wave spaghetti western. A bad place. Yet, it was beautiful. Almost welcoming. I used to be obsessed with all these Mad Max clone movies coming out of Italy in the early eighties. I like that world because it’s a great creative representation of true societal deconstruction. Modern technology swallowed up the remnants of our already fragile existence. What’s left is sort of future mutant techno caveman.

Am I making any sense here or is this going right over your head?

Okay, so why am I babbling on about this fantasy world only alive in obscure Italian post-apocalyptic films? When I received a project to design the record art for Trolley, this is where my head was at. I didn’t have a whole lot of direction to start off with from the band. When they got a hold of me, I think they were even still in the recording process. I didn’t even get to hear the record until I was in the homestretch of building out the design. So, the direction was essentially rooted in flying by the seat of my pants and coming up with something out of thin air. 

“Hmmm... Ya know, Warriors of the Wasteland is such a cool movie. I wonder what that theme would look like if it was co-opted by a sunshine-y psychedelic pop band. What would THAT record cover look like. ” I said to myself as I launched Illustrator. 

I had worked with Trolley before so I sort of knew where they’re coming from. 

I started the project like any other. Research. I looked into my “inspiration” folder and sought out other work. I listened to some Trolley records. I checked out the new arrivals on gigposters.com (a great resource for inspiration), I poured through some photos, various record covers, some colors combinations… Basically, I’m letting myself to be exposed to things that could spark the imagination. Hell, I watched Warriors of the Wasteland again. Again, cool movie. Then I decided to take a look at my sketches folder. 

“Maybe there’s something in here that I can use? Surely, there must be. Some of this stuff needs to see the light of day.”

There were a few things here and there that I could drew upon. The basis for the eventual finished product were all there. It was a matter of pulling things apart and tightening up the direction. I started with the cover by bringing in the various elements and placing them in a cohesive manner. The hand rendered type came near the end, but I kept a clear space for it. I adjusted some of the halftones, some of the colors, sought out some higher res material…You know… Just tweaking and tightening. The overall vibe was pretty upbeat and glowing. Yet, there is kind of an underlining desolate feel. Again, welcome to your post-apocalyptic California hippie dream. 

Next, I brought all that over to the back cover. But this time I played around with the sizing of a few elements to make room for any text that I might need to include later. I sort of look at the back cover as a simplification of the front cover. You’re going to have to include things like song titles, record label information, band members, etc…. It’s best to account for that ahead of time instead of getting locked in a direction and then trying to cram type in at the last minute. The inside cover is an even more simplification for that. So as you see from the images, the cover is the main attraction and as the listener digs deeper, they are confronted with easy-to-navigate information. There’s wiggle room here and I love to see designers push the boundaries of what record designs can do, but for this particular project things didn’t need to get too crazy. I think a “less is more”approach worked well here. Especially since there is a lot going on with the texture use and image manipulations. 

“When in doubt, cut it out!”

When I got into the ‘zone', the record designed itself. That happens a lot. That’s when I know I’m onto something good. The pieces of the puzzle fall perfectly in place and all I have to do is lightly tap them into place. Good design is just supposed happen. (Well, in an ideal world… Am I right, designers? Zing! Pow! Boom!)

Anyway, check out the art I did for Trolley’s newest record, "Caught in the Darkness”. A  true post-apocalyptic french new wave spaghetti western. Or something like that. 



Got a good portion of the third panel completed this weekend. I also went back and nudged a few things here and there from what was already done. I honestly think that this piece could go on forever. I'm envisioning these pieces to be insanely huge. Like, 20 feet long. But I may go with my original plan and break them up in smaller 16 x 20 prints.

From a production standpoint, that just seems like the most logical. 

I've also been thinking about color. Right now, I am actually digging the black and white motif, but as I near the end of completing these pieces, I may experiment with different color ideas. I'm thinking red and purple might be a good combination. Or maybe black and purple. I am a fan of white on black however. 


The company that I am currently contracting for threw a Halloween happy hour party last week. I made this collage video to be projected on the wall during the activities. For whatever reason, Karate Kid became the parties theme so I found myself seeking out random clips from said film. Don't ask me...

And of course because I'm a complete nerd, I had to splice it in with a number of weird niche junk like 80's gore, splatter movies, art films, and sketch bits. Come on, it's Halloween! Besides, everyone was super drunk and I'm willing to bet no one was even paying attention. 



Showing some recent collage work at this rad little cocktail bar in the Financial district. It's a cool spot. They got this upstairs balcony section that's just perfect for chilling out with your significant other. They got a pretty well stocked booze menu too. Margarita got a shot there once that was supposed to taste like a birthday cake. They even lined the lip of the glass with sprinkles. Pretty rad if you ask me.

Anyway, cruise by and check out all the cool art I got hanging on their walls.

It's on Maiden Lane. You know... that  alleyway with all those high end clothing shops. Dig my art stuff and then head over to the Alexander McQueen store and buy a $5,000 handbag.  #yolo #lol #omg #hashtag



It's been a weird long week. Just another week in this life. Which is cool. I can't complain. And hey! It's Friday. That's pretty good. But you know...

Here's some more progress work to my large scale print thing. I'm thinking about heading to the Mission Cultural Center for Latino Arts early tomorrow morning and screening up those white on black triptych pieces. Little six by nine prints... Yeah... That might be a good start. Who knows.

Listening to this song called "Here Comes the Spade" by POW! It's a good song and they're a good band. I had the song on repeat all day. I probably heard it a hundred times in a row. I'm compulsive like that. Saw 'em a couple times too. Once at the Hemlock. That was a really fun show. I remember I was really drunk. I haven't had a drop of alcohol since March 27th. Scott and I and a few friends went to this art show somewhere out in the sunset. Then we went to this weird hole-in-the-wall hockey bar. Jello Biafra was there too. He was just drinking with his buddies. I was so wasted. 

Then a couple days later I had to get all four of my wisdom teeth pulled out. It sucked. But anyway, when I was recovering, I was like, "Ya know... I think I'm gonna quit drinking." And I did! Seven months no alcohol! Total Sober Power!

Here's a cool picture of me at my Romper Room Art Show last night and a couple pics of some art on the wall. Boy, I'm a real hustler ain't I? ...really getting my art out there, huh?