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Saint Bri. New Digital Piece in the works

As I was rifling through some digital photography that my fiance's sister had taken on a photoshoot in San Francisco early last year, I had a few ideas pop in my head. Something between an almost-portrait/painting and actual photography, just to blur the lines enough. I was thinking of splicing together a few ideas of mine from those old Mexican Saint portraits I had always seen at folks houses or lining a heavily sprawled display wall at the local Swap Meet on Saturday's here in town. So far it's coming out quite nicely. More work to come...


241543903. What it's all about?

241543903. What it's all about? I thought LOST's 4,8,15,16,23,42 was enough. I have no idea where this started or came from, but it's some random internet photo thing where everyone takes a photo of themselves with they're head in a freezer, names and or tags the photo with the cryptic numerical name of 241543903 and uploads it anywhere photos can be hosted online. I guess the crazy outcome is to have all the images in a Google search come up as photos of peoples heads in a freezer! Wow, the things that people come up with truly amazes me sometimes; especially this little gem of an internet meme.

Send me a bunch of YOUR heads in a freezer and I'll put the best 5 here on the site. Stay thirsty my friends.


Feature: Blek le Rat interviews HUSH - Juxtapoz

Blek le Rat: I very much like your new way of working. You overlay different coats of paint in which you blend images that almost vanish under new coats of paint. It is like superposing different skins, I knew someone who called this" the skins of the walls". Can you tell me more about this way of working?

HUSH: I like that phrase. I play with lots of ideas in the paintings I make and like to reference a lot of movements, past and present. I have always loved that old graff rule about a throw can go over a tag, a dub over a throw, a piece over a dub and so on.

I also love the transient way in which work on the street evolves and usually looks more at home the longer it settles, gets going over, degrades and fades. I try to create all these actions and mistakes in the studio.

I always work on two of the same paintings every time I create a piece, partly for the fact that I will take more risks on one so my work progresses, although there does come a point where I will only finish one as it becomes obvious which one is working.

I also do this so when I make a new painting I can go over the discarded painting and leave remains of it visible to the viewer. I kind of take pleasure in knowing that there was a good piece and lots of work underneath a painting. It always feels uncomfortable working on a clean canvas, I like the feel and textures of a worked on 


Merry Chrimbus to all