All Pent-up and on Plenty of Pentobarbital at the Peoples Temple—or, the Ballad of Jim Jones
> Reisig and Taylor Contemporary: “Last Evenings On Earth” (June-August 2022).
No.0000 in Series: “Blueprints for the Afterlife” (2018-).
Oil-stick on Paper; 27,9cm x 35,6cm (11in. x 14in.). [2021] |
It’s Just Like Leading a Lamb to (S)laughter—It Only Works When You’ve Reached the End of Your Rope; or that’s Why You’ll Never Be Able to Take Me Alive (Because Herding Wolves With Sheep Only Ever Ends Up Hurting the Worth of the Wool)
Series: “Blueprints for the Afterlife” (2018-).
Oil-stick on Paper; 35,6cm x 27,9cm (14in. x 11in.). [2020] |
How to Keep Cookies Off Your Computer While Swimming in the Sewer to Save Your Stash; or the Formal Language of Pink Cookies in a Plastic Bag Applied to the Theory of (the) B-(u)-[i]-d-[u]-(i)-n-g-[s-r-o-m-a-n]
Series: “Blueprints for the Afterlife” (2018-).
Charcoal, Chalk, Oil-stick, and Oil-Pastel on Paper: 43,2cm x 35,6cm (17in. x 14in.). [2020] |
Why the Tsars Never Made It to the Sta(i)rs, How the Child of a Shadow Became the Children of the Corn, and Other Fireside Stories for Burning Down the Master’s House; or Three Stations of the Four Assimilations of the Cervine and the Cervical According to the Lack of the Letter Between Easter and Eggs (i.e., the 46 Numbers Enumerating the Extant Existents of Fabergé’s Unfertilized Family of the Unborn)
Series: “Blueprints for the Afterlife” (2018-).
Charcoal on Paper: 61cm x 45,8cm (24in. x 18in.). [2020] |
The Bricoleur and Bricolage, the Savage and Savoir: An Archaeology of Persons and Things—or How to Write a Truth Table for a Tumbleweed in the Form of a Folding Chair (i.e., the Science of (the) Concrete)
Series: “Blueprints for the Afterlife” (2018-).
Oil-stick on Paper: 27,9cm x 35,6cm (11in. x 14in.). [2020] |