Shortly after the announcement regarding family separations at the border, and the visuals of children locked up in chainlink cages, I took to Photoshop to express how I was feeling about some of Mr. Miller’s immigration policies.
For the album art for Oxfist’s “Greetings From Bombay Beach” I comped together a photo from the nuclear tests in the Bikini Atolls and another photo I shot at sunset in Oregon.
I watched nearly real-time coverage of the Charlottesville travesty thanks to Periscope and Twitter, and I had to express my disgust in some type of creative way. Thus began the fictional all white hip-hop crew, ‘Crackas Wit’ Attitude,’ who’s debut album was nothing but white noise.
Knowing what Oxfist had on tap for this particular DJ night, it was safe to say that there were some folks there who were gonna get their face melted off with the selections.
The final artwork for Second Letter‘s “Ruins” gives a nod to the famous Audre Lorde’s quote, “The master’s tools will never dismantle the master’s house.”
The art for Second Letter‘s “Dead Emblems” speaks directly to the concept of war and the continuum between resource discovery, mineral extraction, refining, manufacturing, delivery and expenditure.
Some of the subtler themes found on Art of Ballistics‘, ‘REX 84,’ coalesced around the assassinations of popular leaders during the 1960’s, which coincidentally intersected with the rise of the “Black Lives Matter” organizing. This piece came together out of the confluence of those two ideas.
In season five of Portlandia, during the “Sea World” episode, there’s a sketch where Fred and Carrie take on the task of making a “good” conspiracy theory about the city’s mayor gain traction. It was my job to Photoshop Kyle Maclachlan’s face into Eugène Delacroix’s “La Liberté Guidant Le Peuple.”
In 2014, the Amigo/Amiga Records crew took over the Columbia City Theater in Seattle for a weekend, and they invited a few of their favorite local bands to play alongside them.