July 30th, 2020

"I just completed a brief video interview that covers Rhythmism and my current Residency at the Hyde Park Art Center of Chicago.  This is a major practice rewarding honor per the generosity of the Jackman-Goldwasser Artists' Residency Program of the Hyde Park Art Center in the dynamic  Guida Family Wing. "

This LINK is provided for your viewing experience.

Left: Masque  Right: Bambara MaDonna Adinkra Quilt.  The Left shows how the air-brush and textile paint rendered fabric looks before I transfer it to my master quilter, Patrick Whalen.  The Right shows how a Rhythmistic Quilt looks after Whalen completes the collaborative process.

 Adding to this process is the positive and open minded interracial dynamic that I am Black and Patrick is White.  We now have three years in this prolific artistic process.

LINK: Rhyrhmistic Residency Summer 2020:

July 29th, 2020

Per the question of digital or air-brush....here is a treatment that is both. It uses an early version of software from the old Macro-Mind folks....... hand drawn back then....using the mouse. Then later I added color accents using the air-brush. All back in the '80s. Copyright 2020 Turtel Onli.

"As for this image and a lot of my work I pose this question yet again.

 In the upper levels of the art world and to most folks, should an artist work in the world of comix and cartoons the artist is thought of as being less of an artist.  Devalued and sometimes as a non-artist.  Yet highly valued artist often state they were influenced by comix or cartoons and they are treasured, highly sough after and often their artwork sells endlessly for high prices to collectors and museums.  Why is that?  We even see "fine artists" who actually copy a panel ....poorly at that, from a obsure comic book....painted in oils or acrylics....then sole at very high prices.  Not sharing a cent of the revenues with the comix-artist who created the original art.  Why is that?  What is that logic and appraisal?

I contend that good to great comix artist are way more skilled and prolific than most celebrated "fine artists". Put them both to a universal measure of imagination, technical skills, design draftsmanship, time management, expressive narratives, and production consistency.  Then evaluate them yourself.  Not using the bias filter of 'comix are junk for kids" or personal tastes .  Be objective.  That is why these fine artist could only....at best....poorly..... copy a single panel for a page of a comic book.  Then using snob-appeal marketing methods present it as "Fi neArt" for a monied market that looks down on comix.

The rigor and skill set needed to do more is simply beyond most fine artists.....and they n=know this.  No wonder they find comix a source of inspiration.

Another one of my objectives with this Summer 2020 Residency is to shed that bias that others apply to leverage my vast output in comix to devalue my more opulent practice as a Rhythmistic Fine Artist.  Not to mention my diverse tenure as a major market illustrator."

“Rhythmistic Residency”:  Summer 2020 at the Hyde Park Art Center of Chicago, the 8^th iteration of the Jackman Goldwasser Residency.  Each year this residency provides a dynamic platform for important international, national, local artists and curators.  In Prof. Turtel Onli The Goldwasser Residency has a rare combination of all four critical distinctions.

Onli will focus on extending his long curing “Rhythmistic Quilts” body-of-work that channels his future-primitif re-contextualization of selected world icons resulting in a universal expression that overrides “otherness” with a creative expression of ‘us’ across cultures, racial limits and eras.

Hyde Park Art Center 5020 So. Cornell Ave. Chicago IL 60615-USA  www.artofonli.blogspot.com

Email: onli@sbcglobal.net

Below is a working document:

RHYTHMISTIC MANIFESTO 2016- ONLI STUDIOS LLC.

Prof. Onli M.A.A.T. Chief Operating Artist

The Law                        The Value                     The Expectations

Rhythmism is a visual art modality that is based on the principle of repetition in the visual domain along with a narrative that is suggestive or derived from a future-primitif perspective. Be it fine art, architecture, fashion, illustration, drawing, movies, toys, or digital applications. Rhythmism is a growing genre. Onli first introduced the term in 1978 in a solo exhibition in Paris France at the Foyer Internationale de Accueil. The showcase was entitled, “Presenting My Rhythm”.  It was included on a culture destination tour and was visited by hundreds of tourists during its full month run.  Here Onli was able to explore with visitors from Asia, South American, Europe, African and other countries his emerging practice. He has made this intelligent creative approach a key factor in his creative career.  Many have used the term or manifested the distinct opulent aspects of this genre. Onli did not invent it; he simply gave it a name.  Rhythmism! It responds to personal, fine, commercial or industrial demands. It is both esthetic and expressive.

Now comes the task of institutionalizing Rhythmism.

GOALS: (To link all stakeholders- plus challenging systems.)

This will include developing, implementing and assessing plans to link the various indie-Black Age event producers and vendors into a united effort to move more units of participation or commerce.

To infuse and impact cultural habits of our various target markets with rituals that include products sold, owned, and distributed by ONLI STUDIOS.

To reduce or eliminate all types of waste at ONLI STUDIOS.

To achieve systems that are measurably efficient.

OBJECTIVES: (To legitimize concepts, brands, characters, styles, assets, theories, practices, evaluations, adaptations and capital potential.)

MOTTO: “Every product or services created, placed and sold is a product the competition does not sell!”

PROCESSES: (Effort over time equals success ). Match and align to goals & objectives with a consistent message.  Grow, maintain and share a focused knowledge center.

MOTIVATIONAL PRINCIPLES: Pride, Ego, Capital Gain, Shame, Satisfaction, Punishment, Revenge, Learning, Teaching, Healing, Expressions, and Creativity.

MOTIVATIONAL NETWORKS:  COPING--------IMPORTANCE------- LOGISTICS

(Common measures of progress and success are needed.)

CHARACTERISTICS:

1. Solves customers’ pain.
2. New Products of New Markets. For or against!
3. Profitable.
4. Loss.
5. Competitive Advantages.
6. Fits who, what, where, why and when.

SUCCESS:  This is measured in terms of actual capital profits, attendance to events, hits on websites and or blogs along with printed reviews and news coverage.

PROMPTS:

1. How can I make this happen?
2. Which content areas have to most impact?
3. What style is the most effective?
4. Who will bap money for these?
5. Who will pay attention to these?
6. What is the over/under of all of this?
7. Why must this succeed?
8. Why must this not fail?
9. What is in it for you?
10. What is in it for ONLI STUDIOS, LLC.
11. What is into for everyone?
12. What can be gained?
13. What can be loss?
14. Who will be the winners and why?
15. Who will be the losers and why?

 "Rhythmism?"  Yes Rhythmism!.  I have been searching for dynamic commercial gallery and major institutional supports while  experimenting  with it and presenting exhibitions and lectures based on those practices since 1970.  I am appreciative and humbled for all of the participation I benefited from via the not-for profit / artists'-run galleries and art centers along the way.

Sometimes documented....other times not so.  But life is what really happened. Not what folks missed or simply didn't appreciate."

 In 1970 Onli took up the challenge and inviting opportunity to determine the parameters and potential of a genre derived from the ideas of the Black Cultural revolution yet open-sourced enough to be universal.

Much like "Jazz" or "Rock Music". To move beyond the limited scope that emerges when one is to use the term "Black Art" to refer to that growing range of images and expressions coming from Black visual artists in the Americas since the Black Cultural revolution on the late 1960s.  Being only 18 years of age and  new to the Black Art Scene he was resisted and often scorned for this vision.

When he explained that he was adding distinctions to the broad category of "Black Art"...they still resisted.  He was often "Blackballed in Black Art circles for these innovative efforts.  They often stated he was on  'some White shit"!

His experimental efforts were also scorned by his instructors at the School of the Art Institute of Chicago. They asserted it was not art, nor worthy of a student at the school.  This opposition led to the Chair of the Painting Department telling the judges for a  Fellowship Contest to illegally ignore Onli's legitimate entry to that contest / exhibition .   The Dean of Students told Onli about this, yet she did nothing to defend his right to be considered as a contestant in that prestigious competition.

His classmates would say Onli was just on  'some weird shit" when he presented it in classroom critiques.  Onli adapted.  He kept Rhythmism away for the unwelcoming confines of the School of the Art Institute while he earned a BFA in Art Education and later a MAAT in Art Therapy.

However Rhythmism was fine and well. Exploding in Fine and Commercial Art applications in Chicago and on a national level and internationally.  In print. In public displays. In exhibitions. In multimedia shows. In mixed media. In videos. In music. In classrooms. In Art Therapy sessions.


There was and still is a tremendous amount of orthodoxy in the Visual Arts World.  It anoints the chosen few who can name genres, claim resources or get major opportunities.  In Onli we see a self determined practice that insisted to persist.  To grow and explore.  To arrive at Rhythmism being a proven genre in the visual arts.

Now he moves to claim those experiments a success.

The Jackman-Goldwasser Residency at the Hyde Park Art Center afford Onli the creative practice space to shift form experimentation  to destination.

 Rhythmism is here to stay!

ONLY WEAR / ONLI WEAR : LINK

July 25th, 2020 "ONLY WEAR ONLIWEAR":

During the 1980s Prof. Turtel Onli taught Air-brush Techniques on Textiles at the Textile Art Center of Chicago.  He also pioneered Rhythmistic wearable art with a series of impressive innovative and highly influential multi media/fashion shows at the Limelight Clubs in Chicago and London.

His trendy "Michael Jackson Cape" was a hit at the 1984 Art Expo NY's Wearable Art Fashion show as it featured the King of Pop with his hair on fire while smiling with the eerie eyes from "Thriller".

This Summer 2020 Residency gives Onli the institutional pivot to move away from his arduously prolific decades long experimental phase of all things Rhythmistic and on to the deeper robust practice of whet he has learned.  What he has proved. Away from the filter of an artworld that for those same decades would not embrace him and his works in terms of gallery  representation or major acquisitions.  Curators and serious collectors would be fortunate to embrace the works of this Black Male vintage staged visual artist. This Onli attributes to the "ism-schisms".  A blend of Racism, Ageism, Heterophobia, and Classism that seems to guide so many political and financial transactions in the Art World as can be found throughout western industrial society.  

Yet Onli remains optimistic that progress and intelligent vision will converge to bring real support to his efforts. As he often says: "Ownership is the highest form of appreciation!"

  It's all there. History. Creativity. Uniqueness. Impressive track record.  Client history.  Rigorous education.  Enduring practice. Critical acclaim.

Onli's dedicated artistic path was that of the "American Dream". Pulling himself up by his bootstraps....and financing his own beliefs & practices while being totally professional whenever opportunities came his way.  All in search of finding or attracting a home for Rhythmistic Visual art.

"Rhythmistic Residency" ;  Link

July 22nd 2020: "Air Brush Drills"

"The air-brush is a tool that was was invented for industrial applications as well as those related to the visual arts.  It is a tool that can produce a stream as tight as a line or a broad array of spray patterns with unlimited effects and results. As a major-market illustrator my highest paying assignments were all air-brush based illustrations or designs.  It is not taught at any of the Chicago areas Art Schools.  I have been routinely turned down whenever I have proposed teaching it at colleges or even community based Art Centers. 

In the late 1980s I taught two levels of Air Brush on textiles at the former Textile Art Center. I ma sure I am turned down because the folks in charge resent the idea of bringing in a Black Male vintage stage, ( over age 60 ),  Artist to teach course that they lack any real expertise.  The idea of bring me in would be a challenge to their power & control paradigms.  Therefore those students and communities they serve still do not know the difference in real potential and safety between eco-toxic "Spray Paint" and the eco-friendly "Air Brush".

"I replaced a very derivative quilt treatment that I brought to the HPAC Studio with a more inspired quilt that was finished by Patrick Whalen. He is my main go-to quilter of all time per this body of work. " Rhythmistic Quilts." The four panels I am completing this Summer will be the first set in the series that I designed with his skill set and esthetic sensibilities in mind.  Sort of a third hand in the process.  In fact I found the treatment on that former quilt underwhelming and a bit off putting in that the quilter devolved in both technique and execution.  This change of display moves my Residency in a progressive forward flow!"

That was a great question. "What made me go air-brush during this overwhelmingly computer based era?" Now I do digital as well. However I was introduced to air-brush by my good Brother Prof. Bob Erickson in 1969 in Art 101 class at the Southeast Community College in Chicago. He could tell it really blew my mind. He insisted that I wait until my actual art making skills and concept evolved and matured before taking on the air-brush as a tool. I accepted those terms and added that goal set to my arch.

I knew that being touch sensitive mechanical yet organic, planned and spontaneous , classic or innovative....I knew I needed to grow from that state into a full bloomed Rhythmistic Artist before taking it on. That happened during a cold Chicago winter in 1983. I was in frigid live-work-placelock-down...learning the ways of the air-brush.

Per this current Residency I am picking it up to got forward. I love the power of the digital progress but in this effort the cyborg-like mechanics of the air-brush is my One. my Way. My Rhythmistic tool. I find it a bit more "future-primitif.

 " This is a photo from my studio in Chicago's River West area during the late '80s. When I was contracted to produce Rhythmistic treatments for stage performances for the International Limelight Clubs chain a lot of Black folks, curators and critics again defaulted to state that my efforts were not really "Black" nor "Afrocentric"! Before then  and since I always maintained the work was "Rhythmisitc". Plus the fact I was experimenting with manifesting it, Rhythmism, and future-primitif were a difficult sell in the 1980s when the competition called "Multiculturalism" was raging."

 " During that time in Chicago, New York and London tons of Art Directors, Graphic Designers and Curators were getting these publicity invitations and postcards with my work on it.  In graduate school at the School of the Art Institute of Chicago my Thesis Chairperson was shocked when he realized I was the person dong the work.  His disbelief ruled the day.  He couldn't merge his bias toward me...a Black grad student...with the reality that I was actually an artist/illustrator operating on an international scale.  Not stuck in some "Ghetto" role.

When I would show up in their offices, they often had this work in full display on their bulletin boards.  But they were not going to assign anything to this Black Male Illustrator.  Some even exclaimed I could not have done that work because it came from the Limelight.  Being the Limelight Clubs were not seen as associated with anything a Black person would be party to.  This was well before terms like "Afrofuture" or "Post Black" emerged."

"This was my first book-cover design / illustrations for Holt, Rinehart & Winston.  I was particularly proud ad satisfied with the results.  Air-brush & colored pencils seemed ot suit my future-primitif experimentations in the Visual Arts be they Fine Art or Commercial Art. But in an art world that was resistant to me for being me....Black-Male....there was the added resistance that my practice reached deep into Fine Art & Commercial Art.  They seemed to want a more narrowly focused one-trick pony type of artist.  Where if you have seen one you have seen them all. More of a predictable commodity."

Seems like a lot of folks are looking for ways to learn a bit more about African and Black History. A while back....deep into the "Multicultural' and "Afrocentric" curriculum days. I was fortunate to have done an air-brushed illustration that was used on the cover of "The Rebirth of African Civilization" from Third World Press. They still offer that title and a lot more. Third World Press has a focus in this area. Since the late 1960s.

July 19th 2020 

In the onset of my Residency I find original visions and thoughts run wild in my creative process. This is different than the act of making the artwork. Like drawing, painting etc comes after the composition and its visual-narrative-expressive concepts collide. When I teach art appreciation. be it in public schools or college, the idea of being an "Artist" comes up. Who is an artist? What is Art?

The complex question is when and why does the effort rise to the level of being "Art"?

art·ist /ˈärdəst/

Artist; plural noun: artists

a person who produces paintings or drawings as a profession or hobby.

a person who practices any of the various creative arts, such as a sculptor, novelist, poet, or filmmaker.

a person skilled at a particular task or occupation.

"a surgeon who is an artist with the scalpel.

July 17th 2020

I am taking a day off.  Maybe two, from the Residency.  A little rest and separation before returning to document the completed end result of the Graphite Phase of this artistic effort.

Drawing at this level does have its own set of rigors.  Pressure and tension in the hand and fingers doing the work. Focus needed while on task. I tend not to use over-head projectors, grids and photo-references in composing and the execution of my compositions, images and such.

 
"My stream of ideas and dynamics comes from my being constantly in a state of Art.  The Rhythmic Zone.  Most of my conscious time."

"Per these images and drawing I did extend my process by drawing preliminary sketches to draft out the concepts visual perimeters.  Then I naturally drew each one larger..to scale...yet open to improv along the way. "

"This is me...Turtel...holding a French version do an 1981 book on air-brush techniques.  I used to actually keep it near my bed.  Behind me is a more completed textile work for this collection."

"Note that these compositions respectfully embrace a blending of selected traditional icons, including the Kokopelli, to arrive at symbolic emblematic expressions for the Arts. Visual Art.  Performing Art.  Literature. And Music. "

I am combining Art & Design.  See the Link resource.

July 16th 2020.

I met this week's goal a day earlier than projected.  Each of the the three to be air-brushed Kokos are graphited up.  First graphite on raw textiles.  Next....delicate detailing brush work.  Finalized in Rhythmistic air brush improvs. 

July 14, 2020

Hours | Events | Art Classes | FAQ

RESIDENCY

Turtel Onli is an artist, entrepreneur, author, art therapist, educator, and publisher. Onli's work has touched upon a variety of disciplines in fine and applied visual art, exploring painting, drawing, illustration, publishing, fashion, and multimedia production. Onli has authored and illustrated numerous comic books and graphic novels, including NOG, Protector of the Pyramids, Malcolm 10, Nog Nu and Grammar Patrol.  We had the chance to catch up with Turtel, as he begins his residency:

What are you most excited about as a resident artist at Hyde Park Art Center? This residency gives me the setting and connections to link my vintage stage practice to its Hyde Park roots, while I focus on bringing technique to concept, and concept to expression in extending my future-primitif Rhythmistic Quilts collection. I started this collection in 1989 so it has been a slow flow. Where are you drawing inspiration from these days? I am excited that 2020 is my 50th year of being a "professional visual artist." How would you define your practice and what keeps it alive? My practice is mostly 2D but has been buttressed in the experimental and applied (as well as within) aspects of creativity, culture, and commerce. This is a nexus of Rhythmistic Fine Art, Illustration, Indie Black Age Graphic Novels, Textile Art plus a vocation of Art Education / Art Therapy. I am trying to expand the narrative of "Black Art" by establishing "Rhythmism" as a genre.

Now accepting applications for the Radicle Studio residency! Each year, Hyde Park Art Center awards two Chicago-based artists with year-long residencies as part of the Jackman Goldwasser Residency program. Inspired by the radicle, the first part of a seedling to burst forth from a seed, rooting itself deeply into the earth, our Radicle Studio Residency's goal is for artists to be rooted for a year at the Art Center through free studio space to make work and research new projects, access to the Art Center’s broad international network of artists and resources, connection with a dynamic public.

July 14th 2020:

1970s & '80s were a period when I was a major market illustrator and the air-brush ruled the day. Time on task: "Meet the art director's ........deadlines.....follow the editor's .......details... apply the graphic designer's directions and still have your distinct style and by all means...be creative...or you will be replaced by one of those hungrier dudes sitting outside of my office" said the Publisher. One...two...three....four...what else are your drawing for? 2020 Summer Residency: I get to reflect on it all.....

Today I ran into Chris for the first time.  It was exciting to happen upon him. We agreed to set a time to really sit and meet each other. Our exchange included very sincere admiration for each other's works, web sites, backgrounds and hall ways Residency displays.

Then immediately there was Kate.  How. She is the Executive Director extraodinaire for the Hyde Park Art Center. She along with the ever-awesome Allison have been to of the most positive resourceful keeping their words and peace admin folks I have every had the energizing pleasure to work with. 

 OPPS? Did I just call it work.  NOT! Better to call it a creative productive flow.  When I was wilting on the vine at times under the rigor and brutal pounding of the Chicago Public Schools system's anti-art-bias as an Art Educator, they, Allison & Kate gave me and my Rhythmistic practice magical...powerful...open ...meaningful moments.  Shared at time with my students.  Other times with the Black Age of Comics movement....and then my very successful "Cool Globes" project.  Truth be told in real time....this is what progress looks like.

Once upon an air-brush, way back in the pre-digital age, I was asked to paint this huge backdrop that looked like a Martian landscape. It was for a major marketing campaign from the largest Black owned advertising agency of that era. The models were placed on the painted fabric and photographed to look as it they were having a pre-afrofuture out of this world experience on Mars.......after having a taste of blended whiskey.

 July 14th 2020:  This is the start of my 2nd week in Residency. I am aware of the shift in my practice. I started training preparations for this short....three-month long honor in late December 2019 when Allison told me to expect it.  Before I had a contract.  Before I got any of the detailed calls to plan terms and review resources. Before Covid spreaded dread.  This prep-work concept was derived from my years coaching Basketball and Volleyball.  Knowing the "season" is limited and the best results flow from momentum.  Pace and rigor in planned activities to escalate skills and awareness so that I would be ready on  day one of the Residency.  Not showing up in a creative fog...burdened with underutilized skills.  Nope! That would not do.  I planned to be on fiya!!!

Above is a finished Rhythmistic Quilt. I actually did the image in about 30 minutes back in around 1988.  Back then my life and art were blended at a high level over years.  I was a major market freelance illustrator and Rhythmistic theorist.  I taught air-brush on textiles at the Textile Arts Center. Plus the director of a Fine Art Center located in the heart of the largest most notorious Public Housing Projects in the USA.  The Robert Taylor Housing Development.     I was on fiya!

 This was before I became a Chicago Public Schools educator and had to reduce my Rhythmistic practices in order to best service my students and teams plus succeed in the negative dysfunctional system and poor management styles that made CPS very dangerous and unwelcoming to heterosexual Black Male educators. ( Notice research shows there are very few Black Male public school educators.)  But now seven years retired from that system.....I can recover the highest levels of my Rhythmistic Practices.  This Residency is a seriously welcomed boost in my vintage stage of practices.

Small ink sketch

 Now these four works are planned with various sketches.  Looked over using each of my multiple personalities along with the rare insights of outsiders.  I tend not to ask for others' insights because they tend to not send enough meaningful time or attention with my practices...art works....or this side of me.  Or they default to personal taste saying "I like this" I do not like that".  Folks mostly  talk entertainment and news clip recaps....not Visual Art or future-primitif processes.

The four panels. Each on cotton, sized 60 inches by 50 inches will representing Visual Art, Music, Performing Art and Literature.  I will have moved the needle from African icons to the First Peoples / Native American playful Kokopelli with a little re-contextualization thrown in.  Not being linear anthropologically here.  But Rhythmistically expressive...

Of course this will again make it more unlikely that folks into "Black Art" or mainstream Visual art will know what to make of me and my works. ( Over the years I have been called "Too Black" in Black Art Circles" or not Black because my works tends not be a tribute to suffering or a celebration of oppression but is intelligently processed.

And many mainstream gallerists have said...."How dare you decide to name a genre?"!

In 1975 a major art rep told me: "Turtel your work is too creative for us and your own people will never support you! What are you gonna do?  Well a lot has happened since then. Seems history tells us that my late amazing innovative brilliant soul brother artist, Vincent Van Gogh, had moments like that too.....

PRODUCTION : 1. Prep the fabrics. 2.  Plot out and compose the image in graphite.  3. Complete its embellishment in air-brush.  4. Then later pass them all onward to my fave quilter.. Patrick Whalen for his yet to be determined by him finishing treatment. 5. Secure musical and sonic compositions to facilitate the experience for the witnessing and participating future audiences and interested art lovers or curators.

July 13th, 2020 

This is 6 days into the residency.  Aside from the tremendous explosion of passion and satisfaction I focused on setting the space up for air-brush on textiles practice.  Given the Covid Accommodations it will be a more production centric setting.  Few folks will be able to drift by.

 I hear the rumblings of the other residency artists about....but we have yet to actually meet.   This week I set my process in Zoom Mode!

Zoom; 3rd person present: zooms; past tense: zoomed; past participle: zoomed; gerund or present participle: zooming

1.

(especially of a car or aircraft) move or travel very quickly.

"we watched the fly zooming about"

2.

(of a camera) change smoothly from a long shot to a close-up or vice versa.

noun: zoom; plural noun: zooms

exclamatio exclamation: zoom

used to express sudden fast movement. "then suddenly, zoom!, he's off"

Rhythmic Zone Flow date: July 9th 2020

"Rhythm:" Refers to any structure or composition with dominate and subordinate elements in sequence. In the visual arts Rhythm is created through the regular recurrence of elements with related variations.

Somewhere in my youth I thought this a name for my intuitive approaches to making art. Which was there long before I attended art classes or an art school. I noticed it in other works of art. Often from prior eras. I saw it as genre that while rooted in the Black / African visual expressive narrative could rise to the level of being an open genre. Beyond the broad...... often non- specific term being used back in the mid 20th Century...."Black Art".

I needed to be able to articulate in discourse and such aspects of Visual Jazz, Visual-Soul, of Visual Funk but in terms wedded to Visual Arts...not derived from other expressive forms. By the early 1970s I started using, manifesting, exploring the term "Rhythmism", Now I get the much appreciated priviledge to further that thought and logic at the Hyde Park Art Center with focus.

 Drawing the under flow for the "Kokomusik" one.

 Its great to be in residency mode.........really fantastic! 

Here is my air-brush tech book from 1981 Paris France...."Aerotechniques" chez Dragon's Dream and my good brother Alexander Mosley...publisher.  I used to sleep with it by my bed....for years!!!  My goal is to complete a total of four Kokopelli centric textile panels ot late be ifnished using the quilting process.  Each one with represent a creative genre as in Visual Art, Music, Literature and Performing Arts.

I will be reaching.  Today is the first day of this Residency.

July 7th 2020 Chicago- Today is the official start day to my Summer 2020 Residency at the ever innovative Hyde Park Art Center. I plan to focus on air-brush as my tool of choice to extend my growing Rhythmistic Quilts collection which re-contextualizes selected traditional world icons into a future-primitif context.. These are few random air-brush treatments I have done along the way. From the Mars landscape for a commercial ad, all the way to a permanent bench for the Chicago Children's Museum. Have Rhythmism.....will travel. Per Covid Rules......visiting traffic and open studios will be modified or restricted. Art lovers, smart collectors and insightful curators will be kept abreast of these events as they evolve.