-3/19/2

  That stunning afro belongs to Karmen, a girl I met in a Danbury bar.  She wouldn’t even believe I was an artist, let alone come to Woodstock for a modeling weekend.  But while that idea was still alive, I painted a practice Karmen;  I wanted to discover all the technical problems in advance so that her actual portrait-sitting would go smoothly.  Wouldn’t you know it, the practice Karmen was drying on the table when the real Karmen called on the phone, so there I was, looking at the practice Karmen while I was talking to the real one.  The phone conversation did not go well;  she didn’t want to do this, she didn’t want to do that, and she wasn’t going there at all.  The worse the conversation went with the real Karmen, the better the practice Karmen looked, so I decided I really didn’t need that difficult woman on the phone.

7/22/2

  The flags were another evolution in my use of the web illusion.  The technical problem of the lines between the two breasts was eased by the stripes, they distract the eye’s focus away from the lines that aren’t doing a good job, making it easier for the brain to perceive the webs.  The flags were still very difficult to make, five months of work only yielded five good ones;  but that was a better success rate than the chests, which don’t have stripes to mask the bad illusion lines.  The peace flag, 8/26/2, is the one with the spirit of Woodstock.  That one and 9/11/2 have both been made into affordable silkscreen reproductions.  The  best of the flags was 9/19/2.

10/22/2

   After the flags helped me discover how to use distraction to maintain the web illusion, I put that knowledge to work in a series of new necklace paintings, arguably my sexiest worship of the female form.

11/24/3

I got a little carried away with my depictions of genetically modified women.  I meant no offense, I merely wanted to demonstrate my mastery of the web illusion.