Biography

I arrived in Tucson from southern California on the assumption that a college education at the University would ensure a stable means of living. However, the 2008 recession made a farce of all of that. All that matters is making art, and most of all the erotic art that beautifully and effortlessly competes with all other artistic expressions. There is nothing more stimulating and fantastic than the sinuous lines and vibrant colors that capture the explosion and emotion of an erotic experience. Centuries from now, no one will care how difficult my financial and professional struggles were, however people will appreciate that I was brave enough to share my erotic art with the world.

My first inspiration for erotic art happened in my childhood, ironically in Catholic school when it was mandatory to read a particular condensed epic poem. However, a certain graphic novel based on that poem aided in my comprehension of the material and unexpectedly increased my appetite for drawing the nude figure in dynamic, sweeping movements. The graphic novel had hints of heterosexual as well as homosexual desire, whether the sexuality was deliberate or otherwise. There was enough partial nudity in it to stimulate my artistic imagination and, frankly, I would have never been interested in the human figure early in my artistic life without it. Unfortunately, all of my very early works, albeit crude but lively, were never preserved due to my religious convictions that somehow such creative behavior was a shameful anomaly.

It was in my early teenage years, roaming through public libraries, that I was exposed to the linear beauty of Japanese woodcut prints, known as Ukiyo-e, most distinctly the Shunga (“spring pictures”) masterpieces that showcased the vibrant imagination of the Edo period artists. Despite my inability to read the calligraphy, I was captivated by the visual narrative, the tension between intimacy and public exposure, and the liveliness of nature surrounding the erotic situation, which added energy to the spontaneity. The artistic virility of the Edo period was nothing short of one of the greatest periods of human poetic and graphic expression, and it inspired me to fill sketchbooks until my early twenties. Once more, I did not take the effort to preserve any of them as I passed into six years of naval service, when almost no artistic output came about.

After being discharged from the military, I decided to go to college in the distant hope that I would make a living as an architect. It was all based on the delusion that the pseudo-creative field would provide financial security while I pursue my artistic endeavors in the scant free time that may remain. The depression I felt realizing how often creativity in architecture is stifled by government, big business, and economic collapse was remedied by real artistic activity, ultimately the pursuit of erotic art. It was then, in my early thirties, that I actually produced paintings that were worth preserving. There are many disappointments in life beyond the control of a single human being, but erotic art is something that I control and, paradoxically, get lost in and lose track of all practical worries. The future does not care what these worries are today. They are meaningless. Erotic artistic expression is a deep part of human existence and is worth preserving, otherwise we will never know ourselves. There is no reason, other than a stubborn adherence to ignorance, to regress from being fully human.