That Old New Shit.

I am working on my site a bit currently. I have been digging through some old images from my portfolio archives in search for a series of shots from a show I did in 2014 titled Pilgrimage.  I have really also needed them to set up a series for some applications for residencies and funding I am in the process of working to attain good favor into. Along my quest for this powerful goal, I ran into some high res images of some work that I thought I had unfortunately lost all of in a drive crash ages ago. Much to my happiness and surprise, after trying to reformat some god awful images that were extremely low res (from before websites like Squarespace resized your images in the programming and you had to save depending on screen size and at a viewable 72 dpi), I stumbled upon two images I had long forgotten that I myself had shot (not thinking I was a good enough shot at the time) and was able to color correct them and relive some of the energy and power that came with that time in my life. 

They are both from the Findings series from 2014. Relics of the World of Unstoppable Tomorrow, from that distant future past where the humans reconcile their survival after the reset of civilization due to our inability to control creations of war that we ourselves created under the guise of control. Classic storyline, but pertinent in my mind to my personal view of how our obsession as a race with speeding up our technological advances without thinking of the outcomes, or realizing we repeat the same mistakes of control over and over. Needless to say, these pieces are some of my favorites. One of them was shown at Fecal Face Dot Gallery for a show that Rachel Ralph curated right before an epic road trip I went on as part of my Superchief Gallery NYC solo show "The Scourge". Good times. 

As I write this we are hurtling faster and faster to the brink of nuclear war and I feel that this work, no coincidence, is more pertinent than ever in my life. Even more relevant that in the 1980s when I though Regan and Bush were going to take us to the Promise Land Eating Cheeseburgers and Dying As Our Skin Melted Off. Uplifting times. Here is to the New Year... My Big New Years Update is coming soon. Hold onto your hats already!

These works are both from the Findings series... Both around 26"x28 or 30". I love the cuts and shaping. They are Acrylic Lacquer, Spray Paint, and Graphite on Found Wood Assemblage Panels, 2014. Both sold immediately upon their releases. 

Findings-Jungle Sky, 2014

Findings- All In Together Now, 2014

Finding- The Harbinger, 2014

Currently on View at Stephanie Chefas Projects.

Alignment, 16x20, Mixed Media on Wood assemblage Panel, 2016

Available through Stephanie Chefas Projects, Portland, OR

Upcoming Experiences!

Excited to announce that I am going to have a piece in the upcoming Stephanie Chefas Projects Group Show entitled "Selfie". I will be dropping a new piece entitled "Alignment" next week on social media which will be represented in the show.  I wrote an insightful, albeit thorough (as fuck haha) paragraph about the context for the piece and for where I seem to have found myself these days. 'In the last year of self discovery many moments have seemed to engulf me in their fullness and seeming unending intensity.  The truth is that feelings, thoughts, states of being whether it be fear, joy, uplifting momentum, painful drowning, relief, darkness, amazement all are simply temporary moments within our humanity and our connection with the universal and one another.  No state of being is a forever moment, I feel that even death in the end is simply a doorway to another dimension or state of our energies path through time and space. I have ebbed and flowed through some very intense pockets of being that at times felt permanent, or unending in the last year.  I have worked through ghosts and the effects of my own past that finally were meant to be unwoven and dissected and confronted.  And always with every stage and step a larger feeling of connection and a vision of the balance of the spiritual center amidst all things, one entity yet part of all entities is what I can see and feel.  This piece is truly a self portrait of being and perception at the convergence of so many different elements of existence. It encompasses a visualization of the unseeable as well as tangible aspects of being, not consumed by any one feeling or way or thought.  Just a moment amidst the intersecting energies and landscapes of the soul and psyche to see the beauty of it all in alignment, of it all just as it is meant to be at this certain moment. A freeze frame of all that makes up the passing of time and my place in the forever undulating universal architecture of energy.  Even Tetsuo's rebirth was not a place of permanent pain, but a doorway to let his unending explosion of energy become right sized and fluid in a new state of existence, in the next dimension and stage of his alignment.' -JFA III

Also I will be having a yet another new piece showing with the wild animals of Good Mother Gallery in Oakland.

Studio Time.

I have been working in the studio a bit more lately, finding some regular time as I get some perspective on what I am will be making for some upcoming adventures later in the year.  I have discovered some new mixtures of solvents and paints and such and really have been diving into process. My train of thought and ability to really dig into the core of my subject matter inside and let the work become an internal dialogue of a kind of narrative expressionism has me elated and nervous and confident and anxious and calm and grateful all at the same time.  Here is a work in progress looking back at new ways to use iconic references from my childhood into my teenage years.

A Conversation with Jennifer Liu about my Upcoming Solo Exhibition "From Here" @ Joseph Gross Gallery

This coming November 5th, one week and two days away, I will open my latest exhibition at Joseph Gross Gallery.  A collection of works that were created when I returned from a rather quick and cyclical exodus to find home back in NYC only to return to California with a new understanding of what the reality of that concept truly is.  Home is where we are when all of our facets are running correctly and our fluid movement in the universe is meant to be in its then place at that moment, at least that is how I feel.  The work reflects and shows almost in a performance like quality of process the pain and joy and realization and growth the act of coming to terms with ones self and accepting life on life's terms while finding gratitude within it.  It is going to be so feeing to show this body of work to New York and the world.

One thing that has happened in the process of this new evolution is that my incredibly close friend and energy Jennifer Liu, a brilliant thinker and writer, was in conversation with me throughout this painful and the enlightening and powerful process.  She has played an integral role in my life since meeting her in the spring of 2014.  She and I have a bond found in transcendental meditation, tacos, art, music, weirdness and an ability to question and talk about the universe and life and the power of experience to no end.  She came to visit California this past spring and we sat down and had Ethiopian food and we recorded a conversation about the work and the upcoming show and all that went into it and her views on it and my process and everything in between.  So here I am officially publishing the transcription of that conversation which she so thoroughly put into print.  I am extremely grateful that she took the time out to do this and am very happy to share it with you.  Here goes. Oh and I will be posting images of the work along with it.

Deep Darkness Come Ah Creepin (low res)

conversation with JFA III on june 21, 2015 asmara restaurant, telegraph ave. oakland, ca

j: So, we can first start with what mediums you’ve been using, ‘cause I feel like you don’t typically use pastels that much…

f: Yeah. It’s a huge departure from, like — everything I had been doing for a while had a sort of formula to it, where I was using kind of a set of materials that created an aesthetic effect that was consistent, and I really wanted to work on paper. I always like working on paper —

j: — which also made you break away from paints, right?

f: Yeah, totally. So I went to an art store, and I just bought what I felt like I needed to buy at the time, rather than basing my decision on what I knew worked.

j: What you were good at.

f: Yeah, exactly. I knew I wanted to make marks. I knew something inside of me was like, I need to make raw marks. With black pastel. I could see these orbs, these vortexes, these really chaotic energy kind of vortexes that I had to create. And I was like, oil pastels, spray paint, just regular house paint — I bought as limited of a color palette, as limited an amount of materials as I could. It wasn’t about what I was using. I mean, somewhat. But more about having to make something with the things I had, because I didn’t have a lot of money either.

j: That’s interesting. This is reminding me of primary process thinking versus secondary process thinking. Primary process is kind of what it sounds like: it’s about the process. Whereas secondary process thinking is when you’re sort of using a means to an end, like trying to achieve a logical goal. Trying to manifest some image you have. Primary process thinking is very prominent in children, like when they doodle they don’t really care if it looks like shit, or if they play an instrument, they’re not phased by whether or not they sound good.

f: That’s exactly what it was.

j: I feel like as an established artist, you have to mostly be in secondary process thinking because you need to make money, you need to think about what people like, if what you’re doing is offensive or illegal… You have to have this sort of logical checklist.

f: Yeah, and so much of my work that I have been making for so long — I realized after this really intense experience that really broke me back down to this core level of being, that a lot of the stuff I had made really did begin with that in mind, with this, “How am I gonna make this look cool?”

j: Or make it the most technically impressive thing you can. Just one-up something you did before.

f: And consistency, and…

j: Yeah. I think what was interesting about your recent work, it did kind of have this Basquiat vibe where it was very childish but in a way that — it’s not easy to be childish. It’s really not. As an adult, it’s not easy to be childish. To unlearn what you —

f: You can’t fake it.

j: And that nagging voice that’s telling you to shade something properly, or to add more detail, all the things you learned in art school or from society, it’s all engrained in us now and the older we get the harder it is to not listen to those voices. So when I think of Adventure Time, the TV show, it’s like a cartoon that’s just nonsense. This nonsense world. And I remember having this thought where I was just like — and Tim & Eric, stuff like that — “I can’t believe people get paid to write this shit.” But then I was like, wait, I totally can believe that, because it’s not easy to make a fleshed out nonsensical thing, you know?

f: Yeah, and to present it.

j: It’s not unintentional. It’s not haphazard. It’s very thought out, but broken away from what we’d normally think is sensible or good.

f: And I think that that’s a lot of what’s so different and so much purer to me about this work: I think that it’s extremely intentional, and a lot of the stuff before, when I look at it — I love it, and it was really important because it did convey what was going on. But some of it became unintentional because it was like, “How do I craft this into this thing that I’m trying to show you?” rather than just, “I need to convey what’s going on inside onto this piece of paper, and however that’s perceived by the world is gonna be how it’s perceived, but this is what I have to make right now. I’m not gonna overanalyze or over think it. I’m just gonna let it pour out.”

Moment of Realization (low res)

j: I feel like there’s a sort of… utilitarian intention that turns into non-intention really quickly. Just having everything be a means to an end is limiting. I think western culture prioritizes —

f: — the end? [laughs]

j: Yeah, that sort of linear point of view, where it’s like: point A will get you to point B. You work really hard and then you’ll make it, or whatever. And also there’s that idea I was talking to you about before, how things don’t happen in the future; they happen now. When you just have your eyes fixated on the end goal, you’re completely missing everything that makes that end goal exist — which is now.

f: Well, I was defining now. I feel like for the first time since childhood, or since I first got sober, I was truly in that channel. I was just a conduit for what was happening and what had recently happened, too. I was reconciling my existence, in a way, on all those pieces of paper and panels, by just making marks and writing and letting thoughts pour out and then editing with paint and being really rudimentary.

j: The erasures are really interesting, because typically it’s about showing more and not less. You’re sort of getting into this reverse mentality where — I don’t know, it’s very zen, to be able to accept that it’s not quantifiable, it’s not literally like the more detail there is the better it is. It’s not such a direct correlation that way.

f: When I look at stuff that I did a few years ago, and some of the stuff last year — I started to get more minimal last year as I started to kind of know myself more. In the past it’s been really huge, chaotic, intense, full of detail, and I realized that that was a signifier of where I was at.

j: Trying to fill the void instead of accepting the void.

f: Yeah. I didn’t really know myself. I had this image of who I was and what I wanted and it was based off of insecurity and some deep-rooted fears, and I was very much projecting that out. And this experience that I went through broke that down to the level where that sense of ego and self was no longer working. It was not healthy. I was just covering up a lot of —

j: You were literally covering up every inch of white space on a canvas.

f: Yeah, and this time, I was actively in the work and process and trying to dig down to the core meanings and fundamental truths that were the catalysts for why I was in so much pain. And through that, I created this body of work that, to me, signifies why I was in so much pain, what it felt like, and what needed to change. And actively working to change it, and leading into this whole awakening. By all that editing and erasure and creating these same kind of intricate panel paintings and then just starting to paint over them and finding that moment where I was finally just… meat, at a level that I had never really known before, was really where it all came from.

j: I definitely felt a difference when I saw your new stuff — I feel like when I look at your old work, I’m like, “Wow, that is really impressive.” But I looked at your new stuff and I actually felt, like, emotional about it.

f: That’s awesome.

Bullet Points(low res)

j: Yeah, that’s why that one was my phone background for a while. There’s something kind of — it was very much like a snapshot that implied a narrative, instead of a snapshot that implied an image. You know? You kind of got into this world where, not only was it doing something different for you, but, in turn, it was also doing something different for the audience. These new works sort of imply a process and make me think about the narrative.

f: And they’re vulnerable. It’s not like, “Look at this crazy thing that you can’t really step inside of.” It’s broken down, and totally vulnerable, you know?

j: Something else I’ve also been thinking about, in general, is instant gratification, and that same linear process of “A will get me to B” — and how New York was like an embodiment of — like, New York and cocaine —

f: [laughs]

j: — are the embodiment of instant gratification and the way I keep putting it is: the good thing about instant gratification is that you get what you want, and the bad thing about instant gratification is that you get what you want. You don’t get any less, but you don’t get any more. You get exactly what you want, but what we really learn from in life are the times when we get something different than what we expected. So I feel like what you’ve been doing is sort of a means to a means, instead of a means to an end.

f: Yeah, it’s actually like being aware of my feelings and emotions and who I really am. Getting away from this idea that I need people to perceive me in a certain way, which is not reality. It’s trying to hide from reality.

j: So do you feel like what you made has to do with your returning to the Bay?

f: I think what I made has to do with me losing sight of the path — kind of being taken off the path, so to speak — for good reason. In going back to New York and finding that I had created this illusion in my head of what success was and who I was… my ego had grown quite a bit. It’s a response to, essentially, getting what I had wanted. Exactly what you were saying. I had come to a point where I got what I wanted and what I wanted was based off of a lot of dark, very insecure things. It was a response to a lot of fear, and I needed to just break myself down to being able to accept reality.

j: And everything is the reality — it’s not just about the end. Wasn’t one of your earlier shows called “No Destination” or something?

f: That was the last show I did before I left.

j: That was such an awesome name. It almost would be perfect for this one. [laughs] Revamp it!

f: It was perfect for that one! Because that show was the beginning of me visually unlearning a lot in front of an audience. It was the first time I was like, “I’m going to take a break from this whole Unstoppable Tomorrow third-party filter on everything.” I was gonna do it with some of that in mind, but in the statement I made it clear that it was a lot of information that was coming out of me from a lot of experiences I’d had in the past few years, and creating a narrative about all these awakenings — the things we can’t always see or touch or explain in the moment, you know?

j: A lot of the concepts you’ve been talking about are very Buddhist and eastern, so it may have to do with your practice, too. You learning a new definition of fulfillment that has to do with emptying.

Grow Baby Grow (Ritual of Ruin) (low res)

f: That’s… yes! [laughs] Absolutely. That piece that you like so much was such a fundamental moment for me. I literally put a piece of paper on the wall and I was like, okay, I got these shows coming up, I need to make stuff, I’m freaking out. In my head, still, I was having thoughts about drinking and killing myself and all this crazy shit, and I was like, well I guess I should do letters how I’ve been doin’ them. So I drew the letters on there. I was like, “I’ll do them in pencil, ‘cause that’ll look cool.” And then I slept on it. And then the next day, I got so full of pain inside. I was going to A.A. like crazy, and I was just constantly in this brutal pain deep inside, and I was processing all this shit and just constantly asking for the strength to get through the day, and to work. To get through it. And I’ll never forget — I picked up the red oil pastel, and it was like, I wasn’t doing it. I wasn’t consciously doing that. I stood there and my hand started shaking, and I looked at it, and my hand just shot out and started marking through the letters in this really beautiful moment, and just broke it up. I felt this huge sense of relief because I had, in essence, let go to the point where I was in the channel again, and something was guiding me to break this formula of self, of ego, of what I thought the world needed to see from me. Just ruin it, and make a big mistake to grow from it. And it ended up being one of the most beautiful things I ever made. Then I took a pencil and struck the letters out, I was like, “Fuck you, letters!” and whatever formula of living I thought was like, “How We Live” — that’s not life. And then I started writing all this stuff about what had happened in New York under it. I picked up a brush and started marking out letters and words, took the spray paint and started spraying over parts of it, and by the end of it I realized that all I needed to get at, all I needed to convey was that I was in a moment of profound acceptance and pain, and I was growing. And that’s what growing is. So that’s why the only two words left on there are grow and acceptance. It’s circled, and it’s cut out of the paint — the “acceptance” part. I painted over it and kept cutting it out and I was like, I just need to accept that it needs to be there, and then I did, and I painted the bottom white to represent that divulgence into bliss. And then it was done. And then it was just like, fuck yes.

j: I think the white is another example of how it implies a narrative, because I could see that you had whited stuff out. But you weren’t doing it just to be clever. It’s obvious that there was a process involved, and that there are layers that went into it that are unseen in the finished product.

f: Absolutely. This is the first body of work that I’ve made, maybe ever since I was a kid, that was not made with any cleverness in mind. None of it was made with like, “This is gonna look so cool.” It was just so pure, you know?

j: I feel like intentions and motives are different, and what you had before were motives, and this is intention. There’s a really good quote by Freud or Jung or someone, and it’s super simple, it’s that “healing takes place in the present.” Not in the future, not in the past — healing takes place now. And I think what the defining factor of this new work is that it’s all very about the present.

f: And looking at the past, actually looking at it with a sense of what is real, not what is a projection, you know? In order to understand how the present is happening.

I Reckon I'm Not A Giant Robot After All (low res)

More Than Just Time

I will be leaving to go to Denver on September 8th, less than two weeks from now.  Damn, it's been a whole summer already. I have been back from the East Coast since the end of February and I feel like a lifetime has passed by.  I am very happy with the work that is going to be show at my project space solo with Black Book Gallery, and very curious to see how people connect with it.  It finds much more simplicity, to me a new sense of clarity, and a certain meditative vibe to the whole endeavor... I will post more soon..

This coming Friday, October 3rd, "No Destination" @ FFDG, SF

It is officially coming down to the wire.  The work is finished, the stage is set, the sound is almost ready, and I install on Tuesday at FFDG in the Mission!  I cannot even believe that I am about to wrap up 8 years of living in the Bay Area with a solo exhibition at the gallery I have dreamt of working with since I arrived here.  Life works out in funny ways when we continually put our best foot forward, work as hard as we humanly possibly can, and appreciate all that is around us, or at least try to as much as possible.  D Young V had a show called Make an Effort once, and I have to agree, make a fucking effort!  When we do life opens up and gives us more, well, life to live.  Deeper, more intense, more thorough experiences, both good and bad, but none the less, life.  I am into it, I am here to live it, from West to East.  Anyway, I'll close this babble up.  I looked through a bunch of old Blog posts that reminded me of how much energy and passion has gone into the last four years and all I can really say is, Fuck Yes, it is only just getting better! Come to my show this Friday, or will you miss some awesome shit!

Fecal Face Dot Gallery Solo Exhibition...

...is coming up this October.  Date is TBA.  Get ready though because this show will explore a dream scape experienced collectively by the Pilgrimage group of Unstoppable Tomorrow.  It is going to get pretty weird and pretty colorful.  Nuff said.

Saturday, May 10th, Pilgrimage @ Shooting Gallery SF

I am beside my self.  It has been about a years worth of a journey.  Hot off of the heels of the "Excorrigia : The Scourge" Solo show at Superchief in NYC I just had with Superchief, I present to you the other side.  The opposite side of existence and the journey forward.  I present "Pilgrimage" at the uber famous San Francisco staple, Shooting Gallery!  I have partnered with Paxton Gate on this amazing show.

They have supplied me with bones, skulls, and really awesome news, they have officially procured a taxidermy warthog that will be part of the central sculptural installation piece of the show! We are already getting all sorts of press for the show, including an awesome interview piece from Sjimon Gompers at Impose Magazine, Tracy Jones at The Microscopic Giant, and the show is in print as part of the hot picks of the week in the SFWeekly as well as on their website.

The opening is going to be killer, there are other openings in the White Walls/Shooting Gallery complex the same night that are all going to be incredible.  Here are some images of work to look forward to seeing in person in the show.  I am in the home stretch and tomorrow will see the final realization of a lot of hard work and love for what I do.

Look Back to BRIC "Art Into Music"

So I just realized as I am getting ready for the show at Superchief show that I never put up the final images from the BRIC Arts Media House show I created an Installation for in February... there is some great press coverage on it from Fecal Face and Juxtapoz from the show and the opening.  Many thanks to the trio at BRIC of Jenny Gerow, Elizabeth Ferrer, and Eric Araujo for making it all happen, and Space Meow for performing live inside the piece at the opening.  The Juggs Band with Kareem Bunton will be performing at the close on April 27th.  Here are pics of the final product and the opening.

So Much is On the Way...

I am happily getting ready for three major happenings in my life right now.  All are art exhibitions.  First I will be a part of the BRIC Arts "Art Into Music" Exhibition in Brooklyn, NY opening February 19th.  I will scavenging and materials and building a site specific installation in the exhibition space at the new museum complex that will incorporate a stage for performances and listening stations to listen to each of the contributing artists play lists that inspire them.  Mega Cool!

Then its back to Oakland for three weeks as I prepare for my cross country trip to NYC and my solo exhibition Excorrigia / The Scourge at Superchief Gallery opening on April 3rd.

Fuujin : Mixed Media on Wood Panel : 18"x24"

And then finally it is back to the Bay once again to finish up the Shooting Gallery solo Pilgrimage which I am happy to now announce will also mark the beginning of a new partnership with the amazing Paxton Gate.  A number of pieces will feature bones and items sourced from Paxton Gate to help to realize the vision of Pilgrimage and continue to a partnership will into the future!!! This is going to be an amazing year!

See Through the Sun : Mixed Media on Found Object : 2014

Raijin

This is my new interpretation of a post apocalyptic Raijin created by the scribe of the The Scourge in the saga of Unstoppable Tomorrow.  Birthed from the carnage and idol worship of this divergent tribe, The Scourge has chosen to embrace their blindness, ignorance, rage, fear, denial, and stubbornness.  They are mutating and evolving into a state of animalistic regression and blood lust.  A place of power hunger and force as the desolate world around them and those they encounter continue to scream and rot in their presence... Raijin the Scourge : 24"x24" Mixed Media on Wood Panel : 2013

Historically Raijin is a force of nature and part of the Japanese Buddhist lexicon of spirits, elementals, and deities.  He is one of two guardians of the Buddha itself, and has been assigned as the god of lightning.  Here Raijin has taken a turn with reference to the Scourge.  The depiction, crude, bizarre, amorphous and abstract is produced by the scribe of the Scourge tribe so it in no way is a literal visualization of Raijin.  It is instead a visualization of an actual Astroknot that came crashing through with lighting and electricity exploding from its guts.  The icon is meant to instill a  feeling of pure wrath and objective destruction that reigns chaos upon those in its grasp.  This neo interpretation of Raijin is an ever roving, undulating, god sized hurricane of devouring expansion and chaos.  Stay tuned for further updates about the Scourge.

In the Studio...

...making a ton of new work as Littlefield prepares for my Triangle Magic solo show October 4th, and I continue to make work for my Superchief Gallery Solo Show in April!  I am really enjoying what is coming together and I spent a gung ho weekend in the studio making new abstract panels ready for line work...here are the finished pieces thus far and some studio shots!  The brainscapes have been up and down, smiles and frowns, and like all things worthwhile, I find myself going from intense anxiety to calm acceptance and enjoyment of the moment as well as reflection on the steps of creating that have been explored.  This sort of ebb and flow of mental and emotional states really has always shown me how work is involved in a multi dimensional, truly human conversation with myself, the world, and despite moments of fear and anxiousness the work always is a breath of fresh air as it nears completion and the resolution is felt within.  Each piece is a life and exhibits growth in and of itself and I love that about art making.

Putting in Work!

So I haven't updated since July 4th weekend.  A lot has occurred since.  I am going to be in New York City on October 1st to do a show at one of my favorite places to show art, Littlefield NYC in Brooklyn's Gowanus neighborhood.  The show will be called Traingle Magic and the opening is either going to be October 3rd or 4th...more concrete info coming next week with a press release.  This will be my second show at Littlefield and I am incredibly happy that asked me back, especially since they asked me to be their representative artist for the Gowanus Open Studios weekend October 18th - 20th.

In other New York City news, I will be doing a Solo Show at the awesome Superchief Gallery in the Lower East Side in April, 2014!  I am incredibly stoked about this and it will be a full on Unstoppable Tomorrow ragefest, bloodbath, Astroknot filled rad time!  Okay so maybe not literally a bloodbath (or might be??? who knows), but getting to show at Superchief (who just did the Vice Magazine Photo Show which to me is a rather big deal and they showed one of my favorite artist homies who I respect a immensely Coby Kennedy recently) is pretty damn awesome to me!  These guys show crazy, cutting edge, left field, fun, no holds barred, weird art that I really, really dig, so being part of it all is a blessing to me!  Because of this and Littlefield I suddenly had a huge energetic rebirth into my studio and have been painting my ass of literally.  Here are some studio images.  Oh and SFMOMA is still running too...that makes me happy as hell!

I made it back in one piece (physically, emotionally, mentally) from Minneapolis as I was there for a month for work.  I have more to post that will come soon, I have been very busy since I got back.  Also I have been selling some older work to some great people and that always keeps the train moving down the track.  So all in all things are great, and here are some photos to prove how epic the time in the studio has been!  See you again soon!

New Work Teaser...