Category Archives: Shows

PRIDE POP-UP at TINY TOWN GALLERY Sept 29th and 30th

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I’ll be showing at Tiny Town Gallery* 408 N. 4th Ave. during Tucson Pride’s 40th Anniversary celebration (Pride on Parade on 4th Ave. starting at 7pm on Friday, Pride in the Park at Reid Park from noon to 9pm on Sunday).


I will be donating 10% of my sales to The Montrose Center’s HURRICANE HARVEY LGBTQ DISASTER RELIEF FUND. To donate directly go to

* Tiny Town Surplus and Gallery will be open from noon to 9pm Fri. And Sat.

I make joyful 2D and installation art to counter cruelty in the world. My paintings, installations, and encaustics, assert that, even at this time, the ideals of tenderness and compassion serve as the foundation of a prosperous society. My work transcends boundaries between critical ideas and lighthearted forms. My intention is to create a fearless environment to contemplate politically charged imagery– guns, rainbows, plant life and reproductive organs that can be read as male, female, or both. I hope that experiencing familiar impulses in unexpected surroundings will educate our emotions and influence a comprehensive reconsideration of how we see ourselves, each other and the world.


I’ll be going LIVE TODAY
between 6 PM – 9 PM CST
During my artist talk at G Gallery

Please join me LIVE ONLINE from facebook and instagram during  my artist talk this Thursday February 23rd. I’ll be at the gallery between 6pm and 9pm and will be going live to share some of the talk or/and give a brief virtual tour.

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Mixed Media on Canvas
48” x 48”

Evolution 2 Plant Life

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Plant Life 24″ x  24″ mixed media on canvas NOW SHOWING at G SPOT CONTEMPORARY


310 East 9th Street Houston, TX 77007

12:00-5:00 pm: Friday, Saturday & Sunday / also by appointment



The Gallery located at 310 East 9th Street, 77007, is open Friday – Sunday from 12pm – 5pm and also by appointment.


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The Gallery located at 310 East 9th Street, 77007, is open Friday – Sunday from 12pm – 5pm and also by appointment.


Inquires: Wayne Gilbert 713.822.4842

These paintings, installations, and encaustics convey a colorful world seemingly untouched by the upheavals of ruin, bigotry, evil, violence, and fear, but are, in fact, a penetrating and personal view of this moment in our American life. They assert that, even at this time, the ideals of tenderness and compassion serve as the foundation of a prosperous society.You could say that I want to challenge perceptions, beginning with the idea of a fixed self, gender, body, or ontology, including the perception that delight and tenderness are not part of a discourse of political protest and protection.

With a preference for motes of pure pigment, pencilled lines, metallic, neon, and iridescent color, I’ve developed a personal iconography. By presenting tangibly politicized objects and images in pacific settings— guns, rainbows, clouds, triangles, plant life and male/female reproductive organs— these works skirt the lines of representation and abstraction to create a vantage from which to view violence and prejudice.

I employed lines of graphite and loose constellations of shapes, favoring day-glow and translucent paint. I mixed pure pigments with water or encaustic medium or applied them directly to create celestial compositions of colors. Throughout the year, my work became simplified. I let myself go, scattering handfuls of pleasures across surfaces. It has been liberating to let particles of pigment direct the topography of the resulting work.

I’ve also explored the whimsical possibilities of installations, joining materials from the cultures of construction, craft, and play to create hanging sculptures. These immersive forms reveal the armature of their own making and invite us inside to question our expectations about reality.

I hope that experiencing familiar impulses in new surroundings will educate our emotions and influence a comprehensive reconsideration of how we treat the world, each other, and ourselves.

Cover image: PULSE 36″X36″ mixed media on canvas.


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In Order of Appearance Index

ART   1.Keith Sonnier 2.Jonathan Borofsky 3. Chris Doyle at Andrew Edlin Gallery 4.Prada SOHO 5.Dan Flavin at 101 Spring St. 6.Roy Hargrove Quintet at The Blue Note 7.Oscar Bony 8&9.MOCA Transmissions: Art in Eastern Europe and Latin America, 1960–1980, Artisits- you tell me… 10.MOMA Sculpture Garden, artist- you tell me… 11.Juan Downey 12.Joan Miró 13.Barbara Rossi 14.Geta Brătescu 15.Robert Janitz at Teamgallery

FOOD   1.Marta Manhattan 2.Friend of a Farmer 3.MAMO NYC 4.Hudson Clearwater 5.The Dutch 6.Sarabeth’s Tribeca 7.The Greek NYC 8.Santina (for dinner and breakfast the next day) 8.Indochine 9.Joe’s Pizza on Carmine 10.I didn’t take any photos but The Shake Shack in Brooklyn

VIEWS   1.Manhattan 2.Central Park 3.Washington Square Park 4.Kimpton 70 Park 5.The New Whitney 6.The Highline 7.Reunion Goods&Services 32 Avenue of the Americas 8.Greenwich Village 9.Prada 10.SOHO 11.Downtown 12.Brooklyn Bridge 13.Brooklyn Hights 14.NYC Subway 15.MOMA 16.Chelsea Market 17.West Side Riverwalk Sunset 18.Uptown 19.Central Park 20.Washington Square Park 21.Fountain at 6th Ave and Carmine 22.Hotel Hugo

AUTOPOIESES at Cafe Passe January|February 2015

Please join me SATURDAY, FEBRUARY 21 at 8pm for a RECEPTION and WINNERS’ CHOICE RAFFLE. 100% of the proceeds go to benefit CASA LIBRE; raffle tickets are $5. Winners need not be present or may choose a work on display to take home that night.

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Interview by Jane Miller

JM: What is autopoiesis?

VG: Autopoiesis is a scientific term that describes the paradox that, in order for beings to be autonomous, they need to obtain resources from their environment. It plays out in these works metaphorically in the relationship of the pieces to each other, and in the way the viewer interacts with the pieces.

JM: What are the advantages to working in a small format?

VG: I can produce a lot of pieces that I can sell affordably.

The size gives me an opportunity to move back and forth, which inspires new combinations of forms and methods. In this case, I worked with oil paint in the encaustics, and I painted with acrylic, water, polyurethane, and some special mineral pigments from Peru; the look of the pigments, when sprinkled as dust and then wetted, inspired me to use oil paint over the encaustics to create some similar effects.

JM: Do you encourage your encaustic pieces to imitate sculpture?

VG: Definitely. I use sculpting tools when I make them. Pottery tools, dentistry tools, too. Also, many of the encaustic techniques imitate intaglio printmaking – similar to the way one etches lines in a metal plate, I start with a well of encaustic medium and carve the figures into it. Instead of using ink, I use medium in different colors to create an image or story.

JM: Your work seems to use both figurative and abstract elements. Do you see a relationship there, or do you experience those forms separately?

VG: I would call this series abstract symbolism, meaning my figures are less literal and more symbolic – some viewers experience the shapes as human, others as plants, etc.

JM: Your themes are often dark but your color palette is bright. Do you care to comment on that seeming disparity?

VG: I have seen that in other series I’ve done, but in this current body of work even the black, while literally “dark,” has bright, airy figures who are doing things, lively things, together at night. So I would say it is simply night, rather than describe the black backgrounds as emotionally heavy. No one’s alone, everyone’s with someone having a good time.

Café Passé is at 415 N. Fourth Ave. Tucson, AZ 85705

Su-W 8 am – 8 pm
Th-Sa 8 am – 10 pm


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I owe the title of this series to my sex-same partner, who often opens the shade of a morning and exclaims, “It’s another sunny day in the desert.”  The phrase can be understood as a point of fact, irony, or wonder.  In a state that votes discrimination into law with such Senate bills as the federally-disputed SB 1070, and that narrowly vetoed SB 1062, which would have legalized a faith-based right to refuse service to assumed members of the LGBTQ community, it doesn’t always feel like a sunny day.

So much behavior comes from, and makes for, heavy hearts. To oppose fear and hatred, I am compelled to expose and explore with light-heartedness and whimsy.  It is important to me to bring heavy subjects to “light.”

The master images for ANOTHER SUNNY DAY IN THE DESERT exist as light.  Reading about David Hockney’s use of iPhone technology to make art led me to explore the drawing applications available on my iPhone. I settled on Green Gar’s Whiteboard app.  I began making digital paintings in 2012 at local businesses, and outdoors at home of an evening or afternoon.

My use of color was greatly expanded by working with a digital palate.  It was a delight to match colors in encaustic and acrylic with the digital colors.  Each encaustic or acrylic corresponds to a digital fingerpainting and is one of a kind. Translating digital images into encaustic art required me to use tools in new ways. Previously I relied on incising, using paintbrushes to fill incisions, but with these pieces, I also used the brushes to paint.  Next, I used a heat gun to move and to fuse the layers that I’d painted on. The process of moving back and forth between ultra-contemporary and ancient techniques is liberating.

The prints are produced in a range of sizes, with a maximum of 5 images per size and a maximum of 25 prints per image.

All works are discounted for purchase during the exhibit. If you would like to take a piece home today, Café Passe will accept cash on my behalf. If you would like to pay with a credit card ($5.00 processing fee on purchases of $100 or less) via PayPal, please contact me.

Thank you to Betts Printing and Fred’s Custom Stretching.