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Road Works

I recently finished a mini-series of oil paintings inspired by comics and my own neighborhood. These are the streets where I live rearranged as a morning drive.


I mentioned my panel-making process in an earlier post. This is how I prepare my canvases. I use tape and overlays of paint to acquire a range of tones in the formal shapes I want for the final piece. From these colors, I  select only one or two as the painting develops.


From sunlit swatches of color to tiny landscapes glimpsed from a moving car, these paintings attempt to translate a perceptual experience as well as a temporal sequence using color contrasts and the comics layout.

Big Fun on the Cover

I was so happy to see a painting of a colorful toystore from my hometown grace the cover of a lit journal I admire, Pithead Chapel and Big Fun, together. The cover is a fitting space for this image to occupy, as the frontage of the building always struck me as a young artist as making an appeal to the passer by that is never solely lost to capitalism. Sure, this is the kind of storefront that screams for attention, and it is a store, after all. But beyond its traffic with proverbial filthy lucre, this storefront, with its gaudy displays of primary color, was a feast for sore, world weary Cleveland eyes, gorged aplenty on the dull greys of life, the storefronts the least worrisome of them. Maybe you’d have to be a Coventry dweller to get this, but the place had a charm that could pass over to you with just a glance, like a hand shock buzzer from 1953, which you could find in a bin there and purchase for something not too far off from a handful of clipped out proof of purchase seals from your favorite sugary cereal box and a handful of copper.


Panels=Swatches of Color


Miniature comics paintings begin like little windows of strange color trying to relate to each other at a blue-tape party. What’s ‘blue’ tape you ask? Well, you’ve heard of the red kind, so we’ll let the usual conclusions leap where they may…






Report: Transnational Graphic Narratives Summer School

Comics Forum

University of Siegen, Germany. July 31st – August 5th 2017


Authors: Amadeo Gandolfo, Pablo Turnes, Laura Nallely Hernández Nieto, Lia Roxana Donadon


The first Transnational Graphic Narratives Summer School (abbreviated TGN) was held at the University of Siegen, Campus Unteres Schloß, from July 31st to August 5th of 2017. The participants included the following scholars (in alphabetical order): José Alaniz (University of Washington, USA), Benoît Crucifix (Université de Liège, Belgium), Veronica Dean (University of Los Angeles, USA), Subir Dey (Indian Institute of Technology Guwahati, India), Harriet Earle (Sheffield Hallam University, England), Franca Feil (Goethe University Frankfurt, Germany), Moritz Fink (Academy for Civic Education Tutzing, Germany), Amadeo Gandolfo and Pablo Turnes (National University of Buenos Aires / CONICET, Argentina), Isabelle Guillaume (Universiy of Bordeaux Montagne, France), Olivia Hicks (University of Dundee, Scotland), Ganiyu A. Jimoh (University of Lagos, Nigeria), Kenan Koçak (Bilecik Şeyh Edebali…

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Painting of Cleveland Lighted Bridge Published as Cover

Hi all. One of my favorite paintings appears this month on the cover of an eminent literary magazine, the one and only Crack the SpineThe issue features fine work by Amanda Barusch, Wendy J. Fox, Samantha Guss, Robert Marshall, Kristen McQuinn, Jennifer Met, Mariah Perkins, and more.

crack spine cover.jpg



So happy to have another one of my author portraits published online. This time in a fantastic journal you should get to know called Five on the Fifth.

Check them out.

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Author Portraits in Gravel

No, that’s a depraved wish. It’s a description of a new publication, for which I am most excited and humbly grateful. The good editors over at the online hub for all things artsy and literary, Gravel, have seen fit to showcase details from my author portraits in oil.

In this one William Faulkner listens but fails to hear the lower frequencies–a vague and provoking reference to the ending of Invisible Man–while sitting beside the complaints of that flower, not a rose, chattering Southern glass for attention.

a flower for faulkner

See my author portraits for yourself here at Gravel.

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