Bienvenida a (Welcome to) WHAT IS A GICLéE?

Transcription

Bienvenida a ... (Welcome to) ...
(PRONOUNCED: KOH-SEE-NEH-RROW)
ALL HERE, COPYRIGHT 2008 SUNSHINE IMPERIAL CORPORATION. EACH PAINTING IS SEPARATELY COPYRIGHTED
WHAT IS A GICLéE?
(French, pronounced “zhee-CLAY”)
... is open by special appointment only.
The artist is not guaranteed to be personally
present. A full color, printed, laminated docent
is on the well-appointed premises for silent
reading by single visitors or aloud to small
groups by one of their members.
“Regular” sofa, fainting couch and rocker
seating capacity is eight. Six more may be
accommodated at the meeting table. Eight
padded folding chairs are readily available.
We suggest children under ten, unless
artistically precocious, be left in care
elsewhere. The floor is ceramic-tiled. A few
may be seated on area rugs.
None of the physical works are for sale.
High quality, hand-numbered, registered (to
the original purchaser) limited edition Giclée
prints countersigned by Cocinero are available
on a custom, special order basis.
Giclée is a modern fine art reproduction
technique far superior to traditional
lithographic methods as to color strength,
durability and resolution of detail.
While more expensive than lithography on
paper, which also has a high fragility level,
giclée prints protect the collector’s investment
because they are more light fast by quantum
breadths and can be done on durable canvas.
For that reason, we do not offer paper prints.
As with all images from printed matter to
fine art, in thick, original oils, ultraviolet
radiation is its arch enemy. That’s why La
Galeria Cocinero is windowed only on its north
end. No direct sunlight enters. Its fluorescent
lighting is distanced from the works and
seldom used. Indirect incandescent lighting
illuminating artworks reduces deterioration,
allowing them to remain brilliant indefinitely.
About Cocinero’s works...
The detail at the left is from a giclée printed
on canvas. See the peas and beets?
The detail at the right was taken from an
archival -grade litho print on smooth paper.
Both were sampled in the same original
size then enlarged 8 power. Is that an
abstraction? Or suckling calf? (Calf.)
Those viewing the paintings in La Galeria Cocinero can readily see that he is
indeed a risk-taker, unafraid of experimentation. He has developed a
technique (DECOCTION) and style (LINEARITY) different from anything he
has seen among art anywhere in his worldwide explorations.
Knowledgeable, much-traveled visitors sincerely volunteer that they prefer
his creations over many of the works they have seen in prestigious museums.
The Purpose of Decoction
Cocinero says: “I take the advice of Doerner both forward and in reverse.
(Referring to: Materials of the Artist and Their Uses With Notes on the Techniques of
the Masters, 1921, Max Doerner. English translation, 1934 by Eugen Neuhaus,
published by Harcourt, Brace & Co.)
“Doerner said that in applying paint, one should use whatever is necessary to
achieve the result desired. It may require a brush with only one tiny hair, or, as
have many, squeezing directly from the tube, swizzling and knifing the paint.
(Because paint was applied to each and all of Cocinero’s works using many different
means, and to avoid irrelevant tedium, the tools used on each painting are not listed in
the individual cataloging.)
“Six hundred years ago, Cennini wrote in his Il Libro del Arte that one can
never grind pigment too fine. The physical science reality, however, is that
when pigment moves in a pestle there is a point at which the tiny particles
cease getting smaller and just roll around as tiny balls. I overcame that by
making them stand still.
“Thus, in laying basic effects and grounds, I apply the paint, wait for it to
dry, then use various means to DECOCT to the unbridled essence, setting that
raw pigment free so it can tweak the eye. A side benefit is that higher clarity
and a more detailed texture appears in the blends that form my backgrounds.
“Decoction and Linearity are not for the casual painter. What I do is neither
spontaneous nor can it be hurried. I see the result both in my mind’s eye and
on the paper layout that I often sketch long before I paint the first drop. Both
require one to think and see ahead. Every work in La Galeria was at least two
years in process. I worked off and on at some for nearly thirty years.
“Leonardo often chose wood panel to paint upon. Wood offers a stability
and durability far exceeding the best cloth media. While more expensive and
much heavier, wood is the choice for lasting works guarded from the effects of
time. The Mona Lisa is on joined poplar. If wood was good enough for
Leonardo, it’s certainly good enough for me.”
Self-description
“I call my art hyper-realism. Unlike pure
abstractions, especially those in which the artist him- or herself saw so little it
was left untitled, I choose a name that hints to viewers what I was trying to
convey but leaves room for imagination and speculation to run rampant. The
same is true even when elements leave little doubt, as in the painting below.
Often my backgrounds say as much or more than the central subject(s). The
key is to focus on one small segment at a time ... then imagine!”
(The originals of all presented in this cyber-tour are painted on wood panel.)
The Works... (bearing in mind, photos never approach the vibrance or detail of originals)
CATALOG #: E-1-ND1215
NIGHT AND DAY DREAMS
(SUENOS DE LA NOCHE Y EL DIA)
Begun 1972, finished 2000,
12 inches by 15.25 inches, oils.
This art is © 2003 Sunshine Imperial Corporation
Transparent pink diaphanous femmes
bearing abstract countenances are laid over
a smoothly decocted background holding
images that seem (and some are) inlaid.
A metallic bronze-faced near-pubescent
girl – adolescent with silver countenance
— adult woman who has achieved the gold.
Unstoppable life-milestones in-motion.
Behind and through them are
predominately green earth and blue skywater. Time-standing-still environs. Finer
details in the background tell us her life
story. Can you see her hopes, fears,
ambitions, failures and triumphs lying,
laughing and lurking there in distorted
creatures, figures and faces?
Sit several feet back from each painting and stare it. Look for faces — things — forms.
Try that with your eyes slightly out of focus for a moment, then focus.
CATALOG #: E-2-RE2424
REMEMBRANCE (RECUERDO)
Begun 1972, finished 2000
24 inches by 24 inches, oils, India ink.
(Black detail in the illumination and text
are India ink)
The oldest of Cocinero’s known
surviving paper sketches is one
penciled for this painting, dated
1971. It was recently found among
some photos in a folder.
Remembrance is the only of his
limners (art illustration containing
prose or verse) using words not
Cocinero’s original writing.
The finger is touching the dried
rose tenderly. Being stored in a
Bible, the flower obviously has
great value to she or he who is
touching it and has not forgotten.
Who gave the flower? Was the
reminiscing one, donor or recipient?
What was the occasion? Or was
there even a special one?
More next page ...
CATALOG #: E-3-EP1316
EPIPHANY
(VIDA REVELADA)
13 inches by 16 inches, oils.
In Epiphany, we see another femme,
solidly on green earth. Is the girlwoman receiving something from a
masculine father-figure? Her bodylanguage and subordinate positioning
say “submission” but two hands
touching the huge finger suggest she
may be imparting something to him.
Is he an angel, wings on his back? Or
is that a bird, talons embedded, which
flies him places he does or does not
wish to go? What can it be that is
passing between these two? And who
are all those people... those human
and not-so-human forms and faces
suspended above and around them?
Souls in heaven? The anguished in
hell? Those in limbo awaiting
reincarnation? Images that torment
her psychotic mind? Or his?
More next page ...
CATALOG #: E-4-MU1317
MUSINGS
(PENSAMIENTOS)
Began 1986, finished 2001,
Another transparent
woman, she in cobalt blue
with light opaque blue
detail. A color suggesting
melancholy ... in this case
from about the third
definition in dictionary
listings. Has she finally,
willingly or not, yielded
herself to herself so that all
she thought and hoped she
was, she now is?
Surrounded by those
images, light and dark,
levitated from what she has
seen and where she has
been, what would she say to
us if she raised her head,
looked straight at us and
spoke?
More next page ...
CATALOG #:
E-5-LO1410
LOVES-MENOT-LOVESME
(NO-ME-QUIERE
-ME-QUIERE)
Begun 1994,
finished 2004
14.5 by 10.75
inches, oils.
This art is © 2004
Sunshine Imperial Corp.
(The gray gallery wall and
suspension wire are
cropped from
reproductions. The
corners are squared,
filled with black to match
the border.)
The background for this painting was Cocinero’s first experiment toward what he calls “beyond Pollock”
wherein much of the background application was done by pouring directly onto the panel from various sorts
of containers.
Cocinero speaks: “I admire Pollock’s work. No doubt he read Doerner too — do what you have to do to
please yourself and say what you must say. The symmetry and grace that arises out of his chaotic dripping
and stringing of paint is captivating.
“A colleague in commercial art once asked me what I thought of an illustration he was working on. I don’t
know if what popped into my head was original, but I told him, ‘The mark of a professional is knowing when
to quit.’
“Pollock had every right to declare his work ‘done’ the instant he believed it to be so. When I see some of
his produce, cretin that I am, I long to finish the work by, dead center, silhouetting an exotic Flamenco
dancer flaunting her grace or a Toreador executing the final coup de grace. Then, to me, the action of the
background and the central figure complement each other to make a whole.
“But then, maybe he intended for each of us to superimpose our own mental image? ”
Beyond Pollock is achieved when the dried paint is decocted. The photograph does not begin to capture the
depth and translucence of the original. This piece was the first step in planning for Cocinero’s Homage to
Challenger and Columbia and for Someone Please Push Restart ... (qv both below). The object was to
suspend the central theme before the celestial red-shift, capturing a moment in space and time.
The detail was formed by applying segments of the floral studies for his Daisy Field (qv) detail with
addition of the male and female flower-stem-pole dancers to the daisy stems.
Is seeking love like a dance around a pole? Must one climb tree after tree?
CATALOG #: E-6-LU1612
LUNAR RETROSPECTIVES
(RETROSPECTIVAS LUNARES)
The moon is often connected with love, romance, tender feelings, the exotic, erotic.
Being in a solitary setting while admiring a full moon, we may recall times, places and
people in our lives. Often those images have been pushed into recesses of our memory
because that’s where we want them to be. But they’re always ready to pop into our
conscious awareness when the right circumstance buttons are pushed.
Remembering brings us pleasure. Melancholia. Even depression and pain.
This is probably not her first time to face the images that lurk. She has met them in the
past on their terms. Perhaps she decided this time she will look at them from a different
vantage, challenging the bluish specters that seem to mock, the smiling brown woman
and that dominant moon distorted — pre-empted by other things between she and it.
CATALOG #:
E-8-BL1115
BLUE ISLAND CASTAWAY
(PERDIDA EN LA ISLA AZUL)
Begun 1997,
finished 2004
11.9 by 15.9 inches, oils.
Lost on the tiny island of isolation that is
life, trapped (or freed) by her thoughts ...
has she transcended her plight? Frozen
herself in a stoic state of despair? Or is she
reaching for a thread of hope?
(The gray gallery wall and suspension wire are cropped from
reproductions.)
More next page ...
CATALOG #: GL4248
GLOBAL OVERWARMING
(PLANETA ACALORADO)
1995-1999
(SERIAL, Roman I.)
42 inches by 48 inches
Oils
“Pointillism” is a painting
technique used by many
impressionists - painting points or
dots to form an image similar to the
illusion formed by tiny varioussized dots in color lithography. In
lithography the dots are formed by
a photo-mechanical process from
an existing image.
The dots meticulously applied by
the painter one-at-a-time, when
viewed close-up, are seen only as a
meaningless blur of color. The
same effect can be seen when
viewing process lithography with a
magnifier.
But at an appropriate distance such images become palpable to the viewer in one measure or
another. Cocinero seeks to create images that have substance at every viewing distance.
The pointillistic foundation for Global Overwarming is obvious. Thousands upon thousands of
interlocking and overlapping points of yellows and white, were laid as a background. Maroon,
orange and muted greens were spotted into the terrestrial foreground then all were decocted to form a
cohesive representation of innumerable plants and animals returned to an overheated earth or
vaporized into an atmosphere which will not support life as we have known it.
In the foreground we see something in shades of gray, within a simple black linearity. Is it the
charred remains of the last thing once alive? Or a mutated plant trying to take root, survive and even
prosper in a field of amaranths?
On the horizon we see the sun (Is it setting or is it rising?) laid in transparent maroon over a sky
yellowed by polluted air. The sun with aurora dovetailed along its reflected self on the horizon
suggests it can do just fine without the earth but not the other way around.
In the upper left corner, is that an iris diaphragm such as in a camera lens? Is it mechanically
closing on the last bit of blue sky? Or is it beginning to open? Is there hope?
CATALOG #: DU3248
THE DUCHESS OF ALBANY
(LA PINCHADA) ( SERIAL, Roman II.)
1997-1999
32.5 inches by 48 inches. Oils
The blue, white and red before
which the Duchess stands, besides
being oblique, is a bit tattered and
soiled. Her home, a three-story
town mansion, obviously dates
from the American Colonial
period. Or perhaps it is a fauxaged, stressed replica? A mobile
home? Why the silvered wheels
decorated with the logotypes of
Cadillac and Lincoln, two old-line
symbols of opulent excess ... or in
some quarters, poor taste?
Her hair tells us something.
Her arms dangle protectively
guarding part of her, while her
chest is emblazoned with a gold
eagle. The symbol of America?
But this one is more similar to the
one minted on the coins of
Germany’s fascist Third Reich.
Her form is defined by a
continuous green linearity which
begins and ends at the point of her
reason for existence. Why is the
essence of her being outlined in
green... the color of money?
More next page ...
CATALOG #: AN2348
ANASTASIA AND BETTY
(LAS HERMANAS FORY)
1999-2000
23 inches by 48 inches. Oils.
(SERIAL, Roman III.)
Isabelita (Mrs. Cocinero) was the inspiration and
model for this painting. Isabelita translates in
English to “Betty.”
She left her roots and family to marry and live
with her husband in a new land where she (then)
spoke little of the language and its culture was
quite unfamiliar.
Anastasia was super-adept in her family home,
country, and job there — but that confidence
became hesitancy and uncertainty in a new land —
an experience of many who immigrate or simply
travel to another place where they understand little
or nothing of what is said to them and constantly
worry about committing social blunders.
Cocinero says:
“Anastasia and Betty are both fine people,
hatching from the same egg. Joined at the hip and
intertwined in other ways as evidenced by their
lavender linearity and corporeal transparency. Both
are sultry, but standing straight. Both seem a bit
bewildered but the alter-ego Anastasia much less
so than Betty. That’s them. No deception or
agenda. There’s more if you study closely.
“This one of the most photogenic of my paintings
in that nearly all details are visible in this tiny
reproduction. So too for Full Metal Jacket. Maybe
it’s the dominant blues? Or maybe its just the
subject, with her unabashed honesty?”
More next page ...
CATALOG #:
FU3349
FULL METAL JACKET
(BOLA MILITARIO)
(SERIAL, Roman IV.)
1998-2001
32 inches by 48 inches. Oils,
glass smalts and collage papier.
(The mirror-image gold metallics and ring setting have been
smalted to gather light. The reversed hundred-dollar bill and
two U.S. double eagle gold piece pasties are clay-coated,
varnished collage.)
Under the rules of “modern” warfare it is fine
for opposing forces to drop napalm (jellied
gasoline), high explosives that kill everything
within several city blocks by concussion (jellied
brains) and which throw millions of pieces of
super-hard spent nuclear waste to jellify bodies.
It is perfectly legal to plant land mines which
blow off legs, reproductive organs, eviscerate and
blind — use flame throwers to maim and
incinerate.
Good soldiers fire rockets, mortars and artillery
shells to kill by shock wave and shred with sharp
chunks of metal. At closer range, propelled
grenades or those thrown by hand do the same. An
exploding fragmentation (anti-personnel) grenade
sends 47 chunks of about half-inch square, hot,
jagged-edged, cast iron in all directions.
Every hellish way the most devious human mind
can devise to kill and maim has been used against other combatants and purposely on innocents unlucky
enough to be within range..
Yet, the Geneva Convention on the conduct of war prescribes that bullets fired at each other by individual
soldiers must have an outer jacket which prevents the bullet from “mushrooming”or breaking into fragments
inside the body. The idea behind this “full metal jacket” is that gunshot wounds will be “cleaner” if a bone or
vital organ is struck. So they have made this “humane” gesture among all those things designed to rend flesh.
If a vital spot is struck by any of those things, a person just as dead.
So it is with a broken heart. Killed by words or a jacketed bullet ... broken is broken, dead is dead.
As with snipers, some break hearts one-at-a-time with “clean” but fatal wounds.
In Full Metal Jacket the subject is the color of a lead bullet inside a “humane” copper casing linearity. She
looks at herself in the mirror, one hesitant eye tentatively sneaking a peek at herself as she sees her.
Judge the contents of her right hand and the ring on her left against what she sees in the mirror. Does she
know we have seen her foibles? The warm-colored but cold, metallic jacket does not hide all from her or us.
From which end does the colorful band of sweet words and promises emanate?
CATALOG #: OP3450
OPPOSING COUNSEL
(ABOGADO OPUESTO)
(SERIAL, Roman V.)
2000-2001
Oils
This painting was begun from a linearity sketch
of the main character done by Cocinero sometime
in the 1970's. The continuing line, not crossing
itself, that forms the head, was laid onto the
contrasting textured background which contains
tiny decocted shades of yellow and white. Then it
was filled with red, light blue (shaded, jaded
sounds from the mouth) and tones of grey
(compromised philosophically ethical precepts).
The lightening-bolt-phallic-symbol necktie hiding
a striking serpent, six legs and other characteristic
details were added.
Note the counselor is standing on a street
seemingly paved with gold, but hidden behind
him rising from and blocking most of the street is
a purple double-cross.
His tie is decorated with a fish-net stockinged, be-horned woman
bearing a fiendish, mocking grin. Her tail transmogrifies into the handle
of a sword she has used to sever and discard one side of the scale of
justice. The missing side has disappeared completely.
Lipstick-smeared “Lady Justice,” standing on two blue balls, mocks a
system that sometimes kills the innocent, sets the guilty free, imprisons a
petty thief for decades and slaps the wrist of those few business and
corporate robbers of billions who are ever called to task, much less tried.
More next page ...
CATALOG #:
SU2248
SUNFLOWERS FEEDING
(GIRASOLES COMIENDO)
(SERIAL, Roman VI.)
1995-2001
At the right is a massproduced lithograph of one
of Vincent van Gogh’s
numerous sunflower
paintings. It was acquired by
Cocinero in the 1960's. He
fashioned the frame from
Douglas fir. The millwork is
his one-of-a-kind creation.
He mounted the print on
plywood and varnished it.
It was the inspiration and model for Sunflowers Feeding.
This type of painting is called a “pastiche” because it
satirizes the work of another artist.
It is Cocinero’s comment on the body of work by
impressionist Vincent van Gogh (1853-1890) and his
critique of what he strongly suspects was an unabashed
publicity stunt.
In this painting, using his own style and techniques,
Cocinero has fashioned sunflowers, a frequent van Gogh
theme. However, the flower pot rests in an oversized
severed ear from which darkened blood flows upward in
linearity and “fertilizes” the flowers, symbolic of a fame he
believes van Gogh at least in part devised.
Tilting one’s head left then to the right, profile
caricatures of a Neanderthal and van Gogh can be
seen in the jagged points of severance. The
pastiche is signed on the same prominent area of
the flower pot but instead of “Vincent” is signed
“Viliaco” (Spanish for “scoundrel.”)
Cocinero speaks: “During his lifetime, although his
brother was a successful Parisian art dealer and his financial supporter (van Gogh did not work at a
paying job), only one of Vincent’s over 800 paintings sold. On the other hand, his friend and longtime
house mate Gauguin achieved acclaim, his work much in demand.
“To me Gauguin was certainly far and away the better craftsman. His subject choices were more
interesting, many exotic, dramatic. The difference was not lost on art buyers of the time. That
assuredly did not fly over the head of van Gogh, who mostly painted bland landscapes and still life.
He is bound to have felt some anxiety and envy because, although his paintings were offered, no one
was interested.
Portraits of a local brothel-keeper-madam done by both at about the same time are an apples-apples
comparison that sell me on who was indeed the far and away superior craftsman with a brush. That
Van Gogh finished his in a few hours — Gauguin spent days, speaks not to the talent or genius of van
Gogh but rather his laziness. The side-by-side results shout “master” and “dauber.”.
“The tale which later made van Gogh, and thus his paintings famous — about mutilating his ear out
of rejected love for a prostitute, seems likely to have been a blatant publicity stunt.
“During my ‘day job’ as an investigator for twenty years, something within me evolved a knack for
sorting out truth, fibs and lies. Recent occupants of the oval office set off my bells and whistles long
before they took the seat. I learned to especially be suspicious when there are motive, no proof of
events alleged by the sole witness, inconsistencies and excess drama in the telling of it.
“I read a newspaper story about the beating death of a local fundamentalist minister’s wife at the
hand of an ‘intruder’ using a piece of firewood. The man said he went out briefly to buy groceries then
returned to find her body in the remote state park cabin they had rented, off-season.. He alleged a prior
bungled attempt had been made on their lives involving a propane tank at their home. Her purse was
untouched. No signs of forced entry or sexual assault. I turned to my friend and told her the minister
was the killer ... and stupid. Three discrediting elements were clearly present. A motive would be
along. He was later arrested, convicted, life without parole, appeals denied. Factor four — motive —
her recently purchased huge life insurance policy to spend on his alleged homosexual lover. He did
not know that insurance companies spend heavily to “break” such claims, their investigators working
with the authorities, such as I did. Often, people who want nothing to do with police will tell all to a
seeker of “just the truth.”
“Van Gogh’s motive? ... desperate need for recognition.
“A raft of van Gogh ear-story inconsistencies abound. There have always been questions about the
extent or even existence of a mutilation. All agree he did not sever his ear. I painted it as severed for
effect. That’s much more dramatic. Since I painted it as satire, I’m on solid ground ethically. The
point is, I exaggerated. Did he? Was his cut, if there was one, merely a shaving nick?
“Photography was common during all van Gohh’s adult life, yet no known photo was taken of this
mutilated ear nor him afterward.
“Aside from being a boozer ... some say drug addict ... others that he was near insane from a brain
deteriorating venereal infection ... who except a brazen publicity-seeker would claim to have done
such a stupid thing as mutilate his ear to win the love of a woman he could buy and had bought? There
is zero history of any women in his life except prostitutes. Who else could he, even fictionally,
idolize? Why should she marry him, a jobless addict and failed artist? To help support him?
“That’s not to say prostitutes are unworthy of love. But even in France, in those times, disfiguring
oneself to win such a woman’s heart would be a notoriously imbecilic thing to do. An act which, in
the land of amor, would be newsworthy, bringing derisive publicity should the story get out.
“So, did van Gogh sheepishly lock his door and refuse interviews?
“No. He immediately did a self-portrait NOT showing the mutilated ear ... nor a hole where it had
been ... nor even a small ear-sized patch ... but rather, with a huge, prominent, attention-getting wraparound bandaged head. A dramatic bandage that dominates the painting far more than the mere
caricature of his rather homely self. The drama his other paintings lacked is there. So is mystery.
“Indeed, there is too much drama there — not enough evidence.
“Some seek fame in one way ... when they don’t get it, they try another and another. It is thrust
upon others. The subject of fame is explored further in my painting Judy’s Bootie (qv).
“To me, van Gogh was the Vegas show club magician of 19th century art. The flamboyant bandage
around his head was a flaming, attention-getting hoop that distracted from his actual sleight of hand.
“Time, innovation and his death would no doubt have put his work in demand, but some people are
impatient.”
CATALOG #: IM2331
IMP
(DIABLILLA)
(SERIAL, Roman VII.)
2002-2003
23.75 inches by 31.75 inches. Oils.
Is she a gilded object of fantasy?
After all, she is seated on a giant
toadstool above two lucky shamrocks. Why
two? Isn’t one enough?
Is she the “pot of gold” at the end of the
rainbow? If so, why are the colors of the
rainbow inverted? (In nature, red appears
on top, violet on the bottom.) Perhaps
she’s the source of the rainbow, drawing
dim light from the left horizon, passing it
through her inner “lens,” focusing,
inverting, then emitting stronger colors?
Why are her eyes rolled upward?
Seeking divine guidance... in
wonderment... tired of exasperating
tedium?
Perhaps the model and the artist know.
More next page ...
CATALOG #:
AD2525
THE ADVOCATES
(LOS ABOGADOS)
2001-2003
(SERIAL, Roman IX.)
Cocinero says: “When people respect the viewpoint of others, and
recognize their feelings as being important too, grounds are laid for them to
get along. They may have many positions on opposite ends of the viewpoint
spectrum yet, those differences can compliment each other, creating strength.
“On the other hand, if all they want to do is rant, rave, and insist the other
person is totally wrong — must be remolded in the other’s image, no
armistice can be achieved. Only a resentful stalemate.
“When naming this, several ideas involving ‘trivia’ and ‘toilet seat’ crossed
my mind. But they would divert attention from what I’m really trying to ask.
Instead, I decided to be facetious. I wonder, what with all the war, famine,
disease, ignorance and injustice in the world, why some people devote so
much time and energy to silly arguments over unimportant things?”
The left painting is offered as a reproduction, the right is not.
This photo is of the two paintings as they hang in La Galeria.
The Advocates is presented here as a pair of paintings to demonstrate
resulting characteristics of the decoction technique and illustrate that albeit
some differences in details occur, reasonably similar overall images are
obtained and generally repeatable.
The same background colors were applied in the same sequence at the same
time, using the same layout, but no attempt was made to apply the paint
matching the two paintings stroke-for-stroke. Nor was precisely the same
quantity of paint applied to each.
Yet, upon first decoction, stippled basic backgrounds in the shades of gray
were revealed to have about the same overall tonality.
All the groupings of red, whether from painting-to-painting or separately
within the same painting, formed credible “brick” impressions. The bright and
tarnished copper metallic that completes the “boxing in” of the subjects has
the same effect in both paintings.
While not the same in fine detail, the background and surrounding area, for
all reasonable intent and purpose, give the same impression in both .
The transparent blue and pink forming the basic silhouettes of the subject
characters are laid two shades darker in the left painting than the right. The
difference seems more noticeable in the pink than the blue from painting-topainting probably for the same (common illusion) reason “she” appears taller
and larger than “he” when in fact, they are precisely the same height and
volume.
CATALOG #: JU 4451
JUDY’S BOOTIE
(LA DERRIERE DE
JUDITH)
1995-2003
Oils
(SERIAL, Roman XXXVI.)
This art is © 2003 Sunshine Imperial
Corporation
Another limner, all the words
and music for Judy’s Bootie will
be found from the Home Page of
this site by clicking on TWO FIVE
then going to the Roman
Numbered page xv.
The song is “performed” by
inmate Alex on pages 234-35 of
Two Five.
Most souls on this planet never seek nor find fame.
Some people seek fame yet it eludes them.
Others try to avoid fame at all costs but it (or infamy) comes anyway
Often fame is thrust upon someone simply because of money. Money won,
inherited, earned, stolen. Money forsaken, refused, ignored, deplored or given
away.
Many have been in the right or wrong place, under circumstances that drew
attention to them. A previously unknown person who does things with or to a
famous one may acquire fame equal to or even more their host-victim.
Serial killers, mad dictators, sadists, perverts, unethical politicians become
famous. Sometimes those who merely tell the stories of them achieve celebrity.
Many have fame thrust upon them because of who their parents were. Queen
this. Princess that. Superstar or politician’s child. Some because they are
attractive or have particular talents or both.
Unfortunately, fame frequently makes folks a flashing neon prey for exploiters,
con artists, hangers-on, stalkers and obsessive-compulsive types who will do
anything for their ear or attention.
So here we have Judy, made famous by her bootie.
Have people become famous for sillier reasons?
Judy was, by good or bad luck, fate, gene combination, grace of God, pact with
the devil ... or something, bestowed with a backside each globe of which
possesses the same form as one of the most beautifully symmetrical things in
nature ... the bird egg.
When she walks, it moves alternately up and down like the pistons of a twocylinder engine.
This bootie transcends being just a body part and becomes a thing of intense
admiration to connoisseurs of form, feminine or not, as well as those of nature
and fine machines. It is a beautiful object that has inspired poetry (its verse), art
(see above) and music (From the home page, click on TWO FIVE then go to page
xv.)
How many times have people made asses of themselves over something less
trivial than an ass?
Why is Judy so admired by some yet hated by others when she simply walks
down the street? Why do people she doesn’t even know believe that her
possessing attributes admirable to others gives them license to attack her? Why
such emotion from those represented in the painting as small, less-detailed
“everypersons?”
What other destructive human emotions are evoked in some because of the
physical characteristics with which another person was born?
And who “busted” Mr. touchy-feely dude’s head?
Was it Judy, who can take care of herself? Or daddy?
Is “daddy” her father? Or boyfriend? Or husband?
Or all three, each her protector at various times in her life?
“Oh, Judy, Judy, Judy!”
DETAIL
FROM THE
PAINTING:
Mona Lisa,
envious of
Judy, has lost
her smile and
sheds a tiny
blue tear.
TEXT OF DAISY FIELD (limner)
(words & music copyright 1994 S.I.C.)
LEFT
We fell in love in the daisy field. I went
there yesterday.
I sat among the daisies.
Oh! I wept and I prayed.
Mindlessly I pulled half the petals from
a flower.
Then another and another for hours
and hours.
Now our daisy field is half as white as
it was yesterday.
I picked all the “loves me nots” and
threw them away.
RIGHT
Dark clouds visit life’s daisy fields,
bathing them in gloom.
What can heal an injured heart?
Make soul flowers bloom?
Tender feelings will return, borne on
love’s soft rays,
if we’ve picked the “loves me nots”
and thrown them away.
Come let’s pick the “loves me nots”
from mind and heart’s domains.
When we’ve picked the “loves me
nots” love alone remains.
CATALOG #:
DA6048
DAISY FIELD
(EL CAMPO DE MARGARITAS)
1993-2003
60 inches by 48 inches Oils
(SERIAL, Roman XXXIX.)
The Daisy Field limner chronicles her past twentyfour hours as she emerges from the daisy field. She
appears bewildered. Is she emerging from a
transcendent experience? Or just entering one?
What brought her there yesterday?
To restore lost love?
But if love was lost, why was it lost? How?
Perhaps the answer exists somewhere in the
ethereal part of her existence? The part symbolized
by birds which no longer fly because they are dead. The dove of peace with olive
branch in mouth and the albatross who when slain brings bad fortune. Both not just
killed by Cupid, the traditional Roman god of love, his labial bow upraised, but
also, his foot-on-breast of the vanquished, he claims those conquests. Is there a
destructive sort of Cupid within us all? Must love die to be appreciated?
What do storm clouds on the left, blue sky on the right suggest?
CATALOG #: NU5151
THE NUGATORY MAN
(EL HOMBRE DISPONIBLE)
1979-2004 (SERIAL, Roman XVIII.)
48 by 48 inches Oils
DETAIL: AN AFFLUENT PENTHOUSE PAIR TOASTS OVER A WORLD GLOBE
LOGO (SAME AS ON THE COGGED MACHINE AT THE PAINTING’S BOTTOM)
WHILE IT GRINDS UP WORKERS FROM THEIR MINES AND FACTORIES THAT
CONTINUE TO DESPOIL AND SPEW CRUD. THEIR PIPELINE OF MORE MONEY
THAN THEY CAN EVER SPEND CONTINUES BEING BALED INTO THE HOARD.
PINK SLIPS ARE IN THE WORKER’S POCKETS. LIGHTS OFF REPRESENT
CASUALTIES AMONG THE MIDDLE CLASS. ARE THEY BLIND TO IT ALL? OR JUST
CLOSING THEIR EYES TO IT ALL?
Cocinero: “In personal hindsight self-criticism, this painting at first sight
appears to sketch a busy plan for a Rube Goldberg contrivance. On the other
hand, complicated, interwoven human relations matters can’t be clearly
expressed by simple equations and minimalist geometry.
“Nugatory is a rather obscure word meaning, ‘of no practical value.’
“How does someone feel who gave their heart and mind to their job —
were told every day, but their last, how valuable and useful their services are
— how bright their future on that “team”?
“Mister Nugatory Everyman is not old enough for a pension. He has too
many assets to be eligible for government medical care. The job market is
flat.
“What person with eyes open has not seen the empty bag many receive
for years and years of dedicated service and hard, even dangerous and
health-damaging work for an employer?
“Who, not lobotomized by paid propaganda, cannot see the long-term
legacy traded for a few short-term jobs along with huge company profits for
its absentee shareholders?
“What person with ears has not heard the phrase, ‘We must consider our
investors!’ when people’s jobs are eliminated or outsourced. Who has not
read of executives praised and awarded millions in bonuses for downsizing
people into jobless despair?
“What ‘nugatory’ person would not feel the same heartbreak as a perhaps
jilted lover or someone a victim of infidelity?
“Who are the REAL nugatory men and women? Those who grow or
extract things from the earth and sea then make them into things useful and
necessary to all of us?
“Or those who neither sow nor reap, but simply manipulate people,
politicians and our planet so they may live in leisure and luxury far from the
messes their companies make then abandon?
“Wall Street analysts and business publications salute those who know
little and care less about the people they burn out and use up while stealing
the value of their pension contributions then congratulating each other for
their business skills, the only measure of which is dollars profit on a piece of
paper at year-end.
How much is enough?
When is enough?
Had enough?
More next page ...
CATALOG#: LE5252
LE MUSÉE
DE FAUX ARTÉ
(EL MUSEO DE LOS
ENGAÑADORES)
(SERIAL, Roman XIX.)
1989-2004
48 by 48 inches, Oils
DETAIL
FROM
IMMEDIATELY
ABOVE
Le Musée is Cocinero’s satirical look at the taste of some art critics,
exhibit jurors and grant awarders. It is also his outspoken personal statement
about people who take government grants for the arts with their hands while
their mouths spew platitudes about “artistic independence” and “honesty.”
Cocinero: “I’m a taxpayer ... have been since I was fifteen. I never took a
dime from the government except my pay when I was in the Army. Never
drew one cent of unemployment. As a commercial artist at my “day job” I
usually received a flat sum for the commission. There were times when,
underestimating how long something would take, I worked for twenty cents
an hour. Fortunately, other times I did much better.
“As a boy on a farm I cut and piled underbrush for nothing more than
parental support and sweat-gland evacuation. So you can understand my
resentment when I see someone get a ten-thousand tax dollar grant to spend
a few hours piling some tree trimmings in a museum courtyard and call it a
‘construction.’ That actually happened.
“I’m the last person in the world who is going to presume to define ‘art,’
much less place a monetary value on a particular piece not owned by me.
Nor do I care if all the world’s multi-billionaires give their last dime to see
someone make a scatological deposit on their private property thrice daily,
calling it ‘art.’
“But I do have the right to protest being, through my tax dollars, the
involuntary patron of someone’s patently exploitative lame idea assemblage
of waste matter or eliminatory performance.
“This painting is a graphic part of that protest.
“Write your congressperson.”
More next page ...
CATALOG #: SO5353
SOMEBODY PLEASE
PUSH RESTART!
(POR FAVOR A VOLVERLO ENCENDER)
(SERIAL, Roman XXXVII.)
1994-2004, 48 by 48 inches
Oils
Corporation
Two twentiethcentury artists
Cocinero calls
his “pre-butnearly
contemporaries”
contributed to
this work ...
His “beyond (Jackson) Pollock” experiment was discussed on page 7.
The short-on-craftsmanship but large-testicled self-promoter Andy
Warhol’s “Everyone gets fifteen minutes of fame.” is now universally
cliché.
Cocinero’s “FAMETIMER” invention was inspired by that comment.
The device shown counts from zero up, timing the fame allotment.
Cocinero: “Seeing the pencil sketch of this painting’s central theme,
Isabelita said of the final decocted background, which had been drying for
two years since receiving its last drop of paint, ‘That’s too pretty to ruin by
putting him on it.’
“I had many second thoughts about painting him at all, even in irony,
which is one of my passions. All my other subjects have been people I
know from very well to extremely well, so there was a direct emotional
involvement. Although I’ve never met this fellow or even seen him in
person, there’s something about him that somehow stirs strong mixed
emotions in me.
“Have you ever seen one of those comic postcards that used to be in
souvenir shops everywhere? They may have quit printing them in the
1960s ... the one showing a sad-looking guy inside a toilet, only his head
and shoulders exposed, one arm at his side. The other is reaching up,
operating the flush handle. His comment in a balloon is, ‘Goodbye cruel
world.’
“Well, it’s no accident that our friend in the hourglass suction is posed
the same way as the guy in the toilet, but shining a spotlight on himself
with his free hand. In many ways, the world has not been cruel to this
person who keeps flushing himself toward infamy.
“If he stood up and spoke up for good things that would make the world
better, his words would be broadcast and translated everywhere. He has
made enough money to do great works with pocket change. But his life has
largely centered on super-extravagant self-indulgence while wringing his
hands to the public, alleging maltreatment and victimization by others.
“Certainly, he’s been the butt of enough talk show host jokes, perpetuated
because he keeps doing straight-man things to himself that beg for a punch
line.
“Historically, every time it seems he reached his “fifteen minutes” mark
... is not seen nor heard of for a while ... some new scandal put him back on
the front page of newspapers and dominating television “news.”
“I guess this painting is another of those Jay Leno punch lines.
“I’ve been tempted at times to burn the painting but its background is one
of my first full-scale, ‘beyond Pollock’ efforts, and, like Isabelita, I relish
the tempestuous but balanced liquid motion in that part of it.
“Did someone push RESTART and trip the clock to fifteen? Time’s up!
“Or does that hundredth of a second still remain, waiting for “someone”
(maybe he, himself) to push it?”
More next page ...
CATALOG #: WA5454
WATCHING MY FLOATERS
DANCE ON THE CEILING
OF A MOTEL 2
(MIRANDO LAS FANTASMAS AL
FRENTE DE MIS OJOS
BAILANDO EN EL CIELO DE UN
HOTEL BARATO)
(SERIAL, Roman XXXVIII.)
1995-2004
48 inches by 48 inches. Oils
This painting is suspended from
its four corners below the ceiling
of LaGaleria, about twelve feet
up, mounted facing the floor. The
viewer must look straight up, as if
looking at any ceiling.
Cocinero: “What a horribly long title, but perfectly descriptive of time I’ve
spent in budget-priced rooms. I wanted it to capture a glimpse of those long
hours wasted in all-look-alike similar dumps killing time before, after and
sometimes during the real reason for my being there.
“There are several permanent scars on the surface of my eyes which I can
see if I focus a “thousand-yard-stare” on a white ceiling then shift them
around. Some worm-like ones were first noticed when
I was a near-adolescent, in a boy-and-his-shepherd-dog scene, lying on my
back on a grassy mountain hillside watching the blue sky and smattering of
billowy clouds. (See Towser dog in my autobio on this site.)
“A rust-colored, particularly complicated floater has been present since I
had to have a chip of flying steel surgically removed from my right eye in
the late eightties.
“At a meeting in Chicago a few years back, some fellow Guild members
were discussing the future of artists this day and time. My argument was that
no camera or however ‘creative’ computer program can capture what I
conjure in my imagination nor the way I see things with my own eyes and
interpret in my mind’s-own way.
“Go into a room like the one depicted, lie down on your back and see what
everyone who has been there before and who comes afterward has seen —
on the surface.
“You can photograph the ceiling or one like it. Build a set. Make your own
artificial ceiling model ... pose or overlay a dusty ventilation duct with a
video camera in it and a smoke alarm from which the battery has been
stolen. There you have the basic layout of this painting.
“If we both have seen the Grand Canyon from the same spot then I paint it,
you can look at my product and agree it makes a cogent representation or it
doesn’t. I can assess your painting, photograph or computer-generated
facsimile from an equally informed perspective.
“But only my eyes can see my floaters just as only yours can see yours.
My mind alone can capture them and present them as I see them.
“Thus it is with anything else that I or any other artist brings forth so that
others may see it too. You have to trust me that I have shown you what I see
that you can never see unless I show it to you.
“I’ve snapped photos of places millions have visited. So I feel no
motivation to expend precious time and energy painting the photographable
with ‘realism’ in this age of stark photographic reality.
“I may use landscapes I have seen as an inspiration for a background in
my own style. I like to look beyond the complexities of trying to capture
exactly what everyone else can see, which is futile. Instead, I seek the
complications among simplicities I see.
“I have spent hours painting realistic metal coins, hundred-dollar bills and
all sorts of things for advertising art. I think I still have examples. Today, a
computer can scan the elemental subjects, assemble and print them in
minutes. That’s why I chose to do the ancillary, realistic but mirrored
mundane money in Full Metal Jacket as my one and only, to this point, bit
of collagé.
“Watching My Floaters Dance On the Ceiling Of A Motel 2 is a gauntletcast-upon-the-ground to those who believe ‘art from the imagination is
obsolete’ — that everyone is supposed to see everything just as they do.
“Certainly there are those who may doubt I painted my floaters just as
they appear. Did I take artistic license? If I did, its my perfect right to do so
and yours to like it or not.
More next page ...
CATALOG #: HO6149
HOMAGE TO
CHALLENGER AND
COLUMBIA
(HOMENAJE A
CHALLENGER Y
COLUMBIA)
(SERIAL, Roman XL.)
1997-2004
Oils
Corporation
Cocinero: “In this more ambitious ‘beyond Pollock’ background, I seek to
capture the dark recesses of space and red shift that signals its continuing
expansion. I’m trying to grab the motion, infinite vastness and for practical
purposes, timelessness through lines and streams of color which I have gone
on to decoct, forming a fluidic, refined background detail.
“Originally begun as a tribute to Challenger, Columbia was added to the
title after its loss.
“The object here is to honor and commemorate without being maudlin.
People who travel to new frontiers know there is high risk, yet they go.
Some are lost, still, others follow.
“‘New frontiers?’ some might wonder. ‘The space age began in 1957 with
the Russian launch of Sputnik! Fifty years is antiquity!’
“The Americas were ‘discovered’ in 1492. By 1542 most of South and
Central America had been pillaged and colonized by the Spanish and
Portuguese. It was not until 1607, 115 years afterward, that the English
established a permanent settlement and exploitation of the northern continent
began in earnest.
“I grew up in a time when space ships were the subject of fantasy comic
books and ‘B’ movies. Ray Bradbury was one of my writer-heroes. The
artists at EC comics were my ideals. Most people scoffed then at the idea of
leaving earth’s boundaries. But seven years after Sputnik, space travel made
its prime time television debut with Star Trek.
Minds began to change.
“When President Kennedy made his famous speech promising to put
people on the moon during the decade of the sixties, I felt chill bumps.
“Only once, in 1969, has humankind ventured beyond Earth’s
gravitational pull.
“For viewer cognizance, I’ve taken license with proportions. It crossed my
mind and conscience to make the shuttle a tiny speck. Maybe its my years of
doing advertising art that influenced the final decision — make the work
viewer friendly. Don’t force them have to hunt and squint to find the title
subject.
“The first true multi-voyage space ship, a shuttle craft in orbit is
proportionally less than one atom on one grain of sand from all on the
world’s beaches. So any space ship that can be seen with the human eye
would be disproportionate.
“I’ve laid the relatively tiny spaceship simplistically, afore of and high in a
vast spatial expanse leaving a spectral trail behind it.
“I’m trying to respectfully suggest both of the unfortunate shuttle craft
encountered a ‘bump’ in their paths. An involuntary hesitancy from which
they went on to immortality in a place ‘beyond.’
“As will others.”
More next page ...
CATALOG #: PA3224
THE PANSIES AND
PERIWINKLES OF
PERINEUM
aka
MARGIE’S TATTOO
LOS PEN SIAMIENTOS
Y PERVINCAS DE
PERINEO
tambien conocido como
LA TATUAJE DE
MARGIE
(SERIAL, Roman XXV.)
2003-2005
Oils
Corporation
This is the only painting in La Galeria done subsidiary to something else.
It was inspired by and created to illustrate the tattoo that characters Doc
and Mah-dje (Chapter 12) in the book Two Five (and the Penis Dialogues)
collaborated to create then etch into her skin at a place on her personage
unlikely to be seen by others. A symbol depicting the pure, fresh, fragrant,
beautiful undying love between the two, to be shared only by them.
Other Cocinero Works Coming Along ...
COPPER CANYON WATER GIRL
On her wedding day, a young woman performs her everyday chore.
ZE NOTORIOUS MADAME LA FARGE
and
THE BETROTHAL OF MADAME LAFARGE ... a dyptich
In the first painting, we see Madame LaFarge at her coquettish best and get
glimpses of why she is notorious.
In the second, a gentleman has obviously asked for her hand.
What will her answer be?
THE HUNTRESS ...
It appears she has snagged prey. But what and from whom?
PROTECTING THE INTEGRITY OF COCINERO ORIGINALS
AND LIMITED EDITION PRINTS MADE FROM THEM ...
The “Serial Roman, ????” shown below each title is engraved into the frame
back of the original just under a brass plaque bearing the painting’s title ... for
authenticity assurance.
A high quality 8" x 10" photographic print of every painting is filed with the
Library of Congress for their permanent archive.
Every few years a complete, updated, illustrated catalog of Cocinero’s work is
filed with the Archive and Art History Departments of The Smithsonian (Museum
of American Art), The Metropolitan Museum and the Huntington Museum.
Every Giclée purchased is meticulously recorded in a hard-copy permanent
record ledger and matching electronic file. The electronic file is likewise
periodically sent to archives so limited edition prints may later be traced and
authenticated.
Each ledger entry shows the Serial Roman number of the original, the handinscribed-by-Cocinero number of each hand-signed limited edition copy, the date it
was purchased and the name/state of the original purchaser. No other personal data
is recorded.
All of Cocinero’s originals are signed near the bottom right corner with his
distinctive logotype, which is embedded under a protective clear varnish. They will
be found there on all the above shown pieces, some in higher contrast than others.
Each limited edition giclée print is hand- numbered directly under that logo and
authenticated with the artist’s countersignature. See the price list for the absolute
number of limited edition copies that will be made from each work. After that
number is reached, there will be NO MORE. Period. This statement is not just our
word, but a legally binding, enforceable contract.
Each giclée is prepared, numbered, signed and logged to the ledger as ordered.
This requires some drying time. When dry, the artwork is covered with a protective
sheet, rolled, then shipped to the recipient in a durable tube, unmounted. A 2"
blank canvas margin is left all around for mounting, UNLESS you specify the
optional image size ... making a larger image but having no mounting margin.
Allow between three and six weeks for delivery. More if shipped outside USA.
GICLÉE LIMITED EDITION PRINT PRICE LIST
All sizes stated in inches.
Due to equipment width limitations, one of the print dimensions cannot exceed 42 inches. The other dimension may be anything.
A two inch stretching and mounting margin is normally left around each print’s perimeter. If you choose the OPTIONAL IMAGE SIZE for a larger
painting, no margin is left around the image — the image will nominally be the 42 inch width of the canvas To avoid image damage, it must be
mounted by gluing to a sheet of hardboard, plywood or similar rigid material. Contact cement applied to the wood only, allowed to tack almost dry
before mounting, forms a permanent bond.
TITLE OF PAINTING
CATALOG
NUMBER
WxH
SIZE OF
ORIGINAL
SIZE OF
GICLÉE
IMAGE
OVERALL
GICLÉE
SIZE
*OPTIONAL
IMAGE
SIZE
ABSOLUTE
EDITION
LIMIT
Night and Day Dreams.............. E-1-ND1215 12 x 15.25 12 x 15.25 16 x 19.25 ................................ 1000
Remembrance .......................... E-2-RE2424 24 x 24
24 x 24
28 x 28 ................................ 1000
Epiphany .................................. E-3-EP1316
13 x 16
13 x 16
17 x 20 ................................ 1000
Musings ................................... E-4-MU1317 13 x 16
13 x 16
17 x 20 ................................. 1000
Loves-me-not-loves-me ........... E-5-LO1410
14.5 x 10.7 14.5 x 10.7 18.5 x 14.7 ................................ 1000
Lunar Retrospectives ............... E-6-LU1612
16 x 12
16 x 12
20 x 16 .................................. 1000
Blue Island Castaway .............. E-8-BL1115
11.9 x 15.9 11.9 x 15.9 16 x 20 ................................... 1000
*Global Overwarming ................ GL4248
42 x 48
*38 x 43.5 42 x 47.5
42 x 48
500
The Duchess of Albany ............. DU3248
32.5 x 48 32.5 x 48 36.5 x 52 ................................... 500
Anastasia and Betty .................. AN2348
23 x 48
23 x 48
27 x 52 .................................... 500
Full Metal Jacket ....................... FU3349
32 x 48
32 x 48
36 x 52 .................................... 500
Opposing Counsel .................... OP3450
32 x 48
32 x 48
36 x 52 ...................................... 750
Sunflowers Feeding .................. SU2248
22 x 48
22 x 48
26 x 52 ...................................... 500
Imp ........................................... IM2331
23.7x 31.7 23.7 x 31.7 27.7 x 35.7 ................................ 750
The Advocates ......................... AD2525
24 x 24
24 x 24
28 x 28 ...................................... 1000
*Judy’s Bootie ........................... JU4451
43 x 48
*38 x 42.5 42 x 46.5
42 x 47
500
*Daisy Field ............................... DA6048
60 x 48
*47.5 x 38 51.5 x 42
52.5 x 42
500
*The Nugatory Man ................... NU5151
48 x 48
*38 x 38 42 x 42
42 x 42
500
*Le Musée de Faux Arté ........... LE5252
48 x 48
*38 x 38 42 x 42
42 x 42
500
*Somebody Please Push Restart .. SO5353
48 x 48
*38 x 38 42 x 42
42 x 42
500
*Watching My Floaters (etc.) .... WA5454
48 x 48
*38 x 38 42 x 42
42 x 42
500
*Homage to Challenger & Col ... HO6149
60 x 48
*47.5 x 38 51.5 x 42
52.5 x 42
750
The Pansies and Periwinkles etc... PA3224
32 x 24
32 x 24
36 x 28 ..................................... 1500
Copper Canyon Water Girl
---------------------- VERY SOON ----------------------
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$
TOTAL FOR ART:
________________________________________
WV RESIDENTS ADD 6% SALES TAX
ADD SHIPPING / HANDLING / INSURANCE
FREE BY MAIL IN US -- OTHERS SEE BELOW
ENTER GRAND TOTAL HERE:
MAKE CHECK TO “SUNSHINE”
CHECKS ACCEPTED ON US BANKS ONLY.
INTERNATIONAL MONEY ORDERS MUST BE PAYABLE
IN US DOLLARS.
CANADA ADD $12 SHIPPING & INSURANCE.
OTHERS ADD $65 (INCLUDES INSURANCE)
(IF DELIVERING TO OTHER THAN THE ABOVE ... )
3 or 4 DIGIT CODE (FROM BACK OF CARD)
______________
(CODE LOOKS LIKE THIS)
SHIP TO: ______________________________________
______________________________________________
______________________________________________

Bienvenida a (Welcome to) WHAT IS A GICLéE?

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