I have been told I did this, around 1983. I have to take their word for it — I have not the faintest recollection of how this came to be. Kinda looks like the sort of thing I would do when I was trying NOT to draw like myself. And it’s clearly a riff on a “Suspended City,” a graphic novel published in 2014 by my old friend Penin Loureiro. Clearly he had this image in the works for a while.
In the year 2000 Ted Keller, Design Director of the Village Voice, gave me my first digital photography assignment ever. Inspired by the multi-image grids I had been putting together, he got me to create new ones to illustrate the Best of NYC issue (which I had also illustrated the previous year with a series of ink-and-watercolor drawings.) The cover grid depicted what was voted as "Brooklyn’s Best Empty Lot": a chunk of Williamsburg that felt wild and dirty and vaguely edgy. Very different from what it is like today.
"Se7e" used to be a Portuguese publication not unlike the Village Voice. I did a lot of stuff for them in my early twenties, and in 1986 I illustrated the cover of a special about "The Visual Artists for the Nineties…"
In the mid-nineties I was all excited about some Ilford film, forgot which, that could be developed in any drugstore lab to make nice sepia prints. Here’s an album from a 1996 trip to London. The photos felt so “period”…
Sandwiched between the two authors of a children’s book I illustrated in 1985, at 22. It may come as a surprise to some of my current acquaintances how many floral print shirts I wore in my younger years.
I always found Instagram’s tiny thumbnails too hodge-podgy to look at as an ensemble. So my own feed is composed of groups of four variations on any given subject. Makes for good-looking screen grabs. Here’s one from early 2012.
About those R-rated Polaroids from the eighties everyone seems to keep a stash of: I’m sorry to report I have none! The worst I ever got was this collection, pictures of my co-workers at Portuguese weekly O Independentebaring their shoulders circa 1988. Indy was actually one of the randiest places I have worked at… but this was all I got.
Forget about the contents: I still like the labels of my illustration portfolio circa 1999. This was the postcard-sized pocket version. (Lots of watercolor landscapes within.) Of course, today the iPad performs the very same task with added dazzle.
From a series of spots for The New York Times Magazine, circa 2002. I think this was the last assignment Andrea Fella sent my way before quitting her position there. Forgot what the subject matter was, but fat cats shaking hands will never go out of fashion, will they?
This century’s first decade was filled with limited-edition books printed on a domestic inkjet and assembled by hand. Tints, a very tiny one as it is, was probably the last one I did, in 2008. (I only printed one copy; I think there’s a layout glitch.) Right afterwards I was on my way to Portugal to work on the Lisbon Revisited project, which cast a similar tint over my hometown’s landscapes.
East Village urban gardens drawn for Mother Jones circa 1999. Then-AD Rhonda Rubinstein had me illustrating a monthly column. Don’t tell anybody but, before I posted here this ink-and-watercolor drawing, I went and fixed in Photoshop a small perspective mistake.