The World Revolves Around Me

Some days, I feel like I have such a grip on my emotional well-being, that it’s maybe a little disingenuous to still promote my artwork as I do – like it’s the product of mental illness. Earlier today though, after becoming upset, hitting myself in the head twice, committing an act of vandalism, undoing it before anyone would notice, running off, pulling off the road to get out of my bus and journal on the side of the road, and then starting to cry… well – it just might be possible that I CONTINUE TO EARN the right to market myself as a fucking basketcase. There’s a lot more I could say about all that but I think it’s better left ’til it’s not so fresh.

I finished my newest painting on Sunday but, for today’s blog entry, I’m reaching WAY BACK to finally tell the story of one that I finished a decade ago. It’s one of those classic feel-good stories of self-destructive behavior, self-harm, compulsive sex, substance abuse, and criminal charges. I HOPE YOU LIKE IT.

“The World Revolves Around Me.” 8/21/15. Acrylic paint. 4×4′.

There are two blocks of text in this painting. One written before Wallis and I split up, one after. The first reads:

When I finished writing and crawled into bed with her, the bad feelings melted away in an instant. I had to wake her to tell her how much I loved her. She was sweet and affectionate and cuddly – nothing like the girl that had fallen asleep in that bed an hour prior. In the morning, she’d remember none of it. Turns out she’d stolen more Seroquel than I’d found. (Which explains how fucked up she was). I found a second razor on the floor, mangled. “What’s the story here?,” I asked as I displayed it. “Oh – I must have chewed it up, trying to get the blade out.” I guess that explains the blood in her mouth.

Wallis was a cutter. The worst I’ve ever known. If she drank too much, she’d get depressed, find a razor blade, and fuck her shit up. And not that straight across shit; I’m talking up-and-down vertical cuts on the wrists and arms. After one of those incidents, she’d agreed to quit drinking.  Shortly thereafter, we were in Miami and I dropped her off to spend the day with her mom. I knew her mom liked to drink so I called ahead and told her: “Wallis isn’t drinking right now. It’s been causing her serious problems. Please don’t encourage her to drink with you.” When I picked her up that night, she was drunk, which frustrated me but – she seemed okay, so I didn’t make a big thing out of it. I drove, she sat in the passenger seat and told me about her day. And then (I forget why, but) I turned on the dome light for a moment. I looked over and found that as she’d been casually telling me about her (admittedly, not wonderful) visit with her mom, Wallis was sitting there, blade in hand, quietly cutting away and fucking COVERED in her own blood. It was fucking brutal. Like, over-the-top horror movies levels of blood.

Even years later, I’ve heard Wallis describe the time we spent on the road together as the best part of her life and the most fun she ever had. I’d helped her get off hard drugs so she was clean for the first time in her adult life and we were traveling the country, chasing my art dreams, doing whatever the fuck we wanted. In spite of what I’ve just told you, it really was great a lot of the time. Just not all the time. In addition to the on/off drinking, she’d sometimes steal my psych meds for an extra buzz. I think there were two main issues that contributed to our problems.

(1) Our everyday lives revolved entirely around what was happening with me.1 It was all about where I had exhibits and opportunities and making my career happen. We had a lot of fun but – a lot of the time – I was working/painting and she was just left to read or play on her phone or whatever she could do to occupy her time. We were constantly on the move so she couldn’t exactly get a job and, any place that we went, if she had friends, they were my friends first. It wasn’t really possible for her to have her own life. I think she needed more. She needed something to give her her own sense of purpose and fulfillment. 

(2) We were wildly in love with one another but that didn’t solve my self-esteem issues. When I met her, I was in a pretty wild phase of promiscuity. I’d always gone from one long term relationship to the next, but I’d broken up with Heather when I decided to “take my show on the road.” When I met Wally, I was single, doing really well with art, and was meeting a lot of girls who (at the risk of sounding arrogant) really were throwing themselves at me. A few times, I had girls (that I’d never met before) walk up to me at an event and directly tell me that they wanted to fuck me. Like, right then if I’d be so kind. I’d always done alright with girls but this was new. It was not in line with my PREVIOUS EXPERIENCES. It went to my head. It fucked with my ego. I don’t think it was good for me.

I definitely grew up in a culture and a scene where my value was measured by how many girls I’d slept with and which girls I’d slept with. That’s been a hard thing to shake over the years. It took me a while to get to a high enough number that the number didn’t seem to matter anymore but, still, I had this feeling like, “If I sleep with this girl, then I’ll be good enough.” But that was, of course, not true. It didn’t matter if I’d slept with [insert hot girl here] if I wasn’t still regularly sleeping with other hot girls. And that’s SO FUCKING STUPID. It’s embarrassing. Wallis had been one of the girls that I saw that way. Before I fell in love with her, I was SUPER EXCITED TO FUCK HER. And I still really liked fucking her. The sex was great. AND I WAS IN LOVE WITH HER. Deeply in love with her. That should have been enough but it wasn’t. So I was still on Tinder, still flirting with other girls, and still sleeping with other girls. My philosophy had been, “So long as she doesn’t know, it doesn’t hurt her, so there’s no harm.”

But she fucking knew. She knew everything. She was regularly reading EVERYTHING ON MY PHONE. And it deeply hurt her

To my credit, when she finally told me that she’d known all along – and I finally understood just how much it was hurting her – I did stop. I stopped cheating. And I haven’t cheated on anyone else since. (And to her discredit, she fucked one of my best friends while I was working one day. But (1) that’s a whole other story, (2) I didn’t find out ’til years later, and (3) can I really blame her when she knew that (often enough) when I was out “working,” I was also sometimes out fucking? No, I don’t think I can).

In any event, we eventually decided to split up, at least temporarily. She’d go back to Jacksonville, I’d continue on as I had been and the tentative plan was that we’d give our relationship a second shot down the line (ideally, once I was established/successful enough that I wasn’t living on the road, traveling the country and scouting new galleries to show my work).

Switching gears/elsewhere in my life, ever since I’d started my whole touring-the-country to build my art career plan, it’d become really tough to get my Adderall prescription every month. At the time, monthly in-person visits were required for an Adderall ‘scrip, so – in every new city, I had to find a new doctor. I’d call every doctor I could find and it was a regular issue that the soonest anyone could book an appointment for a new patient was weeks away – often further away in time that I even planned to stay in that city.

On one of my stops back in Sarasota, I’d filed a Marchman Act in an effort to get Chris Spillane off drugs. Afterward, my friend Abby asked if I’d do the same for her, which I did. When I dropped her off at the treatment facility, she handed me a bottle of Adderall. “Do you want these? I know you take it too and it’s not like they’re going to let me bring it with me.” Yeah, sure – of course. It’d help cover any gaps between getting my own prescriptions refilled each month. 

A few months later, Spillane (who I’d brought on the road with me in my effort to keep him clean) and I were in Chicago. Mike and Dave (of Like Bats) invited us to form a new band with them. We called it Shitty Children and were soon invited to play Awesome Fest in San Diego. After the fest, on the 20+ hour drive back to Chicago, we got pulled over just outside of Normal, Illinois. Mike had been drinking beers. He wasn’t driving but there were empty cans on the floor by his feet. The police separated and questioned all of us. Spillane (GOD BLESS HIM) apparently consented to a search. I wasn’t worried though. I was off drugs and living a good, clean life. I was a positive anti-drug role model. I didn’t have anything to hide. 

And then they found that bottle of Adderall in my backpack and arrested me because I didn’t have proof of my own prescription with me. Despite the longstanding prescription, despite all the positive press I was able to produce to demonstrate that I was a literal poster child for recovery from drug addiction, the prosecutor was determined to charge and convict me. My public defender was useless and, in hindsight, I think if I’d hired my own attorney, I could have gotten it tossed out. But that’s not what happened. I was convinced that, according to the strict letter-of-the-law, I was technically guilty of illicit possession of a controlled substance which meant, if I went to trial, my only hope was a jury ignoring the technical facts of the case and bucking the law to, sympathetically, find me “not guilty.” If that didn’t happen, a conviction carried the risk of a serious sentence. So I wound up accepting a terrible plea deal, wherein I’d be branded a felon for the rest of my life and either serve 30 days in jail or else 2 years of probation.

But it’d be a while before that happened. Even though the arrest was months before I even met Wallis, the case was still dragging out at the time we split.

The second block of text in the painting begins with a vast oversimplification (if not an outright misrepresentation) of why I bought Wallis a ticket back to Jacksonville:

Is it because I gave up on my girlfriend and put her on a plane back to Florida? (A trade-off for new/casual sex). Is it because I’ve felt discouraged and unable to do anything productive or profitable? Is it because I feel crippled by my ongoing legal battle and the likelihood that I’ll be getting a jail sentence this week (or delaying that and continuing on in uncertainty)? This last week, I’ve acted less like I’m self-employed and more like I’m unemployed. I have the evidence to prove I’m successful but I don’t feel that way. I’ve been resting on my laurels (and my bank account) so hard that they both seem to be wearing out. I don’t like this painting but I can’t figure out why. I think it’s because the thought of the immediate future makes me sad. And maybe because I wish I had someone to tell me “it’s gonna be okay.”

When am I gonna win?

Because of my NINE YEAR relapse, it’s taken me a long time to finally get around to writing the statement/story of this piece, so I can only guess at what was on my mind back then that sparked the sentiment behind the title (“The world revolves around me. My world. The only world that matters (to me).” The biggest hint though is the figure with a confederate flag for an eye and rainbow-colored teeth. Confederate flags and monuments were BIG in the news when I was painting this – whether they should still be up at state capitols or whatever. (Which, of course, no – fuck off – they shouldn’t). But I couldn’t help but watch some of the reactions on both sides and just shake my head. YOU ARE GETTING WAY TOO EMOTIONAL ABOUT SOMETHING THAT DOESN’T WARRANT THAT LEVEL OF EMOTION. As much as I think anything confederacy-related is stupid as fuck, I’m not gonna pretend that the little shit-eater in me didn’t also like the idea of super sensitive white people2 being bothered by its presence in my painting. I also just like the contrast of the red and blue with the white stars. (When they’re outlined in black anyway; without the outline (like it is on the actual flag) it’s not even aesthetically cool). But I juxtaposed it with rainbow teeth because (1) I really like rainbow-colored anything and (2) I wanted to balance the conservative thing with a progressive thing. If that bothered anyone on the political-right – well – even better.

More to the point, what I’m saying with this piece is that (without religion) life has no objective meaning. Nothing matters. Or everything matters. Or, more accurately, each thing matters only to the extent that each of us decides. And that value doesn’t transfer between people. I decide what matters to me; you decide what matters to you. The world 100% revolves around me. That’s a fact. But only for me. For you, the world does not revolve around Sam. I hope it revolves around you.  You’re the main character in your story. It’s your world to conquer or surrender to.

I don’t ultimately care about confederate flags and monuments because they’re almost certainly totally out of my control unless i decide to become an anti-confederacy activist, which is not something I’m particularly interested in. I’ve got my opinions on the matter but they’re not important enough to me for me to invest that much of my time or  emotional energy. The Sammy thrashLife News Network IN MY HEAD has 24/7 coverage on the real issues. Issues like my friends, Chris and Abby, falling hopelessly back into addiction and darkness. My efforts to help them get clean.3 Meeting a beautiful, wonderful, funny, fun girl named Wallis and helping her get clean, falling in love with her, and traveling the country. Playing music with my friends in Shitty Children and performing on stage again for the first time in years – a stage that I shared with some of my favorite bands in the world, at one of my favorite fests in the history of punk rock. Making art that I’m FUCKING STOKED on, that helps me work through my issues, makes me happy (USUALLY), frees me from having to work a regular JOB, and gives me a sense of fulfillment and the only kind of genuine self-esteem and confidence that I’ve probably ever known. And then all the other shit – whether monumental or petty, positive or devastating that is worth investing my emotional energy into. AT LEAST ACCORDING TO ME.

That’s my world. Everything else – that shit’s happening in another universe. As much as I’d like to SOLVE WORLD HUNGER or BRING PEACE TO THE MIDDLE EAST, I’ve got one life to live and it takes a lot for me to not fuck it up. I don’t lack empathy, I’m not self-absorbed (okay, that second part might not be ENTIRELY true), but if I’m gonna do any good in this world, I’ve gotta PRIORITIZE, keep focus, and do it where I can have the most impact. A big part of that is this kinda thing right here – what you just read.


I’m gonna have to take that “no more than 12 emails per month” thing off of my mailing list sign-up sheet. It was true when I made it but, AS I GET MORE PRODUCTIVE, these updates become more frequent. It’s totally possible I’ll have another one within a week for that new painting I mentioned (it’s called “The Whole Wide World Can Suck My Dick (but, like, in a Fun Way”). I’m excited to share it with you guys, so keep an eye out.

In the meantime, prints of “The World Revolves Around Me” are now for sale in the webstore. This is also one of the few originals I’ve got that’s not yet sold, so shoot me a message if you’re interested. Or go see it in person. I’m happy to report it’s been accepted for a gallery exhibition that opens next month.


Footnotes:

  1. This is totally unrelated to the actual, intended message of this painting. I didn’t even pick up on the coincidence until writing this statement. [go back]
  2. In my experience, it’s only those who like to be offended on behalf of others, that ever seem to take offense at my art. Anyone who would actually have cause to be personally offended tends to be thoughtful enough to recognize my intent – or at least ask about my intent before they let something bother them. [go back]
  3. Those plans succeeded by the way. Chris is still clean, happy, and healthy to this day. Abby got clean too. Until last year, when she died. The story I’ve been told is that she was still clean but, one night, slipped up and allowed herself to do a line of cocaine at a party. Cocaine allegedly cut with fentanyl. And then she went home, went to sleep, and never woke up. That doesn’t quite make sense to me but I suppose it’s not terribly important. The world’s a little darker without her, regardless of how or why it happened. [go back]

Motivation (Will Work for Food (maybe) / Will Beat Off on Live Webfeed for Perfect Love and Acceptance)

Woo! This painting’s been done for three months now so apologies for the delay in getting it online. Let’s jump right into the statement for the piece though and then I’ll tell you a little more about everything that’s been happening lately. Cool? COOL.


“Motivation (Will Work for Food (maybe) / Will Beat Off on Live Webfeed for Perfect Love and Acceptance)” 12/26/24. Acrylic paint and pigment ink. 48×30″.

Allow me to SET THE SCENE for you: it’s 2013, I’ve been institutionalized for two years, but I’m finally gearing up to re-enter the real world. Part of that process is figuring out what my life’s gonna look like in the outside world. Where am I gonna live, what am I gonna DO FOR MONEY, etc, etc.

Strung out on heroin, I’d graduated by the skin of my teeth from Georgetown Law in 2011. But I discovered art in treatment and that’s pretty much all I wanna do now. I don’t know if it’s possible to make money from art, but I don’t really care. What do I need money for? I start researching communes where I could live for free and get fed in exchange for pitching in. But there’s a hitch in this plan. I NEED A GIRLFRIEND. I need GIRLS TO LIKE ME. And – at the time – my logic is such that I decide that this would at the very least, probably require a home with air conditioning, so that I’m not perpetually sweaty and smelly. And it turns out that a lot of these communes or “intentional communities” (as I learn they’re often called) do not have air conditioning. So that’s out. I’m gonna need money for the most basic of amenities afterall. WHAT TO DO…

(Before I tell you this next part, remember that OnlyFans didn’t exist in 2013 and similar sites were totally outside of mainstream consciousness; most people had never even heard of such a thing).

Two of my fellow inpatients approach me one day. “Hey, Sam – we just found out you can get paid just to masturbate on camera! There’s this site you can sign up for and they’ll pay you to beat off and record it!”

I laughed. “Uh… okay. So… what are you telling me? That you guys are gonna try it?”

“Fuck no! We’d never do something like that. But we figured you probably would!”

I laughed again. THEY WEREN’T WRONG. I despised the idea of getting pretty much any kind of a job. It felt like prostitution to sell my time, doing something I didn’t enjoy, just for a paycheck. But masturbating for a paycheck… while, arguably, a little closer to literal prostitution, it didn’t feel that way to me. Doing something on camera that I’d be doing sometimes anyway – if I could get paid for that, that seemed like a pretty good deal.

So that’s the background of this joke. “Will work for food (maybe)” = I’m not willing to get a job just to survive. (The “maybe” in that statement – it’s a lie; I will not work for food). “Will beat off on live webfeed for perfect love and acceptance” = But I will masturbate on camera if that pays enough money to facilitate the circumstances that would need to exist in order for me to find a loving partner.

I chose the phrase “perfect love and acceptance” because that’s what I was really after. I’m a broken fucking child. I just want someone to tell me I’m good. To love me as I am.

By the time the painting was almost finished, I was still in treatment but had already found a girlfriend. I was still living at the facility but – at this stage – was allowed to have a phone. I met a girl on Facebook that would visit me on weekends. I was even able to file requests that would allow me to leave the property with her for up to two hours at a time. Normally, this sort of thing would never be allowed. Patients weren’t supposed to date for at least a year after getting out of treatment (let alone while they were still living there). In my case however, the treatment team had decided that I was so ROMANTICALLY INCORRIGIBLE that there was no way I wasn’t gonna get into a relationship once I was back in the outside world and – the way they saw it – better to let it start before I left so that they could keep an eye on it and help guide me through any issues that might arise.

Quick aside: that was probably the best thing about Tranquil Shores and why it was the first program that worked for me. Not because they let me do whatever I wanted (they definitely didn’t; they even KICKED ME OUT at one point but – when I learned my lesson, they let me back in). What made Tranquil Shores so great… – every treatment center promises “individualized care,” but Tranquil Shores was the first facility that actually seemed to understand what that meant and deliver on it. It was not a “one size fits all” approach to recovery. They recognized the nuances of each patient and tailored their treatment plans accordingly. Another facility would have prohibited me from dating – knowing full well it would happen anyway – and then it wouldn’t start until I was out on my own without the support system of a full treatment team. Tranquil Shores worked with reality, not some idealized vision of what they wished reality to be.

[EDITORIAL INTERRUPTION: These last two paragraphs were all leading to the revelation of a particular detail that I’ve decided I’m not going to include after all. BUT I’M STILL GOING TO LEAVE THOSE TWO PARAGRAPHS IN THE STATEMENT ANYWAY. I do what I want. (If you wanna know THE SECRET I WAS GONNA TELL though, just ask me and I’ll tell you)].

Flash forward to the future/present day. After all, everything I’ve just told you only takes us up to early 2013 and yet this painting is from 2024…? That’s ‘cause it’s version TWO POINT OH. When I painted the self-portrait holding the two signs, I’d just discovered my passion for art but WASN’T GOOD AT IT YET. Not visually. The version of this from 2013 looks terrible. BUT I STILL LOVE THE CONCEPT and I wanted to have prints of it in my inventory. That meant I had to recreate it. Or – more accurately – make a new painting that just featured that main component (the kid holding the two signs).

And – more importantly – these days, I’m in a very similar place to where I was when I got out of Tranquil Shores. When I came up with this concept, I was maybe 7 months clean for the first time since I’d become addicted to heroin. And when I started this new painting, I was six months clean after coming out of a nine-year relapse. In both instances, I was single for the first time in YEARS and very much in the process of rebuilding my life, essentially from scratch. The feelings that swirl around those two cardboard signs (“will work for…” / “will beat off on…”) are VERY MUCH RELEVANT AGAIN. The idea of using this concept to make a painting I could be proud of was exciting to me. So that’s what I did.

There’s a little journal scribbled on the canvas, about how much had changed in the two months since I’d started the painting. I’d bought an RV, was preparing to move out of the apartment I’d gotten with my friends (after getting clean in April); (for the first time in 9 years) I’d started actually going out in public to sell my art (I’d only been selling online since April). I write that I feel good about the money I’m now making but also my anxiety about whether it’ll continue and some other (logistical) things that were stressing me out.

Elsewhere, I wrote: “Anything I have is just something I can lose.” There’s a comfort in having nothing. But once you start to get things back… you’re at risk of losing them – and that can be painful.

On a seemingly (but not at all) related note, I also wrote the word “possession” even though I was thinking about “cupidity.” “Cupidity” is greed for wealth, material goods, and/or power but – in my mind – I’ve REDEFINED it to be more like greed for a PERSON. (I mean, come on: most of the word is CUPID; it should mean something related to ROMANCE). So I think of it as that feeling when you like (or love) someone and want them to be your partner – for good, nice reasons: sure – but also because you DON’T WANT ANYONE ELSE TO HAVE THEM. I think of it as a jealous, controlling kinda thing. It was on my mind in relation to everything I wrote about in my previous painting, “She’s Cut With Xylazine.”

On the sides of the canvas I wrote a couple other things that I didn’t necessarily want to be visible to anyone but the painting’s eventual owner – or anyone who sees it in person that cares enough to really look closely from all angles. 

I also wrote: “I just wanna fall in love again. I want it so badly.”

And I wrote the words girls, love, and sex over and over again in a loop (“GIRLS LOVE SEX GIRLS LOVE SEX GIRLS LOVE SEX…”) because of (and IN THAT ORDER for) OBVIOUS REASONS. (Because those things occupy a lot of real estate in my mind; in that order because I THINK I’M FUNNY).

The moment I finished this painting, I started work on “Peeing in the Pool (of Tears (You’re Drowning In)),” which goes in another direction. But the story of my recovery (and my life right now) very much continues in the painting that I’d make next. The primary text on it says: “Everything Works Out Exactly as It Should (is Something I’ve Been Trying to Get Myself to Believe Again).” I’m planning to add it to the site tomorrow so check back soon. [Update: It’s up. You can see/read about it now].


I know I started this entry with the promise of more details on what I’ve been up to lately, but let’s actually put those off until tomorrow’s entry.

Prints of “Motivation” are now on sale in the webstore. Send a message to find out if the original painting is still available for purchase or to order a larger, custom giclée.


Dog Food Doesn’t Grow on Trees

"Dog Food Doesn't Grow on Trees." 12/8/12. Colored pencil. 3x2".
“Dog Food Doesn’t Grow on Trees.” 12/8/12. Colored pencil. 3×2″.

This cartoon (about giving up on the things you’re supposed to care about) was my third (and final) piece on 12/8/12 – the first day ever that I did virtually nothing but draw and paint. (The first two were Why I Fail and Group Therapy).

This is one of the few pieces that I just flat out lost somewhere along the way. Not too shocking when you consider that it only measured three inches and that – just eight months ago – my art was nothing more than a heap of paper scraps, ripped cardboard, and a few pieces of loose canvas (all of which I carried around in grocery bags).

I made two new pieces today but I can’t share ’em ’cause I’m an asshole and they’ve got the kinda raw poison in them that I shouldn’t ever let out of my brain and onto paper. Or one of ’em does anyway… Shit – it’s not even that bad but it would hurt the fuck out of my feelings if someone had a similar thought about me, so…

Here’s a really beautiful song that’s usually pretty good at fortifying my resolve and, other times, makes me wanna break down and cry.

With a pain that cuts me like a knife, I wanna know you won’t be hard to find. I wish that I could call you right now and tell you that I’m around. I wish you would’ve called me that night and told me you hurt inside.
Please don’t stop living.
– from “Upside Down” by Shorebirds.

 


Selfish Program

"Selfish Program." 11/29/12. Colored pencil. 7x11".
“Selfish Program.” 11/29/12. Colored pencil. 7×11″.

I drew this eleven months ago. It’s only the fifth thing that I ever made by choice (and not as part of a treatment assignment). People say that Alcoholics and Narcotics Anonymous (or, more generally, recovery) is a “selfish program.” It’s not about self-interest or self-serving as much as it is… well… let me put it this way. The girl I dated for most of 2012 – we went to go “visit” her family in St. Louis when Miami got to be more than we could handle. (I say “visit” because her parents agreed to a week but – desperately wanting to not go back to our lives in Florida – we stayed for more than a month). Anyway, something her dad always said that stuck with me is this oxygen/airplane metaphor: “Put on your own mask before assisting other passengers.” Meaning – if you don’t take care of yourself first, there’s a good chance you’re not gonna be much good to anyone else either.

At Tranquil Shores, the first major assignment everyone has to complete is the “First Step” (not to be confused with the first of the twelve steps; this is something different). Anyway, it’s the assignment where group feedback is the most important (and the only one where everyone’s really supposed to be as honest and blunt as possible and call the person out if they’re full of shit). The morning that I drew this, I was losing my mind (a pretty regular occurrence back then). On the one hand,  a friend was presenting her First Step and I felt like I’d be letting her down if I didn’t give her my full attention. On the other hand, I had my own mess to sort out and I didn’t want to listen. I wanted to get out of my head, get away from damage, destruction, hell, and shit. I wanted to color.

So I did.

Mental health doesn’t happen on a schedule. As much as I’d love to always be there for everyone, I can’t. If my own life/head is a mess, I’ve gotta deal with that first. And it’s worked out; if you were to ask my friends, I’m certain they’d say I’m a better friend today than ever before. So – as the block letters behind the fence in this drawing say…

Selfish program.


  • This drawing was featured in my very first art show, at Sun-Ray Cinema in Jacksonville. I have zero recollection of whether it was among those that sold or if it’s still available. If you find yourself passionately interested in the answer to that question, shoot me a message and I’ll get to the bottom of it.
  • In any case, signed, limited-edition prints are available in my webstore.

Moving Boxes (and Little Else)

"Moving Boxes (and Little Else)." 5/24/13. Tempera and pen on paper. 12x16".
“Moving Boxes (and Little Else).” 5/24/13. Tempera and pen on paper. 12×16″.

She might be scared, but that has nothing to do with me, my choices, my attitude, or my … how I’ve been.
I’m ambitious and I have confidence but moving out starts the ticking of the clock. It sets the deadline for my success or the date of my failure. Not moving out is what I’m comfortable with. But how long is it okay for me to stall intimate relationships so that I can enjoy myself (and do the things I want to without worry)?
Is it okay for me to be okay? Complacency. Fear. Priorities. GROWING UP. I understand far less than I let on. Strange that someone with all the answers in interactions has nothing but questions when alone.

That’s the text within this piece – painted in my Friday expressive art therapy group at Tranquil Shores. It was getting closer to the time Heather and I had talked about picking up and moving to Jacksonville. We were bickering a lot. I had asked her what was really going on. When she failed to come up with anything, I suggested that maybe she was scared about moving to a new city. After all, it wasn’t me. I’m itinerant! I’m punk! All we do is move. We have no roots. “I don’t live anywhere!” She, on the other hand, had never moved to a new city before so she was scared and that was making her irritable. Obviously.

But this was expressive art therapy and (in therapy) we don’t look at what’s wrong with other people, we look at ourselves. So that’s what I tried to do as I painted and – when I started writing – all of this suddenly came out of me.

God dammit. It was totally me. I was terrified. If I moved to Jacksonville with Heather, I’d suddenly be responsible for rent and utilities and who knows what else. I had been out of (inpatient) treatment for three months and thus far was doing great. I was supporting myself without having to give in to reality and get a real job. (Which – in hindsight – I realize may not have been all that impressive a feat considering that I had absolutely no bills to pay). But if I moved to Jacksonville and came up short on money for bills one month, all of a sudden, I’d have to admit that I was wrong. I’d have to get a job and acknowledge that I couldn’t support myself creatively…

Maybe I should just break it off and stay in Bradenton and live with Taylor’s family forever…? I don’t need a girlfriend or to be an adult or…

God dammit.

“Moving boxes and little else” is an acknowledgment that I had moved more times than I could count but was terrified to move forward.

But I did! And – so far – so good.

This piece is important to me because the process of creating it really was revelatory. I had spend a lot time thinking about this stuff and had gotten nowhere. After I made this piece, the bickering between Heather and I stopped completely. It’s pretty remarkable how much garbage sometimes lurks just below the surface (and how badly it can fuck me up). This piece is proof that art is essential to the maintenance of my mental health.

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Here’s the song I quoted in this entry. It’s from the new Dead Mechanical album out soon on Toxic Pop (who split released the last DM full-length with Traffic Street (that’s my label, you guys!)) When I lived in DC, I spent a lot of time in Baltimore. When I wasn’t copping or shooting heroin, I was usually at a Dead Mechanical show. (Sometimes both!) But getting to see them play all the time was definitely one of the best things about living up there.

Here’s another song from the same record. Just ’cause.

Hit the Toxic Pop website to check out the album art (by Julie Benoit!) and pre-order the LP, which starts shipping next week. (I know the site says that it starts shipping in early August, but Mike (Toxic Pop) sent out an update changing the shipping date due to delays at the pressing plant).

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This painting is currently for sale. Or – if you’re not a big spender – you can pick up a signed and framed (behind glass) print/poster that’s the same size as the original.