Ice Stories

To create her Ice Stories, artist Lisa Sheirer takes photographs of natural landscapes through ice coated windows, and then manipulates them to create abstracted compositions, which then she prints with archival ink onto watercolor paper.

The opening reception for her solo exhibition at Hillyer Art Space in DC is Friday, September 7th, from 6 pm to 8 pm and the exhibition goes through October 25, 2007.

The Fells Point First Friday

Try saying that fast!

This Friday, September 7th is Fells Point’s First Friday Art Walk event in Baltimore.

Don’t miss your last chance to meet the various artists featured in "Moving Beyond Craft: Artists of the Washington Glass School." The exhibition will be on display through Saturday, September 8th at the Patricia Touchet Gallery.

Civilian on Friday

DC's Civilian Art Projects opens its Fall season this coming Friday with the opening of Noelle Tan's solo "from here to the Salton Sea," and and Erick Jackson's "Vlad's Crib." From 7-9PM and the exhibition goes through Oct. 20, 2007.

The Last ArtRomp

ArtRomp XX - the Grand Finale - opens this Friday at the soon-to-close/move Warehouse Gallery in DC. Opening party is 6pm til late. This last show includes work by all the artists who have exhibited in past ArtRomps over the years. Through Sept. 30, 2007.

Smaller and Smaller

As I've noted before, lately I've been drawing in a very small scale - and I showed you this drawing ("A Rabbi, slightly upset because he's just been told that his glasses are very trendy these days").

Below is "Eyes of John Fitzgerald Kennedy," which is is about half an inch high by one inch long.

"Eyes of John Fitzgerald Kennedy"
Charcoal on Paper, c. 2007 (0.5" x 1")
F. Lennox Campello
It was picked up last weekend by a private collector who was visiting my studio.

New Gallery Opens this Friday

Oerth Gallery, located at 420 S. Washington Street in Old Town Alexandria and owned by sisters Lorraine Oerth Kirstein and Linda Oerth Musselman, has its grand opening this coming Friday from 7-9PM with works by Ross Merrill. Merrill is a popular DC area art teacher, and conducts workshops throughout the United States. He also works as a Conservator at The National Gallery. The paintings will be on display from September 7 to October 28, 2007.


The gallery includes a first floor crafts gallery, a second floor fine arts gallery and a pottery studio. The building itself is an important historic property in Old Town, because it is the only freestanding Victorian building of its kind in Old Town.

Artists interested in portfolio reviews should contact Linda Musselman at 703-836-3784.

DC Gallery Moves

Leigh Conner and Jamie Smith have announced the purchase of 1358-1360 Florida Avenue, NE, Washington, DC as the new location for Conner Contemporary Art and *gogo art projects.

The property, a former auto body shop, is a 12,000 sq. ft. complex with two interior levels as well as an enclosed outdoor area for the exhibition of large-scale sculpture, video projections and installations. Conner Contemporary Art and *gogo art projects will occupy the 6500 sq. ft. ground floor space featuring two exhibition areas and a permanent video/sound room. The 4300 sq. ft. second-floor space is currently being developed.


During the renovation work this fall season, they will be open by appointment Monday through Friday 10am-6pm, while concentrating on participating in art fairs (Pulse London: October 11-14, 2007 and Pulse Miami: December 5-9, 2007).

The new gallery is accessible from the New York Avenue and Union Station Metro stations. On-site parking will be available by reservation and complimentary shuttle service will be provided from Union Station during certain hours.

$100M

"Damien Hirst, the U.K.'s wealthiest artist, is selling his diamond skull to an investment group for $100 million, said Frank Dunphy, Hirst's business manager.

The platinum skull, studded with 8,601 diamonds, has been on the market at least since June 3, when it went on show at London's White Cube gallery.

Dunphy, reached by telephone, said the price hadn't been discounted and would be paid in cash, though he wouldn't say over what period, or identify the investment group."

Read the story by Bloomberg's Linda Sandler here. By the way, I think that the title of the "U.K's wealthiest artist" does not belong to Damien Hirst, but to Scottish bad boy painter and worldwide king in the world of posters Jack Vettriano, but I could be wrong.

Scotland is planning to "devolve" from the British union and regain its independence one of these days, but so far, as far as I know, they are still part of the U.K.

In The Flesh

The new art shows and openings coming up over the next two weeks are so numerous that I will try to list 3-4 everyday for the next few days.

In Alexandria's Target Gallery, Tim Doud, who is in the Art faculty at American University has selected a show titled "In the Flesh" that opens Sept 13 from 6-8pm and runs through October 13, 2007. It includes work by DC area photographer Danny Conant, who is without a doubt one of the most innovative photographers in the region, and whose work has been often (in the past) an inspiration for several of my own drawings.

"Tearing the Sky"
Polaroid Transfer by Danny Conant

Ask a silly question...

The WaPo's freelance galleries critic writes in a review of sub-text at Randall Scott Gallery:

At Randall Scott, Caitlin Phillips's work proves particularly enervating. She's an attractive woman, slender and young, and she takes pictures of herself. In one picture she wears a simple dress and cute shoes and holds a tea set while looking blankly at the camera. In another, she stands on a beach, masked and perfectly still, dressed in a flowery shift. In a third, she's nearly naked, in curlers and hose, pouting for the camera.

What possesses a woman artist to denigrate herself like this? Photography, in its many forms, dominates artmaking. But can artists use it wisely?

Here's the question that her editor should have asked the critic: "Since you are asking the readers this question, did you ask the photographer?"

Of course not, Dawson's vitriol is generally reserved for the written word, and as most DC area gallerists know, and in my experience, she rarely asks questions when visiting a show, or even speaks, other than the social "hello," when she first arrives, and the occasional "ahah" when spoken to.

In the past this lack of asking questions (that she clearly has about the work, even rhetorical questions easily answered) has bitten her back, evidenced by some rather monumental errors in her writing, and in this case the answer to her question was easily available in the gallery's website and the obviously un-read news release about the exhibition; Caitlin Phillips writes:

During the summers when I was seven, eight, nine, I remember waking next to my grandmother in her heat soaked room, the bedding scarce, as we had tried to cool ourselves the night before. These humid mornings, which I recall vividly, were often spent admiring the photographs and the painted portraits that lined the faded wallpaper of the bedroom. Elegant, Victorian women gazed back from the walls, their pale skin accented by feathery dresses, my grandmother’s room, a modest representation of her own Victorian ideals. These summers spent at my grandparent’s home, my sisters and I feverishly practiced and displayed the ladylike talents my grandmother instilled and insisted upon us, naively mirroring our companions hung on the wall.

My photographs and videos attempt to discuss my current notions of lineage and posterity through deliberate manipulation of memory and dissection of my personal history. The imagery creates a mise-en-scene derived from personalized romance and girlhood nostalgia. It is a visual investigation of the conflicted self: a state of reflection glimpsing into the progression of feminine identity through years of experience, growth and longing.

Does that sound like a woman denigrating herself?

Abu Ghraib paintings to be donated to Berkeley Pentagon?

The series of paintings done by Colombian artist Fernando Botero based on the Abu Ghraib photographs may become part of the permanent collection of the University of California, Berkeley... or maybe not.

UC Berkeley chancellor Robert Birgeneau has tentatively agreed to accept the gift, the monetary value of which experts peg at $10 million to $15 million.

“We have a gentleman's agreement,” said Birgeneau, who saw the works when the exhibition opened at Cal's Doe Library in January and was impressed by “their emotional impact and technical brilliance. I've written the artist saying we'll accept them, subject to us being able to work out a reasonable set of conditions.”

Botero, who said he would never sell the jarring Abu Ghraib pictures, turned down an offer from the Kunsthalle Wurth museum near Stuttgart, Germany, to build a wing to house them.

There's a lesson in marketing there somewhere for all artists. And also a lesson on the power of representational visual art to drive home a point - a political point in this case - by using the narrative powers of representational art to underscore an issue.

These images, in a sense, were already part of our visual art scene.

After all, it was the photographs upon which they are based upon that exploded into our collective eyes when they were first released.

By basing his works on them, Botero skilfully recognized that in the 21st century painting is still king, and lifting an image from a photograph to create a painting still "elevates" that image to a higher fine arts realm in the minds of many people.

They're no longer just photos in our computer screens and newspapers; they're now fine art.

And it also brought Botero back into the fine arts limelight and contemporary dialogue and away from fat people paintings.

By the way, my good friend Jack Rasmussen over at the Katzen Arts Center scored a major coup a while back, as he will be bringing the first United States exhibition of the complete series, both paintings and drawings to the Katzen in November.

It sounds like Birgeneau has just written to Botero and nothing has been heard back from the wily Colombian.

Which gives me an idea.

I think that the best place for these paintings is not Left Wing Nut U in California, but right here in Washington, DC.

And not as part of the permanent collection of any of our great DC area museums, most of which already have Boteros in their collection, but as part of the permanent collection of the Pentagon.

As many of the people who have taken the free Pentagon tour know, the building has a really impressive art collection on its walls. As one would expect, it is mostly military subjects and historical paintings.

I think that the Abu Ghraib paintings belong on the Pentagon walls - not to "shame" our Army personnel, but to show the world that we're still the only nation not only willing to show pride in our successes, but also strong enough to recognize our mistakes and learn from them.

Abu Ghraib was the result of an Army which hadn't handled foreign prisoners in many decades and a handful of improperly trained, misassigned miscreants in the wrong place at the wrong time, and certainly nowhere near a representation of the quality soldier that makes up our all volunteer Army.

And definitely nowhere near the level of torture that takes place in silence on a daily basis in places like Cuba, Iran, Sudan, China, many, many Arabic nations and ahem, Colombia, but Abu Ghraib was definitely a low point and a harsh learning experience for our men and women in uniform as we learn to fight a new kind of war. As a veteran I am proud of our Armed Forces and how they respond to the spectacular demands made of them.

Put them on the Pentagon walls to shout out that we understand and learn from our military mistakes just as well as we are proud of our military successes.

I call on Renée Klish, Army Art Curator, U.S. Army Center of Military History, or whoever is the curator for the Pentagon's art collection to write a letter to Botero and have Botero donate the Abu Ghraib paintings to the Pentagon.

And I also call for Botero to now turn his formidable painting and marketing skills to create a new series of paintings about the daily torture going on in Castro's miserable prisons in Cuba (a nation that has refused to allow Amnesty International to visit since 1988), and then seeing if the Cuban dictatorship is willing to accept those paintings and hang them where their military and their citizens can see them every day.

Opportunity for Artists

Deadline: September 3, 2007

The new Workhouse Art Center at Lorton, VA is now reviewing portfolios for the studio rental jury process and Workhouse Artist Association membership. Submittal deadline: postmarked by 9/3/07. Download application at www.lortonarts.org or send a request to:

Lorton Arts Foundation
9601 Ox Road
Lorton, VA 22079

Next Friday

Next Friday generally marks the unofficial "opening" of the new art season along the galleries of the Mid Atlantic area, and there are a ton of openings coming in the next two weeks.

Here's an early look at a good one:

The Women’s Caucus for Art of Greater Washington, DC is presenting "Women’s Reflections - Visual Reflections from Washington, DC artists and 'Katrina Diaries' from New Orleans artists" at the Dennis & Phillip Ratner Museum in Bethesda, MD. This is a joint exhibition of paintings, printmaking, collages, photography, and fiber art by women from both the Washington, DC chapter and the New Orleans chapter of the Women’s Caucus for Art (WCA). In Katrina Diaries these New Orleans artists express their reaction to the devastation and loss caused by the hurricane.

Opening Reception: Sunday, September 9, 1:30 – 3:30pm and the exhibition goes through Sept. 25, 2007.

Sleepless in Media

I've had a brutal 48 hours with over 600 miles driving and four hours of sleep.

More later...

Baltimore Antique Show

By Shauna Lee Lange

Today was opening day at the Baltimore Antique Show which runs through the weekend at the Convention Center which is again hosting a gaggle of galleries and dealers. And noticeably this year there are several dealers fom London. This is my third year attending the show, and on this visit I found the line at the door much shorter, the food service slightly improved, and the air conditioning more manageable.

Other than some stunning very large floor mirrors, a $60,000 fun antique casino-type gaming piece, and remarkably breath-taking silver, the show is sadly predictable. Oh you'll find your antiquarian books, jewelry galore, and your historial pieces (be sure to check out the gun canes and the chandeliers)... but if you've been attending these shows as I have, it all becomes standard fare (except perhaps for the lovely display by New York's China Gallery or the ancient wood block reliefs also from China.)

Standard fare too are the highly marked up prices. I saw a piece earlier this year at the Big DC Flea Market with today's tag more than triple the asking price - so shop around! The range of art is a bit impressive, however I'm talking about the artistry in apparel of the wanna-be-wealthy-posers. Pink Ralph Lauren pants and black leather dress shoes sported by a very tan romance novel hero were outdone only by the tall blonde Barbie with the brown bareback cocktail dress.

Excuse me, I didn't know we were having drinks. Ahem.

Bring comfortable shoes; the concrete floor is brutal. And carry lots of dough; my parking, entrance fee, and lunch alone killed a $50.

Meredith Springer Award Winners Exhibit

Works by the Meredith Springer Award winners. Maria Barbosa, “Trip,” a walk-through installation and Steven Dobbin, “As I See It,” sculpture and mixed media. Opening reception Sept 1 from 3-5pm at the The Delaplaine Center in Frederick, MD.

Gould on galleries and emerging artists

The CP's Jessica Gould delivers another superb piece discussing the role of some galleries in helping to develop the young artist.

Read it here (Scroll down past the H Street stuff).

Bailey on Race, Art, Katrina, and Kirkland's One Word Project

This art blog has always been open for guest commentary and opinions. Below is a guest piece by the Rev. Bailey:

"Church Burning" by The Right Reverend James W. Bailey

"Rough Edge Photography"

The underlying composite images of "Church Burning" were captured in 2002 in the Lower Ninth Ward of New Orleans.

+++

“Church Burning” – An Artist Statement

The New Orleans back-story of “Church Burning” by James W. Bailey

In 2004, artist and art blogger J.T. Kirkland began a unique online art exploration titled the One Word Project. The idea was simple. Artists were invited to submit representative images of their work, along with a written statement, in response to a word selected for the artist by Kirkland. I was one of the first artists to participate in this wonderfully creative project. The word assigned to me by Kirkland was “Obligation.”

The text portion of my response to the word “Obligation” that I submitted as part of the online project (as well as for the print edition of the project that was published in 2006), along with my image “Church Burning”, explored the meaning of t he obligations that come with the word “freedom” as inspired by the recorded words (voices) of my great-uncle, a white farmer from Mississippi whose grandfather once owned salves, and a friend of my great uncle’s, a black farmer from the same county in Mississippi whose grandfather had once been a slave.

As part of my text response to this project, I incorporated quotes from both men that I recorded in the early 1980s while researching my family’s genealogy and history in the state of Mississippi. My original text response for the One Word Project was also developed into a separate online art blog titled, Southern Obligation, which can be read here.

I wrote a lot of words in 2004 as part of the text portion of my response to the word, "Obligation." Many of my words at the time were inspired by my growing disgust over the pathetic state of contemporary American race relations, a poisoned state of race relations that for years prior Katrina, and especially in places like New Orleans, has fostered among many an increasingly paranoid level of fear, or worse, among others, a state of total denial.

Without context, the image “Church Burning” and the words “Church Burning” both tend to incite controversy, especially in the Deep South where I was born and raised. The original point of my photograph and written words was to creatively employ the use of art in an effort to crack the thin veneer of politically correct reactionary talking head surface dialogue that manipulatively functions to superficially cover up the cancer of racism in America.

It is my belief that Americans today (black, white and brown), are extremely reluctant to voice what their real concerns and fears are about each other. Since the end of legal segregation, blacks and whites in places like Mississippi and New Orleans (places where I was born, raised and have lived and know like the back of my hand) have instead mutually chosen to speak around one another (not directly to or with one another) using culturally coded and veiled language that barely masks a plenitude of deep-seated unresolved hostilities and resentments. “Church Burning” was my artistic attempt at the time to break through this entrenched cultural barrier toward a new level of honest dialogue.

When viewing "Church Burning" today, I am reluctantly motivated to write tens of thousands of pages about what has happened to New Orleans and the hundreds of people, including many of my family members and friends, that I personally know whose lives have been torn asunder by Katrina. I say reluctantly motivated because I know that if I were to finish the ten of thousands of pages that I could easily writer that I wouldn't stop there, but continue on for millions of pages more.

Prior to Katrina, when I first participated in the online version of the One Word Project, I used to spend a lot of my free time thinking about everything under the sun, including such important things at the status of the dysfunctional state of American race relations. Artists are supposed to do that, right, to think about everything and how everything that happens (or doesn’t happen) impacts every other thing, right?

Well, I don’t do that level of thinking anymore. After Katrina, the condition of New Orleans is all that I think about. New Orleans is certainly the only thing that most of us from New Orleans think about these days. Honestly, and the truth be told, New Orleans is the only thing in this world we probably care about. Katrina is a living nightmare for those of us from New Orleans that will not let us sleep.

J.T. Kirkland, the curator of the One Word Project exhibition, offered all of the participating artists in this current version of the project an opportunity to submit a rebuttal to their original submission.

My updated post-Katrina rebuttal to the word “Obligation” follows:

A Rebuttal to the Word “Obligation” by James W. Bailey

B.K. Time...

If it is true that the condition of art can change the meaning of the world, then it is more than true that the condition of the world can change the meaning of art.

The image “Church Burning” was created in B.K. time. For those of you who are not native New Orleanians, B.K. time means Before Katrina. In B.K. time, “Church Burning” was an attempt to explore the mythology of a black church in the Lower Ninth Ward of New Orleans that supposedly was firebombed by racists in the 1920s.

I became fascinated by this story after hearing about it from several different white people from New Orleans who never actually lived in the Lower Ninth Ward, but who were positive that the story they told was true. Their story was that the church had been burned by members of the Ku Klux Klan and that the church congregation rallied together and immediately rebuilt it following the arson attack.

However, no one that told me this story was exactly sure of the location of the church. At the time I researched the Times-Picayune newspaper archives at the New Orleans Public Library and could find no news reports that confirmed the story.

I then spent the better part of a week driving and walking through the Lower Ninth Ward in an effort to locate the site of this church. I talked with more than 100 African-Americans, all of whom were life-long residents of the Lower Ninth Ward, and asked all with whom I spoke what they knew about the story of this church.

No one I spoke with knew anything about a black church in the Lower Ninth Ward that had been fire bombed by the KKK in the 1920s.

An elderly African-American gentleman that I met did, however, tell me a story about a black church that he knew about that had burned in the 1940s that was rebuilt. His story was that the church burned as a result of an electrical fire caused by faulty wiring and that the fire had nothing to do with arson or the Klan. The church that he directed me to that is located in the Lower Ninth Ward is the same church featured in the underlying composite images of “Church Burning”.

A.K. Time...

We New Orleanians are now living in A.K. time, After Katrina, and the complex mythologies of my beloved New Orleans are unraveling.

In B.K. time all of us (white, black or brown) thought we were American citizens.

In A.K. time all of us (especially black and brown) discovered that we are nothing more than “refugees” within our own country.

In B.K. time we naively thought that Americans appreciated our city for being one of the greatest cultural assets of our country.

In A.K. time we watched in stunned horror as America cynically allowed the cultural heart of its greatest city to drown and be destroyed.

The one thing that has held the faith of New Orleanians bound together against a challenging history of experiencing nearly 200 years of one disaster (natural or man-made) after another is the deep cultural investment we have made in connecting our lives and souls to the spiritual. No matter how horrible our situation, many in New Orleans have for generations sought solace and comfort in their neighborhood churches.

It is now two years after Katrina and more than 1,500 storm-damaged churches in New Orleans have yet to fully recover.

But let there be no myth-making about the truth of what ripped the spiritual life of New Orleans apart: The federal government of the United States of American authorized the U.S. Army Corps of Engineers to build a levee system that would withstand a direct hit of a Category 3 storm. The levees that collapsed during Katrina and destroyed 85% of New Orleans failed under Category 1 storm conditions as measured at the levee failure point of the 17th Street Canal in the city.

New Orleans was destroyed as a result of the greatest civil engineering failure in American history, a failure that was paid for by the United States taxpayers. More than 1,000 New Orleanians died because of the failure of the government of the United States of America to adequately protect American lives.

The word assigned to me for the One Word Project was “Obligation”.

In B.K. time I responded.

In A.K. time, I and my fellow New Orleanians continue to demand that the government that destroyed the heart and soul of our beautiful city rebuild it.

The United States government has an Obligation with no restrictive, delimiting or defining quote marks to do so. If America has the money to destroy Iraq in an effort to build a supposedly better and more democratic country, then America has more than enough money to fix New Orleans, America’s greatest city, and to fix it now.

***

REMEMBER

08.29.05

WE ARE NOT O.K.

***

WHO:

The Arts Club of Washington is pleased to present The One Word Project, a group exhibition that is the capstone of a three-year exploration of the triangular dialogue between artist, work, and viewer. This exhibition will feature more than 30 artists, including Reston-based artist/photographer, James W. Bailey, a native of New Orleans whose award-winning signature style of slash-and-burn black and white film photography, better known as “Rough Edge Photography”, has garnered much critical acclaim during the past few years.

WHAT:

The One Word Project exhibition is curated by Reston-based artist and art blogger, J.T. Kirland. This project originated in 2004 as an online venue featuring artists, their work and their written statements, that was first published on Kirkland’s art blog, Thinking About Art . In 2006, the One Word Project was published as a print book that featured many of the online artist participants.

WHEN:

The One Word Project exhibition runs from August 28 to September 29. An opening reception will be held on Friday, September 7 from 6:30-9:00pm. The exhibition is free and open to the public. Normal gallery hours are Tuesday through Friday, from 10:00am - 5:00pm, and Saturday from 10:00am - 2:00pm.

WHERE:

The Arts Club of Washington is located at 2017 I Street, NW Washington, DC 20006. Visit their web site at for directions and more information.

About the One Word Project Exhibition:

Begun in 2004 as an online forum for stimulating artists to speak freely about their work, The One Word Project is a deliberate enactment of the 'conversation' between artist and viewer. Interested in seeking new ways to capture pure creative response, curator J.T. Kirkland distilled the traditional artist interview to its most basic element: a single word. After digesting the work of a self-selecting group of artists, Kirkland prompted each with a word of his choosing, to which each artist was asked to respond in approximately100–500 words. The resulting statements—which vary in length, approach, and relevance to the original word—offer a written correlative that informs and enhances the viewer's appreciation of the artist's work.

For Kirkland, the process of making art is as valuable and interesting as the work itself. The One Word Project reveals a fascination with the translation from artist mind to realized art object. The single word prompt minimizes the polluting influence of the viewer's agenda; spurred by an intentionally open-ended stimulus, the resulting self-articulation offers unfiltered insights into process.

In 2006, the work and words of The One Word Project artists were collected in a full-color art book of the same title. The current exhibition represents the natural conclusion of this three-year arc. Each piece is accompanied by Kirkland's word and the artists' response, offering a rare glimpse into the mind of the artist by both visual and verbal avenues. Viewers are encouraged to add their own impressions to the 'conversation'.

The exhibition features work by:

James W. Bailey (VA)
Rachael Baldanza (NY)
Joseph Barbaccia (VA)
Gregg Chadwick (CA)
J. Coleman (DC)
Anna Conti (CA)
Warren Craghead III (VA)
Rosetta DeBerardinis (MD)
Greg Ferrand (DC)
D. Keith Furon (CA)
Matt Hollis (DC)
Candace Keegan (MD)
Angela Kleis (DC)
Tara Krause (CA)
Andrew Krieger (DC)
Prescott Moore Lassman (DC)
James Leonard (NY)
Nathan Manuel (DC)
Jennifer McMackon (Ontario, Canada)
Jennifer Miller (DC)
A.B. Miner (DC)
Charles Neenan (VA)
Peter Reginato (NY)
Jose Ruiz (NY)
Wayne Schoenfeld (CA)
Kathleen Shafer (DC)
Alexandra Silverthorne (DC)
Marsha Stein (MD)
Trish Tillman (NY)
Kelly Towles (DC)
Bryan Whitson (DC)
Jamie Wimberly (DC).

The Power of the Web

A while back I showed you the below drawing ("Woman on the Moon About to be Swept Off Her Feet by a Flying Bald Man"). The drawing itself was sold at my last Washington, DC solo.

"Woman on the Moon About to be Swept Off Her Feet by a Flying Bald Man"

Greendoor Films saw it and now they will be using it in their current documentary about Superman titled "Last Son." Get a peek of the movie trailer here or click below...

Opportunity for Latino and/or Hispanic and Latin American Artists

Teresa Diaz is a curator searching for DC Area Latino/Latin American Artists as she currently has several curatorial endeavors in the DC Area and is trying to expand to other cities.

Interested artists should send her an email to terediaz@yahoo.com with your website, or four samples of web resolution images of your work.

In the near future you may take a look at my website (currently under construction) at www.latinovisualsource.com