a terrific place to be


This is my first post of the year~ Wow, it’s really april already? Did you file your taxes yet? Here’s something to distract you for a little while, pictures from my trip to HI with words on top…

Munny Planter

munny planter
I’ve made a planter with a munny diy toy. First I cut a hole in the top of the head with an xacto knife. The vinyl cuts like butter after a blast from a heat gun. Then I cut the neck joints so that the inside hole is large enough for soil to go through. I drew on the munny with a blue permanent marker. I was hoping to seal it with shellac, which would have given it a nice glossy sheen. But instead, it smeared the marker ink. I stopped as soon as I noticed but I was too late. Oh well. Then I drilled some drainage holes on the base and glued the two parts together. Filled with rocks, soil, and a succulent cutting. Tada~ diy munny planter.

No whining
no complaining
absolutely no frowning
Only hugs, smiles
and warm fuzzy feelings
are allowed


The crazy for cult show at Gallery 1988 has moved to NY this year. The opening seemed like a big success with people lining up around the block. The show runs until September 1st so if you’re in new york, you should check it out! But if not, all artwork is viewable here. By the way, Quentin Tarantino (director of the movie I based my embroidered piece on – PULP FICTION) is the honoree of this years film benefit gala at MoMA. Tables for the gala go for $75,000. Yay for him. I’d be truly honored if someone gave me that much money for some art and a meal.

Eyeball Candy

Seth Rogen, Danny McBride, Elijah Wood…

This should be a full length movie. What a great cast.
What a great use of unique film. It shows a different perspective on the meaning of pink. Photographer Richard Mosse used Kodak’s Aerochrome film to capture the conflict in Congo. “Discontinued last year, the film is particularly sensitive to infra-red light, rather than to the usual visible spectrum of colors registered by traditional film. Since foliage reflects infra-red while buildings don’t, the US Army used it during the Vietnam War to detect and reveal hidden soldiers. “I wanted to export this technology to a harder situation, to up-end the generic conventions of calcified mass-media narratives and challenge the way we’re allowed to represent this forgotten conflict,” says Mosse. “I wanted to confront this military reconnaissance technology, to use it reflexively in order to question the ways in which war photography is constructed.”