Final Collection

That particular sense of sacred rapture men say they experience in contemplating nature- 
I've never received it from nature, only from. Buildings, Skyscrapers. 
I would give the greatest sunset in the world for one sight of New York's skyline. 
The shapes and the thought that made them. 
The sky over New York and the will of man made visible. 
What other religion do we need? 
And then people tell me about pilgrimages to some dank pest-hole in a jungle
 where they go to do homage to a crumbling temple,
 to a leering stone monster with a pot belly, created by some leprous savage.
 Is it beauty and genius they want to see? 
Do they seek a sense of the sublime? 
Let them come to New York, 
stand on the shore of the Hudson, look and kneel. 
When I see the city from my window - 
no, I don't feel how small I am - but I feel that if a war came to threaten this, 
I would like to throw myself into space, over the city, and protect these buildings with my body.
~Ayn Rand, The Fountainhead.

New York I love You Too

Drag Ladies. Drag.

Fur...What else is there?

Heart Shaped Glasses

 Marla's heart looked the way my face was. 
The crap and the trash of the world. 
Post-consumer human butt wipe 
that no one would ever go to the trouble to recycle.
~ Chuck Palahniuk

Don't break
Don't break my heart
And I won't break your heart-shaped glasses
Little girl, little girl
You should close your eyes
That blue is getting me high

More Jellybean Love!!

Jellybean Love

New York I love You

Designed in 1977 by Milton Glaser for the New York State Department of Commerce. It came about in a moment of inspiration during a taxi ride through his beloved city!

Fashion Silhouettes

Pierrot

Pierrot (French pronunciation: [pjεʁo]) is a stock character of pantomime and Commedia dell'Arte whose origins are in the late 17th-century Italian troupe of players performing in Paris and known as the Comédie-Italienne; the name is a hypocorism of Pierre (Peter), via the suffix -ot. His character in postmodern popular culture—in poetry, fiction, the visual arts, as well as works for the stage, screen, and concert hall—is that of the sad clown, pining for love of Columbine, who usually breaks his heart and leaves him for Harlequin. Performing unmasked, with a whitened face, he wears a loose white blouse with large buttons and wide white pantaloons. Sometimes he appears with a frilled collaret and a hat, usually with a close-fitting crown and wide round brim, more rarely with a conical shape like a dunce's cap. But most frequently, since his reincarnation under Jean-Gaspard Deburau, he wears neither collar nor hat, only a black skullcap. The defining characteristic of Pierrot is his naïveté: he is seen as a fool, always the butt of pranks, yet nonetheless trusting.

It was a generally buffoonish Pierrot that held the European stage for the first two centuries of his history. And yet early signs of a respectful, even sympathetic attitude toward the character appeared in the plays ofJean-François Regnard and in the paintings of Antoine Watteau, an attitude that would deepen in the 19th century, after the Romantics claimed the figure as their own. For Jules Janin and Théophile Gautier, Pierrot was not a fool but an avatar of the post-Revolutionary People, struggling, sometimes tragically, to secure a place in the bourgeois world.^[1] And subsequent artistic/cultural movements found him equally amenable to their cause: the Decadents turned him, like themselves, into a disillusioned disciple of Schopenhauer, a foe of Woman and of callow idealism; the Symbolists saw him as a lonely fellow-sufferer, crucified upon therood of soulful sensitivity, his only friend the distant moon; the Modernists converted him into a Whistleriansubject for canvases devoted to form and color and line.^[2] In short, Pierrot became an alter-ego of the artist, specifically of the famously alienated artist of the 19th and early 20th centuries.^[3] His physical insularity; his poignant muteness, the legacy of the great mime Deburau; his white face and costume, suggesting not only innocence but the pallor of the dead; his often frustrated pursuit of Columbine, coupled with his never-to-be vanquished unworldly naïveté—all conspired to lift him out of the circumscribed world of the Commedia dell'Arte and into the larger realm of myth. Much of that mythic quality still adheres to the "sad clown" of the postmodern era.