Here are a couple of shots that I never did anything with because, as color images they never sang to me. But in the nature of this new tritone extreme-contrast semi-lithograph look I've gotten into lately, I revisited them and I think they found their calling:
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This was from the very first time I pulled the camera out after the stroke. In the procession of me starting to give a f*ck about anything on the creative or artistic side of life (for example, music had no function for me anymore because it was something i listened to while i was doing something, as in moving around) you could say this was the seminal act in my attempt to recover my lost creative-playful-self, or some other hokey Jungian shit like that:
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Then I worked on some old photos for my sister's 40th birthday. This is she and I, apparently exhausted and peeved after our dad dragged us around London all day.
I know, right? Peeved because you were dragged around an exotic foreign city? What a bunch of spoiled brats. For most of our childhoods our mom worked for a national airline, so we were blessed with basically free air travel around the country and world. We were like the butler's scurrilious kids that get to tag along with the Lords and Ladies on the trips to Vienna. The Simpson's go to Hawaii.

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before that I went through a sticker making phase. The Dimmer Switch is a pseudo-anti-quazi name i came up with for the appropriation mashup music i've been making as a result of re-accompanying Projexorcism on the auditory enhancement battle station.
i grew up with dimmer switches and always appreciated their hippy mood setting capabilities. i think appropriating it as an icon of iconoclastistic refusal to buy into absolutisms seemed familial and appropriate.
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Here are three tracks from The Dimmer Switch:
Dances with Armies
Thanks
Why Are You Here?
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This is from the ten year Projexorcism at Pete Wallace's compound:
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and a night at the farm:
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and finally just ride-around shots from this week:
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