A Little Devil on Your Shoulder

Often times there's meaning behind that little devil on your shoulder But one thing is certain. There's more meaning than meets the eye behind the STICKMAN

Edmonton Art Show & Appreciation Event

Last weekend’s event was amazing. Thank you to all who came out, showed their support, and even got a tattoo. My supporters are incredible! Also a big thank you to Sterling Gallery, The Party People Catering, and the Rabbit Rabbit Tattoo team (Ben, Kaisha, Natasha) for the awesome space and tattoos.







NEW RELEASE: DAVID

Original and limited edition prints available

I’ve been fortunate enough to visit some of the most amazing art galleries in the world, including the Vatican and the Louvre. It’s no surprise how much I enjoyed seeing some of the most iconic paintings in the world, but what caught me off guard was how much I was drawn to the statues. Almost immediately, ideas started bouncing around in my head about who would be the modern-day philosophers and poets people would look upon hundreds of years from now. Naturally, that path headed towards the musicians of the 20th and 21st centuries. I started to conceptualize a few different ways to portray this idea, and am looking forward to sharing some more of these concepts very soon.

This piece was the first to be actualized. I figured the most recognizable statue in the world would be a good jumping off point. And with its title simply being "DAVID", it was almost taunting me to paint it as a defaced statue with the most prominent David in rock and roll history. The concept of incorporating the Bowie lightning bolt to the face is a collision of Michelangelo’s world/art with my own.

NEW RELEASE: Hey Man, Thanks

Original Sold - Limited Edition Prints Available

Miles Davis said, “It’s not the notes you play; it’s the notes you don’t play.” This is something you hear from musicians time to time about the space between the notes. Artists also have a similar relationship with the power of negative space. Sometimes it’s the negative space in a piece that gives it its "vibe". I've been conceptualizing using this practice for some time, and in this piece I was able to have much of the canvas close to empty.

Another Gord piece isn’t much of a stretch for a Canadian artist that focuses on living in a rock and roll space. This is pretty much a follow up single to my first Gord piece. In that initial piece, I wanted a fierce and intense version of the man who had vigilantly fought glioblastoma while he embarked on a cross Canada curtain call. However, for this concept I wanted to portray the other side of him. I wanted to capture that incomparable stage presence, the poetic ad libbing linguist, and the ever-complicated relationship with his microphone stand - who couldn’t understand that it wasn’t a man.

It’s arrogant to think you can speak for a large percentage of a population, but I’m probably not far off saying that a lot of us, at one time or another since his passing, have “looked up to the lord above and said, hey man, thanks”.

NEW RELEASE: "Silver Machine"

“Silver Machine” - Acrylic on canvas

Being born on Dec. 24 and passing on Dec.28, it’s easy to see why I get a little nostalgic and reflective about Motorhead’s Lemmy Kilmister around Christmas. This year was no different, with the exception that I started spinning some pre-Motorhead Lem in the studio by one of his early bands – the bad ass futuristic Hawkwind. While listening to “Silver Machine” at an ear splitting level, I reached for a bottle of wine from the bar and a silver skull decoration we’ve had for years was staring me in the face.

Sometimes the inspiration comes as easy as that. Although I was stoked to paint the silver skull, I was equally stoked to be one of the few rock and roll artists who can say they have a piece inspired by freaking Hawkwind.

https://www.stickmanfineart.com/the-new-shit#/silver-machine/

NEW RELEASE: "You Wanted the Best" Parts 1-4

"You Wanted the Best" (Parts 1 - 4) - Acrylic on canvas

My first recollection of being infatuated with art was seeing the album art of Kiss’ “Destroyer”. I remember staring at it, and for the first time, I was intrigued with not only how it was created, but the story behind it. I wanted to know more about what had preceded the frozen image staring at me. I had an early understanding of that aspect of art – and I loved it.

As Kiss’ final bow closes in, I started to think about honoring them for giving me that gift by doing my third miniseries depicting an entire band. Knowing the influence that Kiss had on not only myself, but most of my favorite bands, it was a slam dunk. While I started to think of concepts, I was also conceptualizing my next Rogue footwear piece portraying a vibe to a particular genre, as I had done with the Sex Pistols punk boots and Motley’s studded spikes. When the thought of the most famous boots on earth entered my mind, I knew this concept would be a perfect way to scratch multiple itches.

https://www.stickmanfineart.com/the-new-shit#/you-wanted-the-best-1/

https://www.stickmanfineart.com/the-new-shit#/you-wanted-the-best-part-2/

https://www.stickmanfineart.com/the-new-shit#/you-wanted-the-best-part-3/

https://www.stickmanfineart.com/the-new-shit#/you-wanted-the-best-part-4/


NEW RELEASE: "Ballerina, You Must Have Seen Her"

”Ballerina, You Must Have Seen Her” - Acrylic on canvas

This piece, like most, came from a convergence of a few different things. First and foremost, I wanted to do another Elton inspired piece to mark the occasion of his farewell tour. I was initially torn between "Tiny Dancer" and "Saturday Night’s Alright for Fighting". However, the scales tipped towards "Tiny Dancer" thanks to that epic scene in "Almost Famous" (coincidently, Elton and Britney Spears also re-imagined this song while I was conceptualizing the piece).

The second piece of inspiration came from Ray and the @albertaballetcanada. Generally a ballet would not be my preferred choice for an evening out, however, she convinced me to give it a try when they produced a series of performances set to famous rock musicians/bands. Featuring the music of bands such as The Hip, Bowie, and Elton, it was an easy sell to try this new way of enjoying my favorite music.

https://www.stickmanfineart.com/the-new-shit#/ballerina-you-must-have-seen-her/

That Night in Toronto (With its Checkerboard Floors)

“That night in Toronto, with its checkerboard floors”…anyone that knows the history of the Tragically Hip or has knowledge of the Toronto live music scene knew immediately what Gord was referencing when he belted this lyric in their hit song, “Bob Caygeon”.

The legendary Horseshoe lounge in downtown Toronto may very well be the most storied dive bar in Canadian history. Discreetly nestled on Queen Street, this unassuming lounge is probably passed by thousands of locals and tourists daily, blindly oblivious to the importance and history of this national treasure. At first glance of this small, gritty, watering hole, one would have a tough time trying to wrap your head around the legendary acts that have adorned the stage in front of that checkerboard floor. The bar is where the Tragically Hip was first discovered, and is ultimately the place where Gord and Laurie Downie would be married. If this bar could talk, it wouldn’t be the type to name drop, so I’ll do it for it – The Hip, The Stones, Foo Fighters, Waylon Jennings, Ramones, Linkin Park, Willie Nelson are but a few of hundreds of legendary acts that have played to a max capacity of under five hundred.

During a recent trip to Toronto for an art show, when I was informed that I was scheduled for a radio interview in the heart of downtown, I immediately mapped out the distance between the iHeart Radio studios and the Horseshoe for a pre-interview beer. It’s tough to put into words what I felt when I entered this place. Perhaps I’ll borrow a quote from Dave McPherson who wrote The Legendary Horseshoe Tavern: A Complete History…”It’s a blue-collar bar. But you can feel the ghosts and spirits who live there, the weight of history, of all the people who once played on that stage”.

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Bronx Cheer

It’s a Tuesday night, March 5, 1991 in downtown Edmonton, and a relatively unknown band from Seattle named Nirvana is about to take the stage in an eighty-year-old brick building, now housing an alternative club called The Bronx. Over the next three decades numerous bands, too many to count, will follow suit and adorn the stage at the end of the uneven sloped floor.

As you can probably tell from my previous posts, when I travel I often look for significant historic landmarks and/or venues and then muse about them here on my website. The more I've researched and visited these locations, the more I've started to realize the importance of our very own music venue right here in Edmonton. Memories are vividly clear of a crowd soaked in “blood” after a Gwar performance or the rumours that a band by the name of Bad Omen reportedly threw cow brains and hearts into the crowd. Some of the stories have become almost urban legends in this town and the common denominator has often been this historic venue.

The building has gone through numerous name changes over the years, and with that, a slightly different demographic, but a few things never seemed to change. It has always attracted a fringe or alternative crowd, music has always stayed at the forefront, and the interior has seen very little change at all.

Over the last three or four years, now in my forties, I find myself frequenting this establishment more than ever before. When I walk into what is now known as The Starlite Room, I always allow myself to reminisce a little. The dancing cages are long gone but the sweat from a thousand dance floors and mosh pits still hangs in the air – the history is never lost on me. It has, in the last few years, found its wayback to, in my opinion, its true calling as a mostly rock/punk music venue.

I’m grateful that very little has changed. I would put this place up against any music venue I’ve been to in LA, New York, London or Paris. You still enter through a dark narrow hallway, it’s still hot and sweaty, the bar is still limited, the floor is still sloped, but it carries with it an indescribable vibe. It’s as historic and important as any I’ve encountered - and it’s ours.

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It Gets So Sticky Down Here

I found myself back in New Orleans for the third time in as many years. With a town so rich in musical history, I find this place incredibly inspirational. I have mentioned some of the other musical highlights of this city in my other posts. This trip I had a different mission in mind, one that I would have explored sooner had I known the history.

This trip my modus operandi was to visit a mansion on the edge of the French Quarter. Built in 1848, The Kingsway, as the property is known, has been owned by all manner of local characters, but in the 90’s it was perhaps the most prolific recording studios in the world. Owned and operated by esteemed producer Daniel Lanois (a fellow Canadian) some of my favorite acts of all time recorded at this studio. The likes of U2, Bob Dylan and Pearl Jam all flocked here to record at some point.

As much as I love the aforementioned artists, they’re not the reason I walked across the French Quarter this morning. No, the reason I woke up and walked from Canal Street to Esplanade is because this mansion is the birth place of two of my all-time favorite albums, Road Apples and Day for Night by the Tragically “Mother Fucking” Hip. The band has stated that the energy of city could be heard in the up-tempo songs of Road Apples and I can’t help but feel some of the grittiness of the city in Day for Night. 

To paraphrase an anecdote from the band, upon arriving to record in New Orleans the first time, the bands’ driver was doing his best to give dining recommendations and happened to mention one of the best chicken places in town. Before they parted, he provided them one piece of valuable advice…“eat that chicken slow, it’s full of all them little bones.”

At some point, Mr. Lanois decided to put a pool table on the main floor to occupy bands during their downtime. It was here that The Hip learned that if you’re going to shoot pool in a city with the humidity of New Orleans, “you better butter your cue finger up.”

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For Uplifting Gormandizers

I’ve been fortunate to travel to some of the world’s greatest cities. Like most people who have visited, I left a small part of myself in L.A., London, Paris and Rome. As great as those experiences were, for me, nothing compares to New York City. It is the living embodiment of the vibe I try to accomplish with my art–the intersection of decadence and glamour.

From my first visit and every visit thereafter, my number one destination when I get settled in isn’t the typical tourist attractions. I head directly to 315 Bowery in the East Village. This address is now a flagship store of my favorite designer, John Varvatos. I’m a huge fan of this edgy clothing line and have recently been lucky enough to collaborate with the organization for an upcoming show in Los Angeles. A visit to any Varvatos store would be warranted but, in this case, it is a secondary, serendipitous coincidence.

The real reason I’m drawn to this address is because it’s the historical home of one of the most influential and legendary music venues in the world–CBGB. If you are unfamiliar with this bar and its impact on music, particularly in the 70’s, I suggest you research it. There is simply no way I could accurately describe the vibe, the importance, and the bands that this place helped launch over the years. We all owe the owner, Hilly Krystal, a debt of gratitude. If it wasn’t for him and this run-down dive bar, the world may have never heard of bands such as The Ramones, Blondie, Patti Smith and The Beastie Boys.

Unfortunately, CBGB closed its doors in 2006 and was in danger of being gentrified. When Varvatos took over the property, it was to the dismay of many people unfamiliar with his brand who thought turning it into a clothing store was a travesty. To the contrary however, Varvatos has done an exemplary job of preserving the space in all its gritty glory and still uses the facility for the odd live music show. For myself, walking through those doors is more awe inspiring than any church or museum in London, Paris or Rome.

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