Shitcakes and Snooze: A Gigantic Waste of Time

Pancakes and Booze? More like shitcakes and snooze, am I right!? LOL, BURN! 🔥

So, I heard about this thing early in the summer and figured it sounded like fun. I don’t know why. I’m an eternal optimist maybe? Or I thought it would be an excuse to have fun somewhere? I didn’t have anything else art related going on? I need to post this and maybe use it as a reminder to never do a hacked together, poorly curated, booze driven group show ever again. Why do I put myself through the disappointment, embarrassment and shame associated with wasted time, effort and money? Never again.

  1. I didn’t know when set up started. I asked and never found out. Turns out I was two hours later than everyone else and almost had to drive back home because there was so little room left. So that was a fun lack of organization. First come, first serve? Fine. But with no limit as to how much room anyone could take, there was no guarantee there would be space for everyone they accepted.
  2. The place was a dump. Temporary walls were set up throughout a dingy dark shabby cramped Austin music venue, resulting in a cramped maze, lined with the creative excretions of every sort of freak. It was more of a haunted house than art event.
  3. No one was there to buy art. Of course they weren’t. I wasn’t expecting much, but I was hoping for better. It was just a regular Friday night Austin freak show. Not as much of a hipster scene as a hive of degenerate sewer people.
  4. The pancakes were in a corner of the bar that was hard to get in and out of and the line of people caused a traffic jam that wasn’t worth the trouble.
  5. The stage had no room in front of it so the scrub DJs they had pushing buttons and tweaking knobs couldn’t be seen. Not that there was much to see. The first act was a young couple. They had a friend who, despite not being particularly attractive, took off her skirt and walked around in a bustier, fishnets and Chuck Taylors with her butt cheeks hanging out for no apparent reason.
  6. No body painting. I guess that fad is dead? I won’t miss it, but it is interesting how a few years ago, every event featured young ladies in their underwear smeared with cheap Walmart acrylics. Vaguely burlesque and naughty, it kind of signaled that you were at the right kind of party, but it also kind of made me uncomfortable. I guess I never got to witness the higher end body painting so I just ended up feeling bad for everyone involved. At least I was spared that awkwardness at this event.
  7. It wasn’t fun. It’s work. And you sit there exhausted after preparing and driving andsetting up and sweating. The place barely had room for the artists, DJs and their friends. Other people may have shuffled through but it wasn’t many and no one really wanted to look at art. We didn’t get pancakes or get drunk or make new friends. Kinfolk Art from Dallas was set up next to me. He and his wife were cool. But they were sober too and tired and not thrilled with the event either.

A couple of people saw my work and got excited. Trouble is, they were probably so pleased because they didn’t expect to find anything worth a damn in this sad pit of mediocrity. I’m still no closer to figuring out a place for me in Austin. Maybe there isn’t one. I’m sure I could find places that I like, but I’m still not sure if there is a market. People want prints. They can’t buy art when all of their money goes toward craft brews, organic gluten free tacos and rent.

I’m sure it’s just me. This and other group art shows aren’t necessarily a waste of time for everyone. These events are for younger artists, hacks who need to get it out of their systems and vaguely artistic booths selling stickers, shirts and nicknacks. It isn’t want I’m looking for. I sometimes think that because I’m pushing Texas cultural pop art, I need to be out where the culture is happening. That isn’t true. I need to be where the people are out looking for art to buy.

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Prickly Pear Series: Cultural Significance of the Incredible Edible Cactus

Opuntia, commonly called prickly pear, is named for the Ancient Greek city of Opus, where, according to Theophrastus, an edible plant grew and could be propagated by rooting its leaves. Prickly pears are also known as nopal from the Nahuatl word nōpalli for the pads.

Wikipedia knows all the things.

As I ramped up my renewed, grown up, adult period of art making as Moe Profane, I knew I was going to try to neuter symbols of their significance by poking fun of them and their arbitrary power. Years later, looking back at what I had done, I realized that I had begun to treat sacred and mundane subject matter I was seeing and exposed it all as new kind of pop culture imagery. By juxtaposing it in ways that reflected South Texas Culture back at the locals through the eyes of and brain of a fascinated new comer, I took a sideways glance at it all, honoring their cultural beauty, laughing away any pretension, and highlighting some of the complexity of cultures that participated in their creation.

This has had me on the look out for things that define what is essentially Texan beyond the cliches, distilling subtle everyday objects into imagery that people will relate to. On a trip to Marfa earlier this year, I didn’t appreciate anything I saw as much as all of the prickly pear I saw growing everywhere. It’s modularity, it’s persistence and hardiness. It’s beautiful flowers and off-putting spines. How it defends itself even as it offers up nutritious tasty foods and medicinal applications. How it was used by indigenous people and how something so wild is still used to decorate our outside spaces.


People and Prickly Pears

There is an Aztec origin myth of some sort where the Aztec people had to leave where they lived and find a new place to build a city. They would know the right spot when the found an eagle perched upon a prickly pear cactus,  eating a snake. When they found that place, they named it “Tenochtitlàn”, meaning “place of the prickly pear cactus”.

The prickly pear has long been used in many ways. Indigenous people used the actual paddles of the plant to make juice used to treat burns. They also drank the juices to treat hepatitis. The pads, or nopales are filled with vitamins and calcium and were incorporated into their diet. Both the pads and the fruit still frequently appear in markets in Mexico and parts of the U.S.

In midsummer many different groups would converge on the area in southern Texas where prickly pear was ripening, and this was their favorite time of the year.

Symbolic Significance

Anything so culturally important will inevitably develop symbolic significance as well. The prickly pear and cactus in general is an obvious symbol of hope and endurance in harsh conditions. To many Native Americans, the yellow cactus flowers were a mother symbol representing a mother’s unconditional love and their patience and selfless protection.


Food and Medicine

A mother’s protective qualities were projected upon the cactus flower due to its medicinal properties. The pulp and juice was used to treat numerous wounds and sickness due to digestive inflammations.

The healing purposes of prickly pear and its use as a food has been know for centuries. Loaded with protein and vitamins, the prickly pear pads have been used to treat diabetes, stomach problems, cuts and bruises, sunburn, windburn, constipation, and cold symptoms. Folk remedies abound, such as the one that involves heating the pads and placing them on a cold sufferer’s chest to relieve congestion.

Churches and convents were coated in paint made with prickly pear after it was discovered in rural Mexico that could be used to make a highly effective waterproof paint for homes.

In rural areas prickly pear has been used as an effective way to mark property lines, as well as a protective barrier against predators, both animal and human.

The pads are often fed to dairy cows in Northern Mexico. The milk produced these cows is highly coveted.


We Still Love the Prickly Pear

The significance of the prickly pear is recognized still today as it is the Official State Plant of Texas.

WHEREAS, The State of Texas has traditionally recognized certain terrestrial forms indigenous to the state as official state symbols; and

WHEREAS, The bluebonnet, the pecan tree, and the mockingbird are examples of some natural specimens that serve to symbolize the rich diversity of the plains, forests, skies, and mountains of our vast state; and

WHEREAS, In keeping with this custom, the designation of the prickly pear cactus as the official state plant will provide suitable recognition for this hearty and beautiful denizen of the Texas landscape; and

WHEREAS, A native of the American Southwest and the Sonoran Desert region of Mexico, the prickly pear cactus provided nourishment to the earliest inhabitants of those regions, and both the sweet, fleshy fruit and the broad, flat stems were incorporated into tasty dishes; and

WHEREAS, Tunas, the prickly pear fruit, and nopales, which are made from the stem, have since become staples of the Mexican diet, and their growing popularity in Lone Star cuisine can be attributed to Texans’ appreciation for unusual and distinctive foods; and

WHEREAS, In recent years, the prickly pear cactus has been successfully exported and naturalized to tropical areas around the world, and it has proven to be a popular landscape choice for all who want to have a little bit of Texas in their own backyards; and

WHEREAS, This adaptable plant can survive under many different environmental conditions, and thus can be found from the hill country of Central Texas to the windswept plateaus and arid mountains of West Texas; because it thrives in a harsh climate that few plants can bear, the prickly pear cactus is often grown as forage for cattle and has had a tremendous positive impact on the vital Texas cattle industry; and

WHEREAS, Rugged, versatile, and uniquely beautiful, the prickly pear cactus has made numerous contributions to the landscape, cuisine, and character of the Lone Star State, and thus it is singularly qualified to represent the indomitable and proud Texas spirit as an official state symbol; now, therefore, be it

RESOLVED, That the 74th Legislature of the State of Texas hereby designate the prickly pear cactus as the official state plant of Texas.


So What Am I Gonna Do About It?

I researched, read about and wrote all this so I can appreciate all the way prickly pears have been used and what they have meant. By doing so I can understand what they mean to people today and better reflect that back to people in a way they may be able to identify with.

All of this has led me to come up with a list of ideas that could be just the start of a whole new series and defining addition to my subject matter and technique from now on…if I can maintain the focus to do so. 😬

These include brand new ideas and even the inspiration to revisit past concepts with an extra layer of meaning and visual complexity. People love a little visual complexity.

  • Ice cream: Blue bell, cows, cream,
  • Lone star: I have the idea of a cactus catching and holding various famous Texas brands that may be blowing in the wind. This is an obvious one.
  • Shiner: see above, only I like Shiner more.
  • Road signs: A way to incorporate specific places in Texas and highlight how widespread prickly pears are throughout the state.
  • Surf Texas: Wave and rig inside bull skull, Skeltons in hats in the eyes. Cactus growing up behind the skull, providing contrast of rugged scrubby Texas landscape with the tropical association of surfing.
  • Nudes in nature: only with prickly pears will assault the viewers’ psyches with the vulnerability of being naked around all those cactus needles.
  • Prickly pear and highway signs: evoke the memories of driving balls out across the flat expanse with old rusted road signs and cactuses zipping past.  
  • Prickly pear fiesta hat
  • Large modular prickly pear taking up a whole wall – Texas critters and litter of famous brands hidden inside. 
  • Run for the Border: An old idea I made with Trump holding a brick of cheddar cheese and a grater, showing his ignorance regarding the perceived threat he want to protect us from, standing behind a wall protected from negative stereotypes of Mexican Culture. Adding a prickly pear behind would provide visual complexity and a context for the other things to live in, but would also add a big of meaning from its connection with thriving in harsh environments
  • Art drank – prickly pear growing in big soda cup, with crushed monster and toppled jaeger: This may be too personal with myself being represented growing out of the cup after I’ve drank my art show lubricant – Jaeger and Monster Energy Drink
  • Free Range, Suburban, Urban Chickens (cactus in ground, in a flower bed, in a pot): Again, more complexity but the cactus’ and the chickens’ changing contexts will show the adaptability of them both

This is just the start. Now I need to start painting some damn nopales!

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Pancakes and Booze: Promising First Step into Austin Art Scene?

Batter sizzles, beer foams, and canvas lines the walls from ceiling to floor as hundreds, if not thousands, of revelers indulge in endless pancakes.

You had me at Pancakes and booze!

I like both of those things! AND since so much of my work already has food and booze at its subject matter, this is an event that was made especially for me.

So far I’ve been accepted to the shows in Austin, Oct 4 and Houston, Nov 15 but there will be on in San Antonio this December as well. Here are some of the works I already have along with more ideas I’ll be working on for these shows.

AVOCADO HAND: STIGMATA

11/2018 — 17.25″ x 21″

Acrylic, candles on used fence pickets.


TEJANA: HEIDI

02/2018 — 33.5″ x 34.5″

Acrylic on used fence pickets.


KEEP TACOS WEIRD

06/2016 — 43″ x 28″

Acrylic on used fence pickets.

  • Redo: Delayed Gratification – old men praying over tacos
  • Redo: Acrimony and Cheese – retro house wife flipping the bird over a crock pot full of cheese
  • Prickly Pear: Ice Cream – a vague idea about combining prickly pear cutout pieces and ice cream. Maybe growing out of an ice cream container
  • Prickly Pear: Shiner – a vaguer idea about combining prickly pear cutout pieces and Shiner beer. Growing out of an empty case…bottles scattered.
  • Mimosas and Mea Culpas – a not so vague idea but kind of still pretty vague featuring hung over woman or three gathered around, avoiding eye contact drinking mimosas at their brunch.
  • Butterworth virgin: I’ll manage to figure out what to do around a Mrs. Butterworth Virgin Mary idea.

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Nihilism and Nanner Puddin: A Big Hit with the Houston Press

My 2014 Houston show is home again in San Antonio. What’s left of it. I sold a few. Meh, I’ll take it. I hear there was a buzz about it from other artists and people from Houston and others who were visiting got a big kick out of it too.

As for press, I got mentions in the usual blogs and bulletin boards but I got a nice write up in the Houston Press. Gus Kopriva, owner Redbud, the gallery hosting my show, was even surprised at the attention. He says his shows don’t get that much play. I must have really caught there eye.

I made the 5 Top Things to do the week of June 5-12 on the Houston Press site.

I also got two images and a write up in the print edition. Still waiting on the calls to start coming in.

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I Should Post Here More Instead of Stupid Facebook

Tossing free content onto Facebook for immediate gratification. I’ve been told that is dumb. Why not post on the blog and use facebook to promote it? I doubt anyone would care. But I guess it can’t hurt to keep trying to build up content on here and see if I hit critical mass. I have had a decent amount of sales off people finding this site on the googles.

This blog post makes some compelling arguments. Maybe I’ll go through facebook, mining my deeper thoughts and repost on here? This I think is the most compelling point it makes:

Blogs benefit from SEO efforts, which help pull in more traffic from Google and the other search engines. Facebook is largely not indexed, or not searched high up on the ranks without special filters to search specifically through the social network, so the content you post directly on the site is much less valuable.”

It’s 2014, let’s see how this goes. That’s a lie, I’m updating this 08/20/2020 as I go through old posts and update them to work on my new wordpress theme. Anyway, if I do blog on here and then share the posts on facebook, at least I won’t get so many timeouts for calling out rednecks and crackers.

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Time For Revisiting Less Successful Work

Deadlines are great. They make me more productive than any creative itch possibly can. The trouble is that getting into a rush prevents me from stopping to really look at a piece as the idea is developed and guide it toward a more pleasing conclusion. The good news is that you now have a work that can be revisited and edited and made anew for the next show.

This is what I’m currently doing with “Our Lady of the Lawn” completed back in February 2013 for a show I had 3 weeks to prepare for.

“Lady of the Lawn” 2013

This is the initial draft from which I was working.

Perhaps the saturation of colors and differences in tones makes the digital sketch hold up better, but the final product had no well defined focal point. The flamingos rather than being benign plastic static guardians of our holy mother in her bathtub shrine, are competing visually with her, the focal point. I believe they have a role in a more symmetrical composition, but with this asymmetrical set up, they just make the whole thing lopsided.

Then there is the argument for simplicity. I have been advised to distill my imagery even more, to stop slowing people down with arcane, personal symbolism and feature more the imagery that supports the intended emotional focus of the piece. I’m not sure if I agree with that completely but it is something to consider. Do I force the additional kitsch value of the flamingos to highlight the absurdity of decorating your hard with shrines to a virginal vessel of God’s seed? Or, do I allow the angel and devil to express their distaste, the pilgrim gnomes and the typography do so nearly as effectively without knocking the composition off kilter?

I guess not.

Last night I started sanding off the flamingos. Then I realized the orientation of the text will need to be adjusted and perhaps the rays of light accentuated.

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Existential Dinner Party Revisited: Distress, Diversions and Comfort Food

Self Doubt and Sauerkraut painting by Moe Profane
“Self Doubt and Sauerkraut” – 2012 version

My “elevator speech.” for this series has been lacking, I recently realized. People see the food, they see the ubiquitous devil and angel, the distressed individual, and they ask, “What does it mean?” I’m not interested in applying secret meanings postmortem, but I have thought more about how this idea was hatched and what it was about it that I found compelling.

I, as the artist, try to avoid decoding exactly the associations my brain pieces together. I don’t want to hinder creativity, inhibit visual expression, and decrease my production by having to craft everything I do into a finely honed allegory. I want unconscious associations to live, grow and evolve into surprisingly complex and rich juxtapositions that “synergize” into deeper truths. In other words I don’t sweat it. If it amuses me, I paint it.

So of course, it really isn’t important for me for the viewer to be able to cast his eyes on my piece and immediately decider its “message”. I try to provide a sideways glance at reality, to unveil the secret power of symbolic meaning and to help myself and others to stop and think about why we do what we do and why we feel the way we feel. I’m not telling stories, and I’m not trying to just make pretty pictures.

People need hints from time to time and when their interest is piqued, they ask questions. I welcome that, but I don’t always have a good answer ready. The risk is always in making the mystical complexities of a slowly developed, living, breathing painting into a simple verbal decoding. People will assume there is nothing more to discover and move on.

I have long stood back and marveled at we humans’ need to find a cultural excuse to party en masse on almost a monthly basis. We are living from diversion to diversion, ignoring the painful, scary randomness of reality. These painting are simply an illustration of how we numb ourselves to existential angst with arbitrary celebrations, comfort foods, drugs and drinks.

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Displaying Art in a Bar: Making the Most of Opportunities

You have to plan, anticipate and ask questions, especially if you don’t get to see the space before arriving to set up. I had the chance to take some art to New Orleans recently. It was something I have been wanting to do for years. The issue was that it was one night only, in a bar, and I had no idea what to expect.

I started with lots of questions with the organizer. Poor young lady. Just a senior at Tulane, she was used to other young folks who were inexperienced and just happy to have a space to show their college portfolios…not a surly, 40 year-old, stressed out stranger from San Antonio who was questioning everything.

After getting the info on the barricades we would have at our disposal, I sketched this up:

And here are some pics of how it turned out:

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*photos by Carl Bordelon

What I Did Today Challenge: 8/28/2012

2012 Huevos Rancheros Quinceañera Celebration Silent Art Auction

Not enough. Never enough.

I did print out submission forms for the 2012 Huevos Rancheros Quinceañera Celebration Silent Art Auction and started piecing together some ideas.

First thought was that a new piece would be something in the thread of my recently begun Existential Dinner Party series…with eggs of course. “Deviled Eggs and Despair?

But then I notices something long forgotten in my idea file…”A Breakfast of Eggs and Absinthe”.

As usual, I don’t remember where the hell this came from. That’s why I put it in my idea box. I guess I should have put something in my Sketchpad. Thankfully we have google to remind me that eggs and absinthe is a great(?) morning after, hair of the dog type drink. Now I’m already thinking of using eggs in a vintage graphic sign type design on old fence pickets so if I add absinthe to the mix, I should start looking at all those wonderful Victorian absinthe lithograph posters.

So posters. Looking at posters. Need to work breakfast in there…posters…breakfast…absinthe…breakfast…Breakfast at Tiffany’s! I’m going to work Katherine Hepburn (growl!) with a chicken into this bitch…with her looking at absinthe getting poured over a cracked egg in a spoon into an absinthe glass. That’s the plan for now anyway.

Breakfast at Tiffany’s

And that is what I did today to advance my art career.

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Relativist Art Ideas for The Big Existential Dinner Party

We’ve all heard about combining food with other pleasurable sensory experiences like cheese and art shows, prime rib and strippers, sex and pastrami, so why not combine delicious food with a debilitating existential crisis? Can’t recall how or why this pairing came up in an electronic conversation but it did. I’ve had “acrimony and cheese” in my idea box for a while so maybe it just took seed.

The menu so far includes:

  • acrimony and cheese
  • cinnabons and self analysis
  • deviled eggs and despair
  • ennui and baked brie
  • french fried fear of death
  • judgement and jellied eggs
  • night terrors and tapas
  • paralyzing fear and fresh fruit
  • regret au gratin
  • self doubt and sauerkraut
  • spiritual death and duck sauce
  • singularity and cinnamon sticks

Pieces in progress

“Ennui a Jus” (photoshop mock up)

The point is just about associations word play and emotional responses through the juxtaposition of unrelated subjects. I once heard you don’t stop with one great idea, you take two or more good ideas and somehow bring them together. I’m not sure “sauerkraut” constitutes a “good idea” but it certainly evokes associations to smell and taste and unique cultural influences.

“Self Doubt and Sauerkraut” (photoshop mock up)

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