vol. III
PAINTINGS
(telegraphic personal notes)
the end. (100x80cm).
on the past, full of ends. gangbang entertainment presents: DONE. karma police, â‚Ź400.00. winter, gluttony, accident, all of the above. zap, zap, zap, zap, zap, every memory looks very much like an accident, unrecoverable. . consequences .
burroughs bullet. (140x140cm).
mordida, infamous, art, miserable. on Sept 6, 1951, Burroughs said to Vollmer, “it’s about time for our William Tell act”. she placed a whiskey glass over her head, Burroughs aimed and shot. she was dead before the whiskey glass broke to the ground. the bullet got in and out Vollmer’s skull, cleanly. Burroughs became a writer because of this, he later said he started writing because the only way forward was to write his way out. (dedicated to Vollmer and Burroughs, and to insanity in Love).
María Dolores Estévez Zuleta (1906–1959), commonly known as Lola la Chata, was the first major female drug trafficker dealing marijuana, morphine and heroin in Mexico from the 1930s to 1950s. Lola la Chata is considered to be one of the inspirations of American writer William S. Burroughs, who used her as a model for several characters, generally with the name of Lupe, Lupita or Lola. In Cities of the Red Night, Burroughs describes an encounter between the protagonist and La Chata, who provides him with heroin.
portrait of a man in his forties hitting lolitas in a bar but wanting to die. (100x80cm).
(retrato de un hombre en sus 40s entrรกndole a lolitas en los bares pero que en el fondo se quiere morir). holding a glass of vodka, absolut defeat, scatterd cunts. the live stock is himself.
eroin. (100x80cm).
on addiction. lancĂ´me, dior, hermes, confinement. sources of pleasure, la police, hahaha ha, bla bla bla, death and her friends. .
barcelona amphetamine. (100x80cm).
psychological portrait of BCN including muntaner 6 (automatic writing & painting, ‘absolut’ drenched, fast fast). .
barcelona c’est 70% de colere/gangbang entertainment presents the dildo/stay fit and slim swallow amphetamine mirame, you ready to blow? € 3.99, on offer vite, trop vite, how soon is too soon? and couples going home to their color TVs.
goebbels. (110x120cm).
the crucifixion (474 sadness units), fake news, propaganda and slavery. big penis, and big balls (of propaganda). a god to kneel to, fuck. .
hahaha love mr. impetu (100x80cm).
painted over a previous painting just like forget works, new things on top of old things, layers and layers of memories, the brutality of the message scares me. beauty and truth opposed in a continuum, freedom and love opposed in a continuum, defining four quadrants. no quadrant is selected, life is choosing. love, a.k.a. Mr. Impetu is crossed and distorted, an old tribal god or a pussy. for a good alejandra poem please call 01212-44074471, inner crowds of men and women, stirred, narcotic cabaret despair, horny, willing to die. in german, like surviving the white shroud of death hiding everything else, “Ich bin der Größte” (“yo soy la mas grande”), and the tits of the woman hidden behind the painting. the roughness of its surface is pure bitterness.
narcissus and the mirror.
(100x80cm). selfportrait. incomplete abstraction I call it, almost there. my reflected image is a wool ball, guillotine. the prison is easily seen on the mirror.
la colère. (100x100cm).
cannibalis an essay o the arrow everything colère. .
m, gluttony, etc. n past and future, of time, we have at half prices, and
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the three ages of man (100x80cm).
selfportrait evolving through the years. we all become fragments. GOLDEN, GO, GODLY, and then a fourth face outlined, navigating the sea of salt. love (i), cunts (ii) and then money and power and crossed (iii). eat more pussy, perishable.
king profit the first. (120x80cm).
(acrylic, graphite and colored pencils on canvas). san coca cola capitalism, chanel gold valentino gucci love sorority free blow-jobs, the faceless face of capitalism or marilyn. /the many legs of capitalism. /absolut obscene and piss.
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