DYADIC | Rex Hausmann & Gabriel Delgado

Hausmann

Rex Hausmann, a Texas-based artist, often draws on famous writings and other art historical cannons to help define his own current Metamodernism practice of contemporary art.

Hausmann’s unique and self-formulated genre of artmaking features an amalgamation of friends, family, and happily harnessed mundanity of everyday life into the artist’s complex visual narratives that are gaining national recognition. His autobiographically driven contemporary landscapes, painterly avatars, and eccentrically specific recorded moments of time come alive in bold, bright and neon colors; artworks giving voice and credence to 400-year-old trees, dusty pick-up trucks, celebratory congregations, and a ‘beautiful mind’that links people, places, and things through intrinsic artistic alchemy.

Rex Hausmann started his art education at UTSA (University of Texas San Antonio), graduating from Savannah College of Art and Design (SCAD) on scholarship with a BFA in painting (2006) and an MFA in painting (2016).

Select Exhibitions include: 53rd Venice Biennale, The Smithsonian in Washington DC, The McNay Museum of Art San Antonio, The San Antonio Museum of Art, The Institute of Texan Cultures, Neiman Marcus, The Lawrence Art Center, Trinity University, The Spencer Museum of Art, Hamptons Fine Art Fair 2022. Burgess Modern + Contemporary will feature Hausmann’s work at their exhibition at Art Miami 2022.

Gabriel Delgado’s PEMDAS driven, and conceptually solvable Order of Operations mathematical equations bring to light the elegance of numerical and text-driven logic via an expressive chalkboard aesthetic. His contemporary and conceptual artworks explore aspects of multi-culturalism, Science, Economy, Decentralized Finance, Human Emotions, Social Reform, and other relevant topics. Gabriel Delgado has historically immersed himself into areas of global conflict. He has met with the Zapatista Delegation from Chiapas, Mexico in Mexico City D.F. and is heavily influenced by his month’s long expedition to Jordan, Syria, Israel, West Bank, Gaza Strip, and other parts of Palestine.

Gabriel Delgado is a BFA graduate of Kent State University, 1998. He is also a graduate of The International Society of Appraisers and the American Institute of Conservation. Delgado holds a certificate in Antiquities Trafficking and Art Crimes from the University of Glasgow, a certificate in Public Art and Pedagogy from Duke University, and a certificate in Art and Heritage Management from the Universita Bocconi.

Select Exhibitions include: “The Institutionist” The Drawing Center, New York, NY; Art Miami 2021, 2022; Palm Beach Modern + Contemporary 2021, 2022; Hamptons Fine Art Fair 2022; Market Art & Design The Hamptons Art Fair 2021; “Texas Rangers”, (MOCA DC), Museum of Contemporary Art D.C., Washington, D.C.; “Dirty Dozen”, Blue Star Contemporary Art Museum, San Antonio, TX; “Secret Wars”, Art Car Museum, Houston, TX; “Dialogues”, Blue Star Contemporary Arts Museum, San Antonio, TX.

Happiness is an emotion caused by

REX HAUSMANN

Panda and Donut Time 2013 Ink and Mixed Media on Paper

in

The Panda is the animal manifestation of the artist; a type of spirit animal who appreciates the simple things in life, like enjoying a coffee and donut. That's all the money he can spend, and he's enjoying it to the fullest. He's also celebrating the small victories. The donut is a symbol of the little things in life that make us happy, while the tire references the artist’s grandfather’s car/truck tire. In essence, it doesn't matter what we have, or how much money we have. We can all enjoy the simple things in life that make us happy. The Panda reminds us to enjoy the small things in life, and to be grateful for what we have. The panda is a loner, in a way because pandas are on their own, solitary animals who get social on occasion. “Artists go to their studio they are hermitic in practice and then go to openings and social gathering and become social... but, at the end of the day they are solitary individuals who spend a lot of time alone", says Hausmann.

History

The equation begins with identifying the anonymous person and / or group who is deemed the founder of bitcoin and the establishment of the creation of the peer to peer network to support the new cryptocurrency.

artist identifies the idea of decentralized digital currency, the ISO codes, the proof of work properties, as well as the historical contexts of its creation with the initial “Genesis Block”. The second part of the balanced equation continues the evolution of the Bitcoin from the first commercial use for the order of Papa John’s Pizza and the early proof of concept to the reality of blackmarket transactions which established the role of the bitcoin early in its conception to buy drugs, arms, porn and other illegal items on the black market. The artist also touches on the reality of the cap market for Bitcoin, the hacks that have affected its status, and pitfalls of Bitcoin, as well as the influence of Elon Musk’s

on its value.

demarcations are established with the date of the “Genesis Block”, the current Bitcoin market value, the lost bitcoin from online transactions to the % of increase from outside influences.

Hunting the Landscape

Rex Hausmann and the Search for Truth in Painting

In 1904, the painter and writer, Emile Bernard visited the Modern Master, Paul Cezanne, in Aix, located in the South of France. In their ensuing correspondences, Cezanne expounded the priorities of his impressionistic painterly practice. Bernard’s interpretations of Cezanne’s work and ideas were even more influential in the turn of the century art circles for appearing to carry the authority of a confidant and trusted colleague.

Rex Hausmann, a Texas based artist, often draws on these famous writings and other art historical cannons to help define his own current Metamodernism practice of Contemporary art. Hausmann’s unique and self formulated genre of artmaking features an amalgamation of friends, family, and happily harnessed mundanity of everyday life into the artist’s complex visual narratives that are gaining national recognition.

His autobiographically driven contemporary landscapes, painterly avatars, and eccentrically specific recorded moments of time come alive in bold, bright and neon colors; artworks giving voice and credence to 400 year old trees, dusty pick up trucks, celebratory congregations, and a ‘beautiful mind’ that links people, places, events and everyday objects through intrinsic artistic alchemy. Originally from San Antonio, Hausmann grew up in the Hill Country of Boerne, Texas on the Hausmann family “Ranchita”, feeding the horses, riding tractors, and helping tend to the family business. His family’s deep roots not only allowed the artist to feel grounded in the vast and expansive Texas topography, but amass a cohort of like minded academic, scholarly, and artistic colleagues with which to surround himself.

Hausmann started his art education at UTSA (University of Texas San Antonio), graduating from Savannah College of Art and Design (SCAD) on scholarship with a BFA in painting (2006) and an MFA in painting (2016). It was at SCAD that is life and work irrevocably changed. The random victim of a gang initiation shooting, Hausmann’s leg was shattered, and he was left for dead on the streets of Savannah, GA. Miraculously surviving the shooting, he came near death once again due to complications in his recovery. Hausmann uses his art to move forward from this experience and find new meaning in the gift of each day.

He has shown his artwork at the 53rd Venice Biennale, The Smithsonian in Washington DC, The Institute of Texan Cultures, Neiman Marcus, The Lawrence Art Center, Hamptons Fine Art Fair, and the being spotlighted in the upcoming Art Miami 2022 art fair during the celebrated Art Basel season in Miami, Florida.

His motto, “Grow Where You are Planted” is an artistic slogan that delves deep in the artist’s psychological connections with the people and places his art represents. From Fort Lauderdale, Uvalde, Breckenridge Park, Florence Cathedrals, to Central Park in New York City, Hausmann pulls the viewer into the microcosm of his daily life; opening a Pandora’s box to a hidden macroworld of cosmic interconnectivity where the search for truth in art and life is filled with ducks, trees, chairs, lions, panda bears, and text based clues to direct the viewer to join in the pursuit (of happiness).

It is within these personally cherished “every day is a miracle” mantra, Hausmann records thoughts, conversations, comments, reminders, and letters in numerous notebooks landing pages which manifest into blueprints for larger than life paintings. Ink and paint lock in thoughts to paper. Hausmann culls the daily artifacts of existence into a treasure trove of wisps of color, dates, codes, and misspelled dyslexic nomenclatures.

These sketches lend themselves to the lengthy letters Hausmann writes to his collectors, art dealers, friends, colleagues, and supporters that extensively explain his artworks. Compositions that often circle back and thread in repetitive milestones of his incredible accolades, including his residency at the Sheen Center in New York, memorable experiences with the Hispanic Society and its Director Emeritus, teaching class as a Professor for Savannah College of Art and Design (SCAD) in France, his family relations, and most importantly the abundant aspects of the Hausmann Millworks a creative community of artist studios in the reclaimed family mill.

Once, Cezanne wrote to Bernard stating, “Painters must devote themselves entirely to the study of nature and try to produce pictures which will be an education… He must beware of the liter ary spirit which so often causes the painter to deviate from his true path The concrete study of nature to lose himself too long in the intangible speculation…”

Reflective of this prose, Hausmann often goes onsite to paint en plein air to capture the very essence of his subject matter. It is here, entrenched in the field of study with friends sharing food and BBQ, spinning tales and yarns for hours on end that the artist loses himself in the atmospheric intangible. Expressively painting, talking, and writing his way out of the ever expanding creativity to arrive at a genuine interpretation of the moment. The final painting erupts onto the canvas like a ferocious lion eloquently prancing through a Juilliard choreographed dance, an artistic energy guided by principles of century old creative techniques that cling to ethereal memories socially collective yet singular. Sentiments of Cezanne, Goya, Van Gogh, Mark Twain, Ernest Hemingway, and others are alive and well in Rex Hausmann.

Hunting Blind #2 (The Duck Blind): Fort Lauderdale, Florida | The Remington House is a new painting from Hausmann painted in August 2022. An acrylic on canvas construction depicting a nondescript and nonchalant pond and landscape somewhere North of the Fort Lauderdale Inter national Airport. Painted on a father and son constructed canvas covered hunting blind, the artist seeks the true essence of his narrow vantage point. A focal point from the viewfinder, the canvases mimic the surroundings, contemporary camouflage to shield the artist as he hunts his landscape.

Concealed behind his creation, the artist looks out, searching for relationships of shape to hue. Ammunition is the paint, while the artist takes aim to capture this metaphysical effort of recording the essence of God through light and color.

More symbolic to Cezanne, and Texas painters like Jose Arpa and the Onderdonk family than a menacing armed predator, Hausmann and his circle of associates are vehemently aware of double edged sword and cryptically loaded concepts of guns and hunting, especially in relation to Uvalde, Texas, the site of a major tragedy in current American History, where one of the hunting blinds is poised to be dedicated.

The artist’s dyslexic, but honestly written retort helps eliminate any misleading interpretations for his 3 D, freestanding contemporary paintings:

“When I think of Hunting blinds I think of my home in Texas. I think of wide open skies of Texas vistas I remember my grandfather’s study and the smell of gun oil. I remember his old gun latle. I remember ammunition boxes and bullets lined up in descending manner and the books Books on WWII and him, my grandfather, trying to figure out his place in that greatest of conflicts. The Carbine I own and the Samuri sword were his. These objects for me carry a very personal soul and spirit. The same as every time I look through the view finder of a “hunting blind” to paint. I myself do not take part in the process of hunting. Although I respect the sport and its lineage in my family I myself would rather have the animal as a pet than shoot it. Unless that process of ending a life is for food or is part of managing the land, the hog population or any such thing. That to me is managing the land, and for that we must be good stewards.”

Rex has also shown and lectured nationally and internationally, appearing at speaking functions including the renowned TED Talks with the TEDx San Antonio at Trinity University, McNay Museum of Art, The San Antonio Museum of Art, and The University of Texas at San Antonio as well as The Spencer Museum of Art. He has spoken on National Public Radio and across the United States, discussing his unique approach to art, his community and Metamodernism.

Rex Hausmann will be represented by Burgess Modern + Contemporary at Art Miami 2022.

The

Mums are a type of flower that is often associated with death and funerals. This is because mums are long lasting and relatively cheap, which makes them a good choice for funerals. However, mums can also be used to show appreciation or affection. For example, in the Gundam series, the character is attempting to deliver mums and a purse to Audrey Hepburn, who he wants as his girlfriend. In reality, Rex always gave mums to his mother. This act of kindness shows the deep bond between mother and son. This image is also a continuation of the larger narrative throughout the sketched series, circa 2012 where the Gundum samurai are on adventures.

Conceptual Equations That Solve World Issues

Contemporary PEMDAS

Gabriel Delgado creates themed artwork that explores aspects of contemporary social and political events. His PEMDAS driven, conceptually solvable Order of Operations mathematical equations bring to light the elegance of numerical and text driven logic via an expressive scientific chalkboard aesthetic.

New River Fine Art caught up with Gabriel Delgado to discuss his recent gallery representation and new body of artwork.

NRFA: Can you give us a little bit of history about you and how you got involved in the artworld.

G.D: Growing up in a Cleveland, Ohio suburb, I was always drawn to art. My father is a Dada Artist and is in the Smithsonian Institution National Postal Museum’s Permanent art collection. He used to have a darkroom photography studio in our basement when I was a kid and would often be making artwork at all hours of the day. It seemed like a good fit that I would go on to study art in undergraduate school at Kent State University in Ohio. I earned my B.F.A. in Painting in 1998. As I developed my own artistic voice and built out a more mature portfolio of artwork, I was simultaneously advancing my curatorial career at a museum in Texas.

NRFA: What was your first museum experience like?

G.D: I was hired as a museum preparator and quickly rose through the ranks to work with the Director and Assistant Director as a Co Curator organizing exhibitions. One of the first political exhibitions I curated by myself was right after the first WTO protests in Seattle. I was trying to preserve the street art created by the protesters from multiple organizations. People were in jail, in hospitals, and activists were missing. My staff and I acted as messengers to family and friends, helped locate colleagues, and tried to visually archive this event. This curatorial position, investigating artwork being made in times of political turmoil would force me to travel internationally, seeking those who shared my affinity for political art.

NRFA: As your own art was beginning to flourish, so was the controversy surrounding your work. Can you tell us about your first run in with the F.B.I. as a political artist?

G.D: My artwork was in a group exhibition titled “Secret Wars” at the Art Car Museum in Houston, Texas. It opened the week of Sept 11. The planes had just hit the towers, and we were watching the tragedy unfold on live television as we installed my art. There was a meeting with the museum administration to cancel the exhibition. Under the circumstances, this was a legitimate discussion due to the political tone of the exhibition.

Shortly after the opening it became apparent that some visitors were offended by the content of the exhibition. An anonymous tip, reported as a viable threat against then President George W. Bush was submitted to the FBI, prompting a field investigation.

NRFA: Tell us about your first major national museum exhibition.

G.D: I was invited to participate in an exhibition titled: “Texas Rangers”, consisting of Texas Political Artists for the Museum of Contemporary Art in Washington D.C. (MOCA DC), curated by Michael Clark Fox. I installed 7 large mixed media works in that exhibition that focused on the Middle Eastern turmoil utilizing reclaimed billboards, collage, and political imagery.

NRFA: You were in a group show at the Drawing Center in New York? Can you tell us about this?

G.D: I was in an exhibition titled The Intuitionist, curated by Lisa Sigal, the Open Sessions Curator. The exhibition explored the relationship between progress, technology, and difference. I displayed a very large 120 x 96 in. raw canvas drawing that explored the mixed heritages of today’s populations.

NRFA: You often talk about your international travels and political activism. How have you been influenced by these journeys and more specifically, the Middle East?

G.D: In early 2000’s I was on a month and half long expedition to Jordan, Syria, Israel, and Palestine, where I met with a variety of Political Artists, some living in exile or refugee camps, to discuss social unrest and the historical implications of Middle Eastern Affairs. As a result of my meetings, I was deemed guilty by association, detained, strip searched and jailed on suspicion of International Terrorism. Having an M 16 pressed to my temple served as a catalyst to make art that spoke not only of my own experiences, but that calls attention to uncomfortable aspects of contemporary social and political issues. When someone is repeatedly yelling“Tourism or Terrorism” at you, and threatening your life because of your artworld associations, it shows how influential art can be.

NRFA: Can you tell us about your equations?

G.D: The equations are conceptual drawings that focus on issues, events, or circumstances. I break down the information into parties, characters, subject, causes and effects, and relationships. I work through the information as if building out a legitimate algebraic equation, using order of operation rules (commonly referred to as PEMDAS) and assign a certain amount of logic to the breakdown as well as coded vernacular.

NRFA: Are these solvable problems?

G.D: Yes! If the viewer reads through the equation and digests the words, I believe they will come to an understanding of the issue. It is not a left or right thing. I present facts…people, places, and events with outcomes. I think the best Contemporary Art should make people think. I want to facilitate thought and engagement, not soapbox politics.

NRFA: As you work through these issues, and maneuver within the current international political unrest, What’s next?

G.D: I think the exploration of contemporary political and social issues will not slow down. In these times of civil unrest, my to do list of ideas keeps growing. My art creates a bridge, a means to encourage discussion and thought on some of today’s most difficult topics. I feel a need to place myself in different situations, experience not only war, hunger, and death, but Empathy. I must witness for myself the horrors as well as the survivals of humankind.

Limetree

In February 2021, Limetree Bay Oil Refinery in the U.S. Virgin Islands reopened after being closed since 2018 over corroded pipes and bankruptcy issues. When the refinery opened, multiple malfunctions and disasters followed. The explosion sent multiple people to the hospital, also expelled an unaccountable amount of oil spray into the atmosphere. This oil mixed with the water droplets in the air and caused an unnatural phenomenon called oil rain. This oil rain came down on houses, cars, into water wells, animal feed supplies, water sources and caused countless contaminations across an impoverished area. Limetree investment environmental authorities went door to door offering $2,000.00 USD as a waiver for the community members to not sue. Those who did not take the money filed a class action lawsuit over the environmental disaster and temporarily shut down the refinery. This meant hundreds of lost jobs in this minority neighborhood causing a ripple in the already unstable financial structure of this community. Update: As of June 2021, the Limetree Bay facility has indefinitely shut down its St. Croix refinery.

Circa

the artist’s nephews are not born yet. The artist is imaging what he would say to them if they were alive

of knowledge

the

say,

"Make America Great Again" is shown to be first used by Alexander Wiley in the 76 US Congress in the 1940s.

concept behind the phrase was to encourage Americans to work together to improve the country's economy and infrastructure. In the years following Wiley's use of the phrase, it was adopted by both the Democratic and Republican party. Bill and Hillary Clinton used the phrase during their presidential campaigns, as did Barry Goldwater during his run for the Republican nomination. Donald Trump announced his candidacy for President and chose "Make America Great Again" as his campaign slogan. Trump's use of the phrase caught on with his supporters and became a rallying cry for his campaign. Since Trump's election, the phrase has been used by other politicians to drum up support for their own agendas.

Cat Bueno is an illustration of the artist’s cat, George. Rex found George in the rafters of the family’s barn in the Texas Hill Country. All Rex’s family members gave up on coaxing the cat out of the barn, not Rex. He sat with the cat days on end, trying to feed him and gain the cat’s trust. Infested with fleas and ticks, the cat would only hiss at the artist. Finally, after days and days of sitting, talking, and feeding the cat, the Hausmann was able to rescue it. “He hated me at first”, he said. “George was all alone, no mom or dad. He became my cat.” The artist recollects that when George got better, he was just happy to be alive. The Cat Bueno is all about George living his best life, being happy and healthy. There are smaller icons and characters on the lower edge of the composition that make up a small vocabulary of the artist’s lexicon ology the panda, cupcake, crown, donut, etc.

HAUSMANN

Notes on Las Olas Blvd

and Mixed

June 2022 2015 was The McNay and the shooting. Overcoming I thought “The hero” had come simply put, life goes on “Rain Rain Go Away” happened. Tim traded it for “The Brothers”. This was a moment in time. (18) paintings in The McNay, my father and mother were proud. That was 7 years ago now. 2017 ‘Notes on St. Denis”. The studys in light, the glow of Southern France, the light of St. Denis and the Rose window the influences of Abbott Sugar (11th Centry) and the sepsis in the left leg. I was in my studio cleaning my studio that day, trying to make things right at The Millworks between artists. My brother put an Iphone watch on my wrist, saved my life. (5) days in the hospital. The Bullet caused a DUT in my left leg to dislodge. Christian bought the painting. We had wine on Valentine’s Day w/He, Sarah his wife and myself. I still remember the wine. A day for sure. 2022 Las Olas I’ve been to France so many times now. took a whole group from The Hausmann Millworks with Amir Samandi and his wife. Now now a family rift. Studying pyscology for 5 months. Specalist. The nephews. Life goes on You learn more, you try your best & your just keep painting 2022 The Academy asked for (12) images. 6 years in. 20 years in. Still painting NOTES ON LAS OLAS REX

June 2021, the Passamaquoddy Tribe in

sale. This island was

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on the island, which was held in

many Native American

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June 2022 Las Olas

My brother in Catiglime Florentino. When my uncle showed me the swords I heard about Bushido. Latter in life I would learn the term “Shokunin” from a book. In essence a “shokunin” is a craftsman or woman who believe that thier act of craftsmanship no matter how small or large will make the world a better place. If they make an object to the best of thier ability, then that act has a ripple effect, much like a stone in a pond. The Millworks is my personal answere, with the “Daily”. 15 years in, thier is good and bad. But you just keep at it. Dave & Jesse take care of the place w/ Louise while Im gone. I’ve been in France more than a few times now. Italy Germany China Most of the states…and the simple duties of life remain: family, your home, your connection to that place, your garden. Judge Peter Sakia & his sister Katy have always helped me keep my rudder strait. The past 5 months life goes on. I’ll write about THAT latter. Were still in the middle of it. Rex Hausmann, LOS OLAS, FT LAUDERDALE.

Desire is a complex emotion that can be looked at through many different lenses. In terms of well being, desire can motivate us to achieve our goals and lead happier, more fulfilling lives. It can also be a source of stress and anxiety, particularly if we become fixated on something that we feel we need in order to be happy. From a mental health perspective, desire can be both helpful and harmful. On the one hand, it can give us a sense of purpose and meaning; on the other hand, it can lead to obsessive thoughts and unhealthy habits. Finally, the way we view desire largely depends on our personal values and beliefs. Some people see it as a positive force that drives them to improve their lives; others see it as a destructive force that leads to greed and selfishness. Ultimately, it is up to each individual to decide how they want to view desire. While it can certainly have its downsides, there is no denying that it has the power to change our lives for the better.

HAUSMANN

Notes on Florance

Notes on Florance, [Florence] is a sketch not necessarily about the cathedral itself, but more about the Artist’s decision to become an artist and practice this every day. The Duomo is a reoccurring image and theme in the continued narrative by the artist. ‘The Duomo is like passing the mountain” …the passages of time I have traveled a lot in my life. I was in Italy as a child, as a young man, as a college student, as an adult…I saw the Duomo repeatedly over the years.” There is also the repetitive image of the sun, the orange or red circle. The sun represents God, and God giving us a new day, every day, and always being grateful for this miracle. “We all should have gratitude for just being alive.”

in REX HAUSMANN

Tiger 2013 Ink and Mixed Media on Paper

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The Tiger is a pictorial manifestation of Rex Hausmann’s brother, Eric, who appears in numerous sketches and paintings. This animal symbolizes vigor, ambition, courage, enthusiasm, self confidence, and a commitment to help others. In this illustration, the artist has portrayed his brother as a strong, menacing creature, a fictitious headshot profile of his loved family member. The artist and his brother are, what he calls “Irish Twins”, brothers born in the same year to the same family. He and his brother are 11 months apart. “We had the same friends, we were in the same grade, we played with the same toys and games.” The red square is located on the bottom right corner of the composition, represents a presence of God.

The killing of 13 year old Adam Toledo was riddled in controversy. On March 29, 2021, Adam Toledo was shot and killed by the Chicago Police Department. There were multiple versions of how the shooting and killing took place from “armed confrontation” to passive surrender. On April 15, 2021, the Chicago Police department released the body cam video of officer Eric Stillman, the person responsible for the shooting. The video showed Adam’s hands up, after dropping his gun and turning toward the officer. The debate surrounding this shooting stems from proper training vs, instinctual repercussions from situational awareness. This case sparked protests in Chicago as well as around the world, in a post George Floyd narrative. It also highlighted the continual story of disproportionate

violence against Latinos and children of color.

Every Town is a diptych sketch on paper that combines the Kemper Museum, Kansas City and Brooklyn, NY. At the time of this sketch, the artist was traveling all over the U.S. as well as Europe. “I was traveling so much, that I made areas in head about where I was in the world…Every town has a topic.” His reference of every town has a topic is a double entendre, where the artist’s figure of speech and title is devised to have a double meaning. One meaning is every town has a burger joint where people can go to have coffee and food and socialize and catch up with friends, like the Topic restaurant in Kansas City. The other meaning is that every town has a topic, meaning when friends come together to socialize, they talk and chatter, catching up on various topics like families, careers, dreams, hopes, and woes. Illustrated in the drawing are aspects of New York, Hemisphere Park in San Antonio, architecture, animals, and other ambiguous references. Topic is an actual restaurant in Kansas City where the artist would talk about grabbing a cheap cup of coffee, a greasy burger, and hang out with friends and colleagues. It is one of his favorite spots in Kansas City a place where he can get out of the cold.