The Battle of Anghiari
2025, oil on canvas, 30 x 40 inches
“A densely interlocked tangle of schematized figures dissolves the boundary between individual bodies and collective mass, suggesting the chaos of human entanglement.”
The Great Poet
2025, oil on canvas, 18 x 24 inches
“A close-up portrait of a mustachioed man in a wide-brimmed hat distorts the familiar face into something unsettling, where dignity and unease occupy the same expression.”
Interpretation VII
2025, oil on canvas, 24 x 36 inches
“A dark, amorphous form rises through a sunburst of warm orange, brown, and slate blue rays — cream and charcoal orbs cascading across its surface and spilling into the surrounding space, suggesting something between eruption and ascent.”
Interpretation VI
2025, oil on board, 14 x 22 inches
“A cluster of swelling, organic orbs hovers between the microscopic and the botanical, as if life itself is quietly multiplying before your eyes.”
Interpretation V
2025, oil on canvas, 24 x 36 inches
“A mass of rounded, flesh-toned forms bursts upward from a pale cubic vessel against a blazing green ground — flushed deep crimson at the center and threaded with sharp triangular shapes — suggesting something between offering and explosion, as if what was contained could no longer be kept inside.”
Interpretation IV
2025, oil on board, 21 x 28 inches
“Warm, interlocking biomorphic forms twist into a knot of golden flesh and soft rose against an ornate patterned backdrop — their smooth, rounded surfaces suggesting a body folded inward upon itself, caught somewhere between tension and repose.”
Interpretation III
2025, oil on canvas, 16 x 20 inches
“A rotund, self-contained orange tabby — rendered in warm golden tones with fine speckled texture — curls into itself on a patterned surface.”
Interpretation II
2025, oil on canvas, 20 x 20 inches
“A luminous mass of rounded, ball-jointed forms fills the canvas from above — warm flesh tones glowing against fragmented planes of olive, red, and cream — the body’s familiar volumes rearranged into something that hovers between sculpture and organism.”
Interpretation I
2025, oil on canvas, 20 x 20 inches
“A pale yellow biomorphic figure stands pinned at the center of a swirling, fragmented backdrop of sage green, dotted blue, and deep maroon — a white rod piercing down from above, with small colored orbs orbiting the edges like satellites around something that cannot move.”
Transient (Jive Turkey)
2023, oil on board, 8 x 10 inches
“A speckled pink and green creature with heavy-lidded eyes rises on a long sinuous neck from a body of swirling psychedelic pattern.”
Self Portrait
2022, oil on board, 12 x 24 inches
“A silver-haired figure in dark clothing stares directly outward — his face rendered in cool shadow and warm flesh against a split ground of pale grey and olive green, the heavy-framed glasses and unguarded expression giving the portrait the quiet weight of an artist taking an unflinching look at himself.”
Things I Have Been Told
2007, oil on canvas, 18 x 24 inches
“A raw, bleeding face stares out from a loosely painted field of blue, orange, and green — its features half-dissolved in pink and crimson washes, as if the weight of what has been said has worn the face down to something barely holding together.”
The Chamber
2006, oil on canvas, 18 x 24
“A glowing, snail-like creature settles into an ornate scrolled seat against a deep crimson wall — its soft green luminescence and single dark eye giving it the quiet presence of something alive, waiting, and perfectly at home in its own strange world.”
The Stallion
2004, oil on wood, 12 x 36 inches
“A wide-eyed creature peers over the edge of a towering vertical composition — its vulnerability set against a backdrop of dark, imposing geometric forms in gold and brown.”
Portrait of Egon Schiele
2003, oil on canvas, 24 x 24 inches
“A brooding portrait of Egon Schiele — his angular face and wild hair rendered against a cracked golden ground, crimson jacket billowing like a wound — captures the artist’s legendary intensity through a gaze that is equal parts genius and torment.”
Plate III
2003, oil on metal plate, 16 x 16 inches
“A blocky, wide-mouthed figure erupts from a tangle of bold orange and teal geometric forms within a yellow-rimmed circle — its single dark eye and gaping expression suggesting a creature caught mid-shout, equal parts comic and unnerving.”
Plate II
2003, oil on metal plate, 16×16 inches
“A horned, single-eyed figure sits composed against a blazing backdrop of vertical orange and yellow stripes — its maroon and flesh-toned form radiating a quiet, otherworldly authority.”
Plate I
2003, oil on metal plate, 16 x 16 inches
“A lone, trumpet-like biomorphic figure stands sentinel within a yellow-rimmed circle — its single eye gazing outward across a striped field edged with decorative zigzag, two small colored dots floating nearby like punctuation in an otherwise peculiar world.”
Sleeping Child
2003, oil on canvas, 30 x 24 inches
“Broad, curving planes of teal, gold, and warm orange settle into one another beneath two pale orbs resting at the top edge — the whole composition breathing with the deep, unhurried stillness of a child completely surrendered to sleep.”
The Break
2004, oil on canvas, 24 x 24 inches
“A small, sinuous golden creature curves and twists toward the left against a vast, swirling brown ground — a glowing sun ringed in orange and red burning in the distance behind it.”
This Thing I Have Become
2003, oil on canvas, 24 x 30 inches
“A large golden form coils around a smaller orb at its center — the whole entanglement pressing through a blazing field of red, orange, and gold bands, as if something is simultaneously containing and becoming what it holds inside.”
A Dead Silence of About a Minutes Duration
2003, oil on canvas, 24 x 24 inches
“Forms lock and overlap against flat planes of sage green and warm brown — a single red eye at the center anchoring the composition, pulling the surrounding curves and angles into a tension that feels both mechanical and alive.”
Joy of Jupiter
2003, oil on canvas, 24 x 24 inches
“Two biomorphic figures fill the frame — their slitted eyes and coiling, interlocked forms pressing against each other with a sense of ancient, planetary power, as if two vast and indifferent forces have turned their gaze on one another.”
Carry Stress in the Jaw
2002, oil on canvas, 24 x 32 inches
“Two figures lean into each other against a dusky pink skyline — their smooth, faceless forms conveying more weight and tenderness than any detailed face could, as if intimacy lives in posture alone.”
The Butterfly
2002, oil on canvas, 16 x 20 inches
“A heavy, drooping face peers down at a vivid red butterfly perched on an outstretched hand — its sagging features and industrial skyline backdrop at odds with the delicate creature before it, the whole scene suspended in the quiet tension between weariness and wonder.”
Portrait of Man with Open Nasal Cavity
2002, oil, plaster and lint on canvas board, 16 x 20 inches
“A broadly distorted face with dramatically exposed nasal features slumps against a cracked golden ground — rendered in bruised pinks and mauves above a striped blue shirt, the whole portrait walking the line between clinical observation and unflinching honesty.”
Portrait of Jack Wilson
2002, oil on canvas, 30 x 40 inches
“A massive, slack-jawed figure slumps on a spindly chair against a blazing orange ground — his plaid shirt and polished shoes lending an air of ordinary dignity to an extraordinary body, suspended somewhere between spectacle and solitude.”
Portrait of Eddie Masher
2002, oil on canvas, 24 x 40 inches
“A reed-thin figure in top hat, bow tie, and tails stands impossibly erect in a blazing orange corner — cane in one hand, the other raised with practiced showmanship — every inch of him performing dignity while the body itself remains the spectacle.”
Portrait of Johnny Eck
2002, oil on canvas, 30 x 40 inches
“A suited figure balances on one hand atop a table against a patterned orange wall — his body ending at the waist with quiet matter-of-factness, his expression composed, as if commanding a room from half the height is simply part of the act.”
Portrait of the Bautista Twins
2002, oil on canvas, 36 x 48 inches
“Two pale, heavy-lidded faces flank a dark central form in a blazing orange room — a disembodied hand hovering above them like a blessing or a threat — their shared body and separate gazes capturing the profound strangeness of two minds forever bound to one life.”
We Wish Him Well
2002, oil on canvas, 48 x 36 inches
“A heavy-faced figure reaches across a checkered floor toward a small yellow butterfly — while his second disembodied hand descends from above — the whole scene suspended in the quiet tension between longing, fragility, and whatever comes next.”
The Chess Players
2001, oil on canvas, 30 x 24 inches
“Two fluid, faceless figures lean into a chessboard across a field of interlocking mauve and rose forms — their boneless arms and scattered papers suggesting minds so consumed by the game that the body has simply rearranged itself around the obsession.”
Bar Patron
2001, oil on canvas, 16 x 20 inches
“A heavy-lidded, fractured face looms over a glass of amber liquid — its features split and reassembled in planes of red and flesh tone, the hand curled around the drink with the practiced ease of someone who has been here before and will be here again.”
A Warm Meal and a Place to Sleep
2001, acrylic on board, 30 x 48 inches
“Two worn, heavy-featured figures stand entwined among autumn trees — their forms leaning into each other against a blaze of orange foliage, as if the only shelter available is the one they make by staying close.”
The Orb
2001, acrylic on canvas, 16 x 20 inches
“A deep blue figure raises a bejeweled hand against a blazing red ground — geometric features impassive, body wrapped in bands of intricate pattern — commanding the space with the stillness of something between idol and royalty.”
The Carney
2000, acrylic on canvas, 18 x 24 inches
“A heavy-lidded figure leans over a carnival counter — rendered in flat planes of red, orange, and muted flesh — her knowing expression and oversized hand suggesting a game already rigged, where charm and suspicion are both part of the act.”
The Bride
1999, acrylic on canvas, 16 x 20 inches
“A profile figure in warm terracotta and brown — crowned with a burst of radiating red, yellow, and green forms like a living headdress — turns quietly inward, where decoration and identity become impossible to separate.”
Man Falling Through a Window
1999, acrylic on canvas, 24 x 36 inches
“A contorted face pressed close — wide eye bulging, teeth bared, fingers splayed in all directions — erupts across a cool green-grey ground edged in terracotta, capturing a moment of pure, unhinged expression somewhere between ecstasy and breakdown.”
Kevin L. Kuder 