“Fire,” a 21-color serigraph printed in a limited edition of 250 with the help of Aztlan Multiples, Los Angeles, around 1981. Intended to be the first of a series of mosaic-patterned prints, but met with indifference by the galleries. Copies have appeared in scenes of “Doctor Dolittle” (the Eddie Murphy version) and “Alien Nation” the TV series.
 An early experiment from 1973, in inks. I wanted to see if I could get the truck to read by only showing its highlights and its shadows — the vehicle itself is not actually shown.
 Around 1980 I was experimenting with etching. Aside from the more traditional intaglio and aquatint type, I tried a deeper, multileveled plate. This is Monterey, 1979.
 “Into the Twenty-first,” inks, 1982, intended to be the next serigraph release after “Fire,” but also met with disinterest by the L.A. art community. My work was just not fashionable at that time. Since prints were so expensive, I abandoned the idea.
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