The figure above and below is of a grafed female nude. To see it in its original state you need to go back to earlier posts. It is a very crudely spray can figure in a contorted posture, denuded of personality mutilated arms and legs. It has a large erect phallus penetrating her from below. It is obvious that there are two artists at work. The original figure was drawn in green can and later on the detail ti the spine hip breast and penis were done in black. I perceive the two acts are ritualistic. It is such a lonely figure in all the chaos on the concrete it has this gargantuan quality that figures into its power. Of all the piece this one had been here for quite some time evident by the age and wear of the paint it somehow evaded being painted over. I found this intriguing. Why does this piece seemed to special place on the slab? Call me crazy but I believe that this figure has a definite function. This everywoman serves a purpose to a particular group of individuals. How do I know this? Simple. Observation. I stood in the brushes one afternoon observing a group of men gathered around her. I thought I might be hallucinating but before my very eyes each man, not boys, began to thrust there groins at her. It was the most bizarre scene. Three grown men thrusting and dry-fucking this image of a woman. It was as laughable as it was sad. They laughed amongst themselves and left. There was the function. There was the ritual. The most rudimentary act. On one level art was playing out in its purest form. I can't imagine anyone going to a museum and becoming so overwhelmed by the texture of a Modigliani and whipping it out or dry humping a Renoir, wrestled to the ground in a spasm of aesthetic euphoria.Faintly you can make out the sharpie marker image of La Nuestra De La Senora De Guadalupe. I drew this over the the female figure. I thought it an appropriate response to the image and its function. This dichotomy toward the female figure, once reverend and reviled, mother and whore entwined, the intention was to create tension in the conversation between the image, users and the space. The space's "sacredness" has been violated. I intend to finish up my figure, but leave enough of the original to filter through. Unfortunately, the randomness of this project does not allow me to do protracted observations from any one location, but I do wish I could observe the first encounter after the additions.

"The Three Skaters of the Apocalypse" is a piece I started after discovering that the surface of the slab was used by skaters and bmxers. It was a sort of consolation to the fact that I was an intruder an needed to recognize that. The skaters, two male and one female, was created in a hope of generating a response from this particular users of the park. All the participants/collaborators are of a specific group of the population. They are in general, young, for the most part , other than white and working class, I think it would be safe to say. After all I did grow up in this neighborhood and the area has not changed that much in respects to socio-economics.

The t-shirts and skateboards on the images are taken from tags in the area, so I singled out Soar and zero originally. I added Spark after he/she tagged over one of the pieces . I simple gesture at an attempt of respect. The next day I returned and Spark had tagged alongside the image. In applying Spark's name I kept true as possible to his letter style.I liked that style of lettering. It was very familiar growing up in Logan Heights, it had a clarity and power to it.

These figures have been worked in oil stick, sharpie markers, house paint for base coats and Montana cans. This piece is at its early stage. There is much more layering and detail along with poly protective coats to apply.

Around each image you can make out a faint design inscribed. It is a dashed and dot design that references the demarcation of national boundaries such as seen on geo-poltical maps.The relationship of boundaries on the grand scale are reflected at the site where the common concern and familial ties are mapped out clearly in the graffiti signatures that clutter the area. Each group or individual carves out there piece of the part and a call and response occurs with proximity tags or cross-outs by rivals or intruders. The markings, the dot and dashes are reminiscent of a Mayan motif or numerical markings. This is purely coincidental and probably only in my head but worth mentioning as meaning's design relieves itself in the doing. In actuality what the dashes and dots are is Morse Code that is signaling out the international distress call,SOS. I felt, in light of the current state of international and domestic affairs is was a fitting decorative element.

This guy is an original resident that I lifted as my own. I borrowed as a whole added the hat, transformed the dick in hand, redrew it as a gun, added a sheriff's star, stuck a flag in the barrel with my crew's tag...wipc.

I am treating the slab as a sketchbook. It is less a work with some endgame in conventional aesthetic. This is not a cop-out. It is in keeping with the aesthetic that exist. There is an ongoing communique evolving at the site, and I am a latecomer, however a very vociferous and ever expanding presence. I know this. And in some ways I find it hard to control the desire to sweep over the whole the the entire space, slabs, discarded broken concrete chunks, branches, dirt and possess it as my own. There are so many voices competing for this small piece of turf. The fact that I am being allowed, given permission to pursue my voice is humbling but intoxicating.I have the conqueror's blood coursing through my veins.It is difficult to halt my advance, to even take stock of my inevitable contradiction, but I continue against the better angels of my nature and press deeper into this virgin space.