This mostly recent group of paintings is in response to past years’ unprecedented events and activities, where the inordinate amount of highs and lows demanded respite. With these works my process seemed to be an escape from a unique year and was driven by my process of recounting housed memories. The birds or their reference are players here, because they have remained constant in my daily activities reminding me that it all is okay.

Conversations along with some fleeting images that served as reminders of places, objects, designs, etc. have served as my impetus for these visual explorations. This was a conscious effort of mine to shed the present and actively participate with the inspired memories. The gun and hammer imagery have faded in this group of works, while mostly birds serve the relationship metaphor, whether building, destroying or just providing a path outside the compositions.

“Every corner in a house, every angle in a room, every inch of secluded space in which we like to hide, or withdraw into ourselves, is a symbol of solitude for the imagination; that is to say, it is the germ of a room, or of a house.”  – Gaston Bachelard

This mostly recent group of paintings is in response to past years’ unprecedented events and activities, where the inordinate amount of highs and lows demanded respite. With these works my process seemed to be an escape from a unique year and was driven by my process of recounting housed memories. The birds or their reference are players here, because they have remained constant in my daily activities reminding me that it all is okay.

Conversations along with some fleeting images that served as reminders of places, objects, designs, etc. have served as my impetus for these visual explorations. This was a conscious effort of mine to shed the present and actively participate with the inspired memories. The gun and hammer imagery have faded in this group of works, while mostly birds serve the relationship metaphor, whether building, destroying or just providing a path outside the compositions.

“Every corner in a house, every angle in a room, every inch of secluded space in which we like to hide, or withdraw into ourselves, is a symbol of solitude for the imagination; that is to say, it is the germ of a room, or of a house.”  – Gaston Bachelard

This mostly recent group of paintings is in response to past years’ unprecedented events and activities, where the inordinate amount of highs and lows demanded respite. With these works my process seemed to be an escape from a unique year and was driven by my process of recounting housed memories. The birds or their reference are players here, because they have remained constant in my daily activities reminding me that it all is okay.

Conversations along with some fleeting images that served as reminders of places, objects, designs, etc. have served as my impetus for these visual explorations. This was a conscious effort of mine to shed the present and actively participate with the inspired memories. The gun and hammer imagery have faded in this group of works, while mostly birds serve the relationship metaphor, whether building, destroying or just providing a path outside the compositions.

“Every corner in a house, every angle in a room, every inch of secluded space in which we like to hide, or withdraw into ourselves, is a symbol of solitude for the imagination; that is to say, it is the germ of a room, or of a house.”  – Gaston Bachelard

This mostly recent group of paintings is in response to past years’ unprecedented events and activities, where the inordinate amount of highs and lows demanded respite. With these works my process seemed to be an escape from a unique year and was driven by my process of recounting housed memories. The birds or their reference are players here, because they have remained constant in my daily activities reminding me that it all is okay.

Conversations along with some fleeting images that served as reminders of places, objects, designs, etc. have served as my impetus for these visual explorations. This was a conscious effort of mine to shed the present and actively participate with the inspired memories. The gun and hammer imagery have faded in this group of works, while mostly birds serve the relationship metaphor, whether building, destroying or just providing a path outside the compositions.

“Every corner in a house, every angle in a room, every inch of secluded space in which we like to hide, or withdraw into ourselves, is a symbol of solitude for the imagination; that is to say, it is the germ of a room, or of a house.”  – Gaston Bachelard

He was born in Houston, to Mary Petronella, a member of the Sicilian restaurant clan, and a handsome father who was part Cherokee and part German. His father drank heavily and died in a car accident after the couple lost their second child, a young girl, to spinal meningitis. Leo was two.

He and his mother ended up in California with an Italian boxer whom he doesn’t want to honor by calling stepfather. “I was raised by a fist,” he said.

Bill Arning, the director of the Contemporary Arts Museum Houston, said he was fascinated less by the imagery than by Buelna’s compulsion to create, for so many years, without much of a desire to share his work like well-known outsider artists such as Forrest Bess. Arning said he likely would have discouraged a younger artist from making imagery that looks so cartoony and “heavy-metal illustrative,” but he was fascinated because of Buelna’s age and passion.

Read the whole article here >

All shipping is calculated after purchase, and paid separately in accordance with the clients requirements, and customized accommodations.

He was born in Houston, to Mary Petronella, a member of the Sicilian restaurant clan, and a handsome father who was part Cherokee and part German. His father drank heavily and died in a car accident after the couple lost their second child, a young girl, to spinal meningitis. Leo was two.

He and his mother ended up in California with an Italian boxer whom he doesn’t want to honor by calling stepfather. “I was raised by a fist,” he said.

Bill Arning, the director of the Contemporary Arts Museum Houston, said he was fascinated less by the imagery than by Buelna’s compulsion to create, for so many years, without much of a desire to share his work like well-known outsider artists such as Forrest Bess. Arning said he likely would have discouraged a younger artist from making imagery that looks so cartoony and “heavy-metal illustrative,” but he was fascinated because of Buelna’s age and passion.

Read the whole article here >

All shipping is calculated after purchase, and paid separately in accordance with the clients requirements, and customized accommodations.

He was born in Houston, to Mary Petronella, a member of the Sicilian restaurant clan, and a handsome father who was part Cherokee and part German. His father drank heavily and died in a car accident after the couple lost their second child, a young girl, to spinal meningitis. Leo was two.

He and his mother ended up in California with an Italian boxer whom he doesn’t want to honor by calling stepfather. “I was raised by a fist,” he said.

Bill Arning, the director of the Contemporary Arts Museum Houston, said he was fascinated less by the imagery than by Buelna’s compulsion to create, for so many years, without much of a desire to share his work like well-known outsider artists such as Forrest Bess. Arning said he likely would have discouraged a younger artist from making imagery that looks so cartoony and “heavy-metal illustrative,” but he was fascinated because of Buelna’s age and passion.

Read the whole article here >

All shipping is calculated after purchase, and paid separately in accordance with the clients requirements, and customized accommodations.

He was born in Houston, to Mary Petronella, a member of the Sicilian restaurant clan, and a handsome father who was part Cherokee and part German. His father drank heavily and died in a car accident after the couple lost their second child, a young girl, to spinal meningitis. Leo was two.

He and his mother ended up in California with an Italian boxer whom he doesn’t want to honor by calling stepfather. “I was raised by a fist,” he said.

Bill Arning, the director of the Contemporary Arts Museum Houston, said he was fascinated less by the imagery than by Buelna’s compulsion to create, for so many years, without much of a desire to share his work like well-known outsider artists such as Forrest Bess. Arning said he likely would have discouraged a younger artist from making imagery that looks so cartoony and “heavy-metal illustrative,” but he was fascinated because of Buelna’s age and passion.

Read the whole article here >

He was born in Houston, to Mary Petronella, a member of the Sicilian restaurant clan, and a handsome father who was part Cherokee and part German. His father drank heavily and died in a car accident after the couple lost their second child, a young girl, to spinal meningitis. Leo was two.

He and his mother ended up in California with an Italian boxer whom he doesn’t want to honor by calling stepfather. “I was raised by a fist,” he said.

Bill Arning, the director of the Contemporary Arts Museum Houston, said he was fascinated less by the imagery than by Buelna’s compulsion to create, for so many years, without much of a desire to share his work like well-known outsider artists such as Forrest Bess. Arning said he likely would have discouraged a younger artist from making imagery that looks so cartoony and “heavy-metal illustrative,” but he was fascinated because of Buelna’s age and passion.

Read the whole article here >

He was born in Houston, to Mary Petronella, a member of the Sicilian restaurant clan, and a handsome father who was part Cherokee and part German. His father drank heavily and died in a car accident after the couple lost their second child, a young girl, to spinal meningitis. Leo was two.

He and his mother ended up in California with an Italian boxer whom he doesn’t want to honor by calling stepfather. “I was raised by a fist,” he said.

Bill Arning, the director of the Contemporary Arts Museum Houston, said he was fascinated less by the imagery than by Buelna’s compulsion to create, for so many years, without much of a desire to share his work like well-known outsider artists such as Forrest Bess. Arning said he likely would have discouraged a younger artist from making imagery that looks so cartoony and “heavy-metal illustrative,” but he was fascinated because of Buelna’s age and passion.

Read the whole article here >