Starman

Despite being a globally celebrated icon and super-legend, I did not grow up with any familiarity of David Bowie. Of course I had heard his name, but his music was on the very long ban list. I hadn't even watched the Labyrinth until I was an adult. Of course, it took years after becoming independent for me to learn of David Bowie, simply because I had no idea where to musically start with the unfiltered world before me. 

Confessing that I didn't know about David Bowie has historically been shocking for people. Many people are more shocked by this revelation than when I tell them I'm gay. It's like coming out all over again. Being so culturally naive sometimes makes me feel... alien... which is the appeal to me of David Bowie; embracing the fragile isolation within our impermanent human experience and understanding that compassion and love are all that matters at the end of our existential journey.

This portrait of David Bowie is the cover of his album "Young Americans". I chose this image because of the history and backstory of what David Bowie wanted for this album. Originally, Bowie had reached out to Norman Rockwell to paint a portrait of Bowie for the album cover. Bowie had contacted Norman Rockwell, and ultimately decided to go another route when it was explained that it would take 6 months for Rockwell to complete the portrait. Bowie didn't want to wait 6 months, but noted his admiration for Rockwell's commitment to his art. Dallas and I are much like this as artists. He can finish an art piece in two days, but I toil over a piece for at least two weeks before completing it. We both respect one another's work, we just operate very differently.

I appreciate Norman Rockwell's nostalgic tributes to times of innocence. I would aspire to one day have my art respected the same as Norman Rockwell's, so it was a unique opportunity to pay tribute to both Rockwell and Bowie with a portrait of a collaboration that could have been.