"Interlude"(for Jacques Tati), 2009, oil/baltic birch. 19"-19".  From the “Science Frictions” series. 

My shaped pieces are not only dealing with the sculpture/painting dialogue but are more about the object/subject contradiction that goes back and forth from subject to object. Where does one end and the other begin? A scene from Jacques Tati’s “Mon Oncle”: https://youtu.be/LE9t98Gox60

"Sax Play"(for Sonny Rollins), 2008, oil/baltic birch, 12"-20". Dedicated to jazz tenor saxophonist Sonny Rollins. Sonny Rollins playing "Broadway Boogie Woogie" or in the case of Philadelphia "Broad Street Boogie Woogie". This painting is now on the cover of a book of poems on Philadelphia streets titled  "Turnings" by Ernest Yates.

“Ups and Downs", 2010, oil/baltic birch, 17"-17".

"Pinky", 2008, oil/baltic birch, 14"-19".

“Tickle", 2008, oil/baltic birch, 18"-21"

"Invaders”, 2007, oil/baltic birch, 14"-16”. From the “Science Frictions” series. Invaders can come from anywhere. From other countries or other planets and sometimes from inside our own bodies. This one is for my wife Elena(Lena). 

My mother Marina Salz in her peacock costume when she danced in Radio City Music Hall, New York, in 1941 under the stage name of Marina Lord. The costume consisted of 827 rare Australian feathers and was 11 ft high and 14 ft wide. It was also equipped in the back with a motor that activated the moving feathers when bending forward. This photo was taken in the studios of "Bruno of Hollywood" in New York. Another photo by Weegee and more explanations can be found in an older post, June 27, 2010. Here are also two links to articles by New York dance critic Tobi Tobias on the Weegee photo:
http://www.artsjournal.com/tobias/2006/06/weegees_ballerina.html and this coda where I am interviewed about my mother's life as a dancer for the Ballet Russe de Monte Carlo : http://www.artsjournal.com/tobias/2007/04/coda.html