I'm a Portuguese-American artist living in Brooklyn. I make work about value systems and bodies of power and influence, the fallout since the time of Mona Lisa and the nocturnal world of plants.

• Portuguese American Artist Gallery

I'm giving up my job on July 23 to paint and practice my Coimbra fado guitar.At the end of August (I'll know and post the date in couple weeks.) my show and presentation will be in Evoramonte, Portugal at Obras Residency.The show Nocturna Botanica will focus on the magic of being up all night in nature with your own creative project - original music written on the Coimbra guitar along a digital shadow film made from cut paper.Meanwhile back in the States...

I just finished this flier for Adam Faucett's Show with William Blackart and Sam Miller (and Matt Badger on drums!) at the Rabbit Box on 94 Pike Street Unit 11 in Seattle. Will update with a vlog about that soon.

Internet, I am not sure whether to explode in excitement or relax to the max in relief because freedom sits at the end of the tunnel in one week, when I can get back to my own regular scheduled programming such as paint, practice the Coimbra guitar, make Youtube vlogs, write essays, eat hot chip and lie.

PERO PRIMERO -->

• Click "Participate Now" in this link to help save New Mexico's World Heritage Site Chaco Canyon from fuckface-ass Trump's drilling project. God what a fucking asshole.

You're supposed to leave a comment. Here is mine:

I have a Youtube channel called The World-Famous Art Studio Dispatch & I've been making videos again ever since I went part-time in June. I think my 5-year hiatus marinated my video editing skills? These are really fun to make 🎬

And I co-host a podcast called I Guess We Can't Have A Podcast. We were posting around once a week for 18 months but we're currently updating every few months while we focus on other things for awhile.

A Nonfiction Fever Dream | Mona Lisa Goes SouthNew paintings by Eva AvenueEarth is our God and Nature is the real Art, but paradoxically we’re too preoccupied with ourselves to appreciate the Big Picture.Aware of how we conflate cost with value, I use the Mona Lisa to paint a delicate global meltdown.Across a world facing mounting climate crises, we maintain museums to preserve things, archives to resist forgetting, monuments to guard against disappearance. The disconnect drives me crazy. The Mona Lisa is preserved, reproduced, and set in place behind glass to receive 20,000 visitors a day, but now she is taking her power back and heading South for some reflection that leads to new perspectives.The works in the show were made in NYC, Savannah, and on a Southwest flight to Albuquerque.