A couple months ago my wife and I took our son back to Minnesota to visit family for the first time since the beginning of the COVID pandemic. While we were there I found a little spiral-bound book of text message acronyms that my mother had sitting out for no discernable reason. For some reason that little book spoke out to me and I had to bring it home. I’m glad I did because I found the title to my newest book while mindlessly flipping through it.
The title was going to TEOTWAWKI, or The End of the World as We Know It, but it didn’t ring true to the contents of the book. Then I found WOMBAT.
WOMBAT feels like the perfect description for the state of art right now, where generative art sits shoulder to shoulder with the hand-crafted and very human and everything is a product to be consumed instead of an empathetic experience. I described my earlier feeling about this situation in LIPS AND ASSHOLES, ALL THE WAY DOWN so I’ll do my best to avoid going any deeper about it here.
WOMBAT collects most of my work from the last year and includes many of the things I’ve featured here and contains part of what was going to be used for ARCHIVES OF ANGER, the cancelled fourth volume of NGBMO. It also features a gallery of collage work from AN ASSEMBLAGE OF DISPARATE PARTS because, even though I feel that ASSEMBLAGE is my best book to date, the art didn’t get the proper room to breath. WOMBAT is printed on nice glossy paper and the some of the art is reproduced at full size.
The book also contains WE ANTS, a work of blackout prose and collage created from a children’s book I purchased from a local used bookstore, and the full sculptural comic RAMBLIN AND TOOF.
WOMBAT is a 214 page softcover for $20. It’s currently available over at Lulu.
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