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About the Artist

About the Artist

About the Artist

Paintings and work from 2025

Work exploring more subtle political and spiritual themes.

"Drudwyn," the hound of Maponos from Celtic lore. Acrylic and watercolor, (48" x 30").

"The Charlatan II," gouache and cyanotype, (8" x 10"). Based on the 1942 painting of the same name by José Chávez Morado.

"Perdedor," acrylic on thrifted fabric (20" x 16").

"Destruction of Myth (and its benefits to the economy)," acrylic, shaved tobacco, and sand on stretched, printed fabric (52" x 96").

Many allegorical connections could be made from this painting but I do want to make sure my line in the sand is very

"The Party's Over, Folks," acrylic, sand, and tobacco shavings on canvas (56.5" x 84").

An adolescent obsession with Hunter S. Thompson's writings and the band Sun City Girls, gave birth to this behemoth of a painting that I started a year or so ago

"After Soutine, After Chardin," 2025, acrylic, tobacco, and bits of sand (56" x 60"). It lives somewhere in Washington now which is cool.

"Annihilation," is an experiment in creating a symbiotic relationship between my trash-based sculptures and my dream-based paintings. I wanted to create a creature than can act as a silent storyteller.

It is a mixed collage of found and sculpted mat

Paintings are acrylic & gouache on artboard (12" x 8.5").

"Psychic Self-Defense." Painting is acrylic, sand, and gouache (6" x 6"). Frame is made from a larger side piece cut smaller and sculpted on with modeling compound, plaster, and papier-mâché (15" x 15").

"No One Left to Guide Us," acrylic and cyanotype on tablecloth (12" x 12").

A failed cyanotype print that served as a nice gloomy backdrop. The scene and title are directly inspired by the song "Dragons II," by the band, Being Dead.

"Drudwyn," the hound of Maponos from Celtic lore. Acrylic and watercolor, (48" x 30").

"The Charlatan II," gouache and cyanotype, (8" x 10"). Based on the 1942 painting of the same name by José Chávez Morado.

"Perdedor," acrylic on thrifted fabric (20" x 16").

"Destruction of Myth (and its benefits to the economy)," acrylic, shaved tobacco, and sand on stretched, printed fabric (52" x 96").

Many allegorical connections could be made from this painting but I do want to make sure my line in the sand is very

"The Party's Over, Folks," acrylic, sand, and tobacco shavings on canvas (56.5" x 84").

An adolescent obsession with Hunter S. Thompson's writings and the band Sun City Girls, gave birth to this behemoth of a painting that I started a year or so ago

"After Soutine, After Chardin," 2025, acrylic, tobacco, and bits of sand (56" x 60"). It lives somewhere in Washington now which is cool.

"Annihilation," is an experiment in creating a symbiotic relationship between my trash-based sculptures and my dream-based paintings. I wanted to create a creature than can act as a silent storyteller.

It is a mixed collage of found and sculpted mat

Paintings are acrylic & gouache on artboard (12" x 8.5").

"Psychic Self-Defense." Painting is acrylic, sand, and gouache (6" x 6"). Frame is made from a larger side piece cut smaller and sculpted on with modeling compound, plaster, and papier-mâché (15" x 15").

"No One Left to Guide Us," acrylic and cyanotype on tablecloth (12" x 12").

A failed cyanotype print that served as a nice gloomy backdrop. The scene and title are directly inspired by the song "Dragons II," by the band, Being Dead.

2024 Paintings

J. E. SANDOVAL