fāz/Que Pasa

Que pasa. 18x14". Acrylic on paper on panel. (Ptg #72).

Well yes, indeed,

who ever really


what’s happening


Who ever really knows which way to go


and why?


I do the old vaudeville double take

and dance the dream

and laugh the cosmic laugh

into the mirror of masks

searching for me.


But it wasn’t me

(was it?)…

We are so many faces

Que Pasa. 18×14″. Acrylic on paper on panel. By clinock.

*(see fāz/ Ada and Anna for back story)*



At first there was just the head, the seeding of a self portrait. Then the collaged word came my way so I added the wing and it all coalesced in a thunderstorm in Mexico and I understood because I have been






Newing. 18×14″. Acrylic on paper on panel. By clinock.

*(see fāz/ Ada and Anna for back story)*

food for thought / Richard Diebenkorn

“… putting down what I felt in terms of some overall image at the moment today, and perhaps being terribly disappointed with it tomorrow… trying to make it better and then despairing and destroying partially or wholly… getting back into it and just kind of frantically trying to pull something into this rectangle that made sense to me…”

(Richard Diebenkorn. 1922-1993. American)








Credits: All images thanks to Wikipedia.

Photo of Diebenkorn, 1986.

Cityscape 1. 1963. oil on canvas. 60×50″.

Ocean Park No.129. oil on canvas. 1984.

Ocean Park No.67. oil on canvas. 1973. 100×80″.

fāz/Past Perfect

Past Perfect

This painting is a meditation; a contemplation, on the child, youth and young man in me.

This is an icon of innocence; a tete-a-tete with the spirit of longing, aging and the illusion of time; an understanding that he is still part of me, always was and always will be, and always still needing my love and recognition that makes him real and makes me whole.

This image is also a tender letting go of all that I have been at every age so none may become an obsession.

I embrace and release every moment of my life, like breathing…

Past Perfect. 18×14. Acrylic on paper on panel. By clinock.

*(see fāz/ Ada and Anna for back story)*

fāz/Gypsy Priestess

Gypsy PriestessShe has been with me for a very long time, winged animal woman, keeper of the sacred heart, protector of the veil, moonlight jungle hunter, card reader and fire dancer

Her mystery lingers in the air…lilacs, burning leaves, holy copal, sun touched skin, ocean salt on the tongue

This image is a single breath in her eternity, caught and released. The next breath and the next she is not this at all, or this,

or this, or this

I can never know her, and yet, she is all my life.

Gypsy Priestess. 18×14. Acrylic on paper on panel. By clinock.

*(see fāz/ Ada and Anna for back story)*

food for thought / francis bacon

“In my case all painting… is an accident. I foresee it and yet I hardly ever carry it out as I foresee it. It transforms itself by the actual paint. I don’t in fact know very often what the paint will do, and it does many things which are very much better than I could make it do”. (Francis Bacon. 1909 – 1992) Francis_Bacon_(artist)



Photo portrait of Francis Bacon. Photographed in late 1980s. credit Wikipedia.com.

Study after Velazquez’s Portrait of Pope Innocent X. Francis Bacon. 1953. Oil on canvas. 60×46″ (152×117 cm).

Study for the head of George Dyer. Francis Bacon. 1967. Oil on canvas. 14×12″ (35.5×30.5 cm).

Three Studies for the Portrait of Henrietta Moraes. Francis Bacon. 1963. Oil on canvas. Triptych.

fāz/Back Issue

Back Issue. 18x14. Acrylic on paper on panel. (Ptg #67)

like an ancient comic book,

or carved rock face,

centuries forgotten,

but valuable, inside.

still available from the publisher,

at a price.

like the burning heart that reaches

and twists the lower spine,

hurt upon hurt.

like the never resolved

and never forgiven issues

from the past.

this face, i see,


by a smell,

a colour,

a dream.

when the black and white

back issues rise again,

so surprised to be woken

from early hibernation,

longing, reaching out, swollen…

it’s a stretch…

I thought I understood

this backbone of connection.

But Obviously

i was wrong,

all the way along the line,

I was wrong.

It is an issue of each past

of us all

and the future of illusion.


as I thought,


Back then of her and him.

And this face,

‘Sand Worms from Dune’

she said, emerging.

Me? It was always Alice,

searching for an entrance

to the beautiful garden.

Looking down at her feet

a lifetime distance away…

Connection lost.

Back Issue. 18×14. Acrylic on paper on panel. By clinock.

*(see fāz/ Ada and Anna for back story)*