Death Valley Inspiration Tour

Edge-notes: Fastwurms trio travel to DV for some inspiration. Napo travels from NYC, Kim and Dai travel from Toronto, they meet in Las Vegas.

napob art

Artist Drive, Death Valley California

One more time in tandem roles and fingered memory in rolling wheels and exploding liquid flights in pouring cash into our unique trail blazing paradigm. Smiles and chuckles of three: in you U turns on slipping ice on flying carpets, on rocking beds, on the lawn, and on and on to Las Vegas and the slot machines of Antioch. We didn’t bother to stay and play as we rumored north out on cash and drum rolls towards Tonopah we’re we observed the nighttime flashes of mystery vehicles coming and going from the night sky near Area 51. Camped on a ridge for the night then in the morning hours we slipped on we went north to Dinah’s Punch Bowl. Hot springs temperature 137° as we settled for a spill and soak and a day of hanging out and camping beneath the stars. Next morning we steam traveled south stopped at Goldfield bought deer antlers and some beers proceeding south to Death Valley. Destination Ebehebe crater to sleep on the rim kept warm by the mesquite fire. Bedrolls thin and cool, in the night air, dreaming by the side of a gaping black hole of the crater.  Dream time, spirit canoe sleep formations, and the gift hawk feathers medicine came at sunrise at our camp.

Kim & Dai, Death Valley, C alifornia

Kim & Dai, Death Valley, C alifornia

Checked in for a stroll at Stove Pipe Wells then on to Devils Golf Course in search of stink bugs hoping to make some rain. Stopped for a walk on the salt flats at Badwater, then went down to the Borax works to check out the twenty mule team wagons.  We made our way to Funeral Mountains and set up camp near the Keene Wonder Mine. The following day went down the dunes for a sleepy time and sun baked our beans and looked for stink bugs. Sun so hot so we made our way back to camp the base near the Keene Mine sulfur spring, a cool watering hole and small marsh with exceptional reeds to hide in like Moses. Soaking in the cool water, hiding under my Stetson in 90° heat with smell of sulfur wafting in bursting bubbles. Had a brief chat with spirit guides off in the desert late in the evening by a sage bush, but that’s another story.

Camped bedrolls under the stars by the silver and gold mine while the white burning light of mesquite twigs a pagan theater appeared with kangaroo rats dancing around us visiting the warm flames collecting crumbs of food and then off into the hills and the deep dark shadows. Gave some spiders some hairs from my rabbits foot I found out on the highway, and they copulated for a moment then ran off with the fur. Star gazing fabulous late night whiskey and fire watching being taught by the fire theatre of life as cinders popped and rose up into the atmosphere. Next morning out of our digs, out of Death Valley via Zabrinsky Point and on to Lake Mead, with a quick sprint through the Valley of Fire and a peek at petroglyphs before heading back home to New York via Las Vegas. Winter 1986.


South East Asia Watercolor Travel Journal

On my first trip to South East Asia, I spent most of my time recording my trip by taking photographs, however on my second trip I decided that I would create miniature watercolor daily impressions. The result was a book of one hundred miniature paintings on paper, here are three of my favorites.

napob art

Lake Pushkar Rajahstan, watercolour on paper 5 x 14 in., 1992

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Borobudur Dreamer, watercolor on paper, 5 x 14 in., 1992

napob art

Flores Sea & Ajanta Caves, watercolor on paper, 5 x 14 in., 1992


“Painting For The Video Screen”


Since sometime in 1980 when I bought my first Sony Video8 camera, I began using the camera as the eye that saw the painting, all my painting decisions where based on what the monitor showed me. I was at once the spectator and the painter working the surface; ” paint until it’s perfect for the monitor.”

napob art

Strathcona Park / Rideau River, oil on panel,  Dundas East Studio, 2008


Badwater, Death Valley, oil on panel, 2005 - Mastermind Studio

Badwater, Death Valley, oil on panel, 2005 – Mastermind Studio


Bell Rock, Oil on canvas, 72 Hours Studio, 2002

“Journey to the Underworld”

napob art

“1991 Possible Descent” oil on canvas, 84 x 84 in. 1986 collection of the artist

noun: descent; plural noun: descents
  1. 1.
    an action of moving downward, dropping, or falling, transcendance.
    “the plane had gone into a steep descent”
    synonyms: dive, drop,
    • a downward slope, especially a path or track.
      “a steep, badly eroded descent into the undeworld”
      synonyms: slope, incline, dip, drop, gradient, declivity, slant
       “a steep descent towards the unknown abyss”
    • a moral, social, or psychological decline into a specified undesirable state.
      “the forbidden artists  slow descent into anonymity”
      synonyms: decline, slide, fall, degeneration, deterioration, regressio
       “his descent into debauchery and soul loss”
  2. 2.
    the origin or background of a person in terms of family or nationality.
    “American families of Native descent
    synonyms: ancestry, parentage, family, ancestors, cabals
    • the transmission of qualities, property, or privileges by inheritance.
      synonyms: inheritance, succession
      “the descent of privilege could not save him”
  3. 3.
    a sudden, violent attack.
    “a descent to the gates of hell”
    synonyms: attack, assault, raid, onslaught, charge, thrust, push, drive”
    “the sudden descent of the angry mob”

“Thoughts about Dream Geometry”

“if time the measure of possibility, then space is the index of power, if a dream is a place then there must be an applicable geometry” napob

In 1975 I did an installation in Toronto at Gallery 76 which was the Ontario College of Art’s gallery, Gallery 76.  This installation comprised of large sheet of cold roll steel suspended from the ceiling of the gallery in stacks. The steel rods that I used in this work to suspend the sheets of steel where eventually recycled into the  frame pyramid built according to the specifications of Cheops Pyramid in Egypt.

dream geometry napoleon brousseau drawing 1976

For the longest time I kept this pyramid  in the basement of the Experimental Arts Building which had formerly been the Brinks Building. In the basement there was a vault safe room, it had one bare bulb from the ceiling and when you shut the large metal door the silence almost knocked you off your feet. I would go there on a daily basis and sit in a wooden chair place inside the pyramid, the chair was positioned so that my heart chakra was approximately in the same position as the kings chamber. As I sat there in the dark I practiced my open eye meditation with my hands positioned on my knees in a Pharaohnic   pose. This went on for sometime, then one day I got a spectacular result. As I sat there in the dark a steady  stream of golden light entered the room on my right, drawing a large circle two or three feet in front of me and left the room on the left. It had the appearance of someone with a large sparkler  drawing a circle in front of me  I was immediately hit with a rush  in my heart chakra. To confirm that this was happening I noticed that the shadow of the pyramid frame shifted on the walls of the room as it the light manifested and and dissolved .

I sat there for the longest time amazed, overwhelmed, confused and mentally altered. Finally able to get up I went upstairs to the main studios, where people were coming up to me and touching me and smiling. I walked out of the building and went home, the next day I decided I would move the pyramid home and set it up over the bed.

For the longest time my  girlfriend and I slept under the pyramid, and over time we realized that our sleeping pattern had shifted considerably. We were now sleeping fourteen to eighteen hours a day under the pyramid.

One night while in a dream, I asked myself a simple question, Where is this dream happening, if a dream is a place than it must have a geometry ?   I immediately got a response in the form of drawings  and telepathic explanations of what I was looking at, I awoke and got up and jotted down the drawings I had seen and explanations.

I remembered as a child watching my grandfather making house paint in the basement of his home, he used white lead, turpentine, linseed oil and other ingredients to make this turgid off white paint. I decided I would do drawings in this type of paint, so I ordered some white lead and mixed a quart of this paint; then using a 4b  pencil I created the twelve drawings that made up the Dream Geometry set. I had decided that I would go see Av Isaac of the Isaac Gallery and see if I could show my drawings. He was amused by my enthusiasm but nothing came of it so I went to see Carmen Lamanna of the Carmen Lamanna Gallery, and though he was interested nothing came of it. I was somewhat discouraged and so I stepped into the Fiesta Restaurant which was a basic greasy spoon and had a coffee. Royden Rabinovitch was sitting at the counter and we talked for a while and he encouraged me not to give up and keep searching for  the right place to show these works. As I was walking home I realized that the Fiesta Restaurant would be the ideal place for the show, I remembered the booths along the one wall as the ideal space to show the twelve drawings. I went and spoke to Gus Tsouboukos the owner, and though he was a bit confused by my demand agreed to let me display the works for a month in his restaurant. Gary Michael Dault wrote an article for the Globe and Mail.