Ray Caesar + Jeff Soto Limited and Standard Editions

This year has been full of challenges and unexpected delights. As I wonder, “Where did all of the time go this year?,” it makes me realize how thankful I am to do what I do. For those who know me, I am passionate about all forms of artistic expression, and LOVE the possibilities that living artists expose me to.

I am excited to share Jeff Soto’s and Ray Caesar’s limited edition and standard edition book volumes. (Above, Jeff Soto, Potato Stamp Dreams with one-of-a-kind, embossed box packaging—10 books recently discovered—$125 US customers order here, International customers order here).


This installment is a celebration of the arrival (one more week) of Ray Caesar’s first artistic collection and Jeff Soto’s second installment, “Storm Clouds.” Both artist monographs are tributes to an on going archive of creative pursuit and artistic discovery. Ray and Jeff, although completely different artists, provide the viewer with an evolutionary, yet deeply personal, process of creativity that will continually challenge, evolve and push us through unfamiliar territory.


Jeff Soto’s, second installment, “Storm Clouds,” feature paintings that evolve beyond the robotic characters featured in the sold out, “Potato Stamp Dreams.” “Storm Clouds” captures new painted territory that record Jeff’s concerns for the well being of his family, the fragile condition of politics, the changing forces of nature and moments for personal exploration and experimentation. This hard cover volume features 154 pages, specialty printing techniques and over 264 high-quality, full color images.

Introductory text provided by David Choe (X –rated, that’s how we like it), Peter Frank (Senior Curator of Riverside Art Museum), Jeff Soto and Mark Murphy. Riverside Art Museum and the James Irvine Foundation provided initial support, as they will be featuring Jeff in his first museum show in December. (Above, Jeff Soto, NO Hope Zine and sample spreads). (Signed and numbered limited edition prints and packaging detailed below—150 signed and numbered editions).

Jeff Soto Storm Clouds Limited Edition Package
“Storm Clouds” will also be available in a special collector’s package that features a one-of-a-kind clam shell box with debossing, full color label and a signed and numbered print set of 4 that features a cover sheet and certificate of authenticity, packaged up in a protective envelope. And yes, the book will be signed and numbered to match the fine art edition of the prints, as well.


Jeff Soto Standard Edition
Jeff Soto “Storm Clouds” : 8” x 10” : Portrait Size : Hard Cover : 154 Pages : ISBN 0-9771430-8-2 : $41.00 (Holiday sale price $30, United States Customers order here, International Customers order here).


Jeff Soto “Storm Clouds” Fine Art Edition includes :
+ 1 Clam Shell Box : 11” x 8 ¾” x 1 ½”
+ 1 Signed and Numbered “Storm Clouds,” 4 Archival Lithograph Prints “Water, Air, Fire, Earth,” 7” x 9” printed 5 color + Deboss
+ 1 Collector Card Print Cover Sheet, 7” x 9”
+ 1 Certificate of Authenticity, all measure 7” x 9” and will be packaged in one envelope.
+ This edition is limited to a 150 quantity.

+ Includes Scribble.08 DVD Documentary featuring Jeff Soto interview

+ Features artist signed, NO Hope Zine
+ The entire package will be carefully packed and protected by a custom corrugated box :

Holiday Promotion Sale offers savings of $50. United States customers order here and international customers order here.

Ray Caesar’s book opens to a world that will defy your imagination begging you to explore the rich detail presented on each art page. “On the turn of every page you will experience a world where art captures dreams for those who do not remember how to sleep away life’s untimely circumstances…Ray Caesar is a dream catcher who recreates personal visions of other worldly creatures that visit him in every day life.” Order standard edition with collector cards. (Almost sold out).


Ray’s first assemblage is the result of a considerate collaboration, where design compliments vision, and high-quality craft delivers an extra sensory volume that features sketches, process studies, and over 250 full-color images. This is a premier release and the first collection of Ray’s work.

Ray shares his approach to developing images, his personal story of evolution and has created many new pieces, specifically for the book, recently featured at the Jonathan LeVine Gallery in NY. Ray’s process is offered in an evolution of images that capture a complete representation of a true master in a medium that has endless potential.



You will be happy to know that this first edition of “Ray Caesar Art Collection” features a 6 collector card set packaged in an envelope and shrink wrapped to the back of the book. The collector card set features digital paintings from the series “Mourning Glory.” This limited edition offering is a way for Ray and I to say “thank you” for the patient understanding that went into the development of this book. Please note this will only be available for the first edition printing.


Ray Caesar Limited Edition book package

For the avid book collector or huge fan of Ray Caesar’s work, the limited edition is a fine art package that delivers high-quality excellence. A black cloth clam shell box that features deboss on front and spine, as well as a 4 color lithograph label will offer a handsome package to the Ray Caesar limited edition book. The limited edition book will feature a black cloth cover that features a deboss design on front cover and spine, as well as a 4 color lithograph label on the front. All books will be signed and numbered in an edition of 500 and will include a certificate of authenticity, and 7 7/8” x 10” print of “Mourning Glory.”


“Mourning Glory” was created specifically for the book and will not be available in a giclee print at future gallery exhibitions. This 7 color print has been printed using the stochastic printing process, where there is no printed dot, there are printed squares that weave the image seamlessly and with no dot quality. This is a high standard printing process that will offer unmatched archival quality, displaying a print that jumps off the paper. “Mourning Glory” also features a deboss design and satin gloss varnish finish and printing.


Ray Caesar Regular Edition
“Ray Caesar Art Collection”: 8 ¼” x 10 ¾” : Portrait Size : Printed Hard Cover : 178 Pages :
First Edition includes 6 Collector Cards : 3 ¼” x 4 ¾” : ISBN 0-978032-X-X : $52.00

Order standard edition with collector cards. (Almost sold out).


Limited Edition : “Ray Caesar Art Collection” Fine Art Edition includes :
+ 1 “Ray Caesar Art Collection” 8 ¼” x 10 ¾” : Portrait Size : Printed Hard Cover : 178 Pages :
+ 1 Black Cloth Clam Shell Box : 11 ¾” x 9 ¼” x 1 7/16”
+ 1 “Mourning Glory” 7 7/8” x 10” stochastic 7 color print and deboss and artist signed/numbered.
+ 1 Limited Edition Certificate of Authenticity featuring stochastic 7 color printing packaged in one envelope.
+ 6 “Mourning Glory” Collector Cards : 3 ¼” x 4 ¾” packaged in one envelope
+ This edition is limited to a 500 quantity.
+ The entire package will be carefully packed and protected by a custom corrugated box : All shipments will be priority shipped via FedEx Ground :

Holiday Promotion Sale offers savings of $100. United States customers order here and international customers order here.

Kind thanks to Ray Caesar and Jeff Soto for sharing their artistic vision and offering much needed inspiration.

Ray Caesar Interview In the Light

Ray Caesar recently exhibited 30 digital paintings, “Dangerous Inclination,” at the Corey Helford Gallery. Ray was in good spirits and the crowd immediately engaged with a select grouping of one of a kind pieces and oversized pieces. (Above, Words of Wisdom, 24x40" 2012).

Reflecting on the exhibition on the drive from Los Angeles to San Diego, I thought to present two questions that quickly came to mind. Generously, Ray responded: (Above, Coming Undone studies 2008).

mM : I love the light sources in your work. The glow of your work has an effervescent quality that really pulls you in. Do you have memories of light. Places you have been or have a favorite time of day that inspires the light that is featured in your pieces? (Above, Mantis Grill, Daybreak, 2008).

RAY : The light is in many ways is a main character of my work ...if not THE main character. Whether its a table lamp or a chandelier or a window or even just a bare bulb. I often begin the process of a piece with the light source and this is consistent in working in Maya also ...I need a light source in my virtual working environment to illuminate the objects in the scene.

When the piece develops so does the light source and its effect on the scene and in this way there is a constant process of working with light both as a practical element but also as a spiritual one as for me the light is also a metaphor for the revelation of the unconscious mind and the self realization of aspects of my own personality and the personality of all of us as a species. I have several "disorders" and therapy along with art and patience and a process of self realization is like turning on a light in a room or sitting in a garden at night and watching the sunrise and seeing that space as a constantly changing space. (Above, Siren, 48x48" 2012).

The night garden has a certain light and certain creatures populate it at night and there is a cast of shadow and color and a coolness of temperature and lack of activity by humans . . . the smells are different as are the sounds and the instincts. The sun rises and all those elements change and in some ways the garden under sunlight at noon is almost a different space—a different aspect of another completely dimension. Light and its absence seemingly moves us thru these different dimensions and I believe its the same with the unconscious and conscious mind. As a child I used to sit in a very small dark room and it was in that space that I heard particular voices and what I like to describe as "friends"...I have a particular memory of these voices being very tiny moving points of light. In a simple answer to your question I have come to love all times of day and all states of mind as they all have a reason and they all have an emotion. I am often happy sitting on my terrace when its cold and foggy and raining...I wrap myself up in a blanket and sip a cup of tea and watch the fog and listen to the rain and the light is just fantastic. (Above, La Chasse, 48x48" 2012).

mM : There is mention of pieces without the presentation of figures while presenting the influence of humans. In your piece Death of an Unfaithful Still Life (great title, by the way), the concept of human interaction and the possible narrative seem to build up the tension in presentation. What is your inspiration that moves your worlds away from the protagonist? (Above, Consort and Santa Maria, 2006).

RAY : I have drawn these non-figurative pieces for many years and quite some time ago used to paint them quite often. Light as a main character . . . then so are the objects and furniture and rooms within my work. Cabinets and chests of drawers and desks and night tables are a place where secrets are often hidden and a place we keep those things we don’t want others looking at.

They are places we tend to organize our daily life and the place we quickly put things when we don’t have another space. They are containers and sarcophagus and coffins and in a way, wombs of old memories. I think we all have cabinets in our subconcious. Go through any room in your house and go thru a drawer and there. I guarantee you have put things that you have forgotten about ...when you clean those cabinets you find little treasures and memories both good and bad. These are also the places some keep their love, their sins, the things they want to keep and the things they want to forget. (Above, Morning Glory Limited Edition Book and Morning Glory Side View 1/1, 2007).

As a child I spent a lot of time alone ... I touched old furniture and it seemed to me the furniture spoke back . . . back in England when I was 7 or 8 we had a huge black oak bureau that was attached to the wall . . . I suspect it was 60 or 70 years old and was probably built in the 1880s as we found some very old newspapers behind it when it was ripped from the wall many years later. This big old Bureau was the king of the room and was massive...it had seen more years pass than anyone or any other thing other than the house itself and yet I think the wood was older. I can swear to you on my life that this thing spoke . . . and it was wise and patient and kind and it was strong and it had come from a very old tree that was rooted to the earth. It was fashioned into a massive cabinet that had cupboards and drawers and it had contained all the things people treasured for an eternity. It was in one of the cupboards of this cabinet that was one of my places and I feel that this big old cupboard protected me. (Above, Paternal Secrets 2004 and Oh Sweet Vanity 2004).

In “Death of an Unfaithful still life,” (Above), I was thinking about how some pieces of furniture can be alive and kind and caring and how some people can be less than furniture and cold and uncaring. I came from a world where words were lost on people like words are lost on talking or begging an inanimate thing. In such a place your friends become the things that are kinder to you ...the things that protect you and sometimes those are things in the rooms you live in . . . the quiet patient things.

Many thanks to Ray Caesar and we look forward to your next exhibition. More soon and enjoy. (Ray Caesar Review — Ray Caesar Blog — Gentle Kind of Cruelty Interview — Huffington Post Interview — Order Ray Caesar Book).

Ray Caesar’s Dangerous Inclination Recap

Corey Helford Gallery opened promptly at 7PM to welcome a steady crowd gathered to share a moment with Toronto based, fine artist, Ray Caesar and his new collection, “A Dangerous Inclination.”

At first glimpse the gallery presented a wide variety of artist proofs, 1/1 editions and new work such as, “La Chasseresse Jaunes (Top), La Chasseresse Rouge(L) and La Chasseresse Bleue (R), (All editions of 1, Ultrachrome in on paper and acrylic, with varnish medium on panel, 2011), studies for La Chasse (edition of 20, 2011).

The new work provided generous space relationships for the central protagonist, allowing needed space to intermingle with its natural surroundings. And as always, a lively color palette, intertwined with subtle, patterns and prints helped establish moods of reflection and introspection for both the central character and viewer.

But wait, “What’s that over there? Is that a ceramic piece created by Ray?’ No, actually standing about 25” tall by 12” around, San Francisco based, Dante Nuno, safely packaged up his confection masterpiece and drove it down to Los Angeles. Dante prepared a sugary sweet statuette of Ray Caesar’s earlier work, “Descent.” I was personally amazed that this creation was actually a cake. Dante worked on his creation for two weeks and arrived with a really impressive testament to his work. And to provide perspective on hours spent, the candelabra took 3 entire days, welding colored sugar with sugar, until the perfect form took shape.

Another nice touch to the evening, came from a four-piece orchestra, that rocked out to famous 70s metal covers with strings. Ray Caesar was smiling ear to ear, as you spun and discovered works throughout the entire gallery.

Another one of one edition, “Little Miss Sardonicus,” was framed in a custom-made felt frame, thus heightening the atrium like effect that Ray often captures with his subjects. The dimensional and organic qualities of the frame seemed to further protect the central subject from unspoken opinions or sarcastic antidotes about her behavior

Overall, “A Dangerous Inclination” was a bold step forward, featuring five 1 of 1 edition pieces (all sold), earlier artist proof editions consisting of only two, and new work that continues the visual dialogue of Ray Caesar’s collection of work paying tribute to the master works of Fraonard and Boucher. A trip to Corey Helford Gallery in Culver City will deliver as the digital medium as a place in the fine art world continues to shine with the great work of Ray Caesar.

Oh yes, and the party was complete with a gentle stabbing of the cake by Ray Caesar and a slice by slice serving to the crowd that had gathered for a taste. I think the senses were stimulated and the best is yet to come.

(A Gentle Kind of Cruelty Interview, GenArt Vanguard Interview, Order Ray Caesar Book Here).

Ray Caesar’s Dangerous Inclination

Ray Caesar’s new exhibition of more than 30 works premieres at the Corey Helford Gallery in Culver City, CA this Saturday from 7—10PM and is appropriately titled, “A Dangerous Inclination.”

Ray Caesar’s latest follows up, “A Gentle Kind of Cruelty,” showcased at the Jonathan LeVine Gallery in New York back in January. The first exhibition was a grouping of large scaled works that dealt with Dissociative Identity Disorder, a long recovery from foot surgery and the echo of childhood past, that consistently appears in his digital paintings and assemblages.

Toronto based fine artist, disparate, Ray Caesar, is the first major artist working as an outsider equipped with digital tools in compliment of Roger Cardinal’s art terminology—“art brut or raw art.” Digital paint exposes rich tapestry decorating large architectural spaces while adorning porcelain- skinned characters pose in Victorian inspired dress. (Above, La Chase).

Ray Caesar’s “A Dangerous Inclination” continues his deeply personal journey to settle feelings of childhood trauma and abuse, creating spatial atriums for his characters to protect, reflect, engage, falter, amuse and retain a sense of youth that can never be taken away.

Ray describes, “As a child, I used pictures as a way of hiding feelings and emotions I wanted to protect in situations that were extremely dangerous. If I experienced something that overwhelmed me, that I couldn’t deal with, or had emotions I wasn’t allowed to display, I used to draw it into a picture. Those pictures became a doorway to a happier, safer place – and sometimes a dangerous place for others because it was MY place. Years later while working at the hospital I realized I was doing the same thing. If I saw a child that had been burned with an iron, I couldn’t handle the image in my mind and function. So, I put the image into a picture, sometimes repeatedly (in fact, I drew and painted pictures about irons for 10 years ), and then I would put the picture away into a closet. Sometimes I would have a little ceremony at night and burn the picture in my backyard. (Above, Siren).

For years and years I didn’t realize what I was doing but it occurred to me much later in life that I was dealing obsessively with emotions on a subconscious level and the picture was able to communicate to my conscious level that all was ok ..we have protected the memory and managed the memory and found a place to put the memory so it wont hurt us again. It was/is a excellent way of viewing the image from a safe distance …a way of disassociating oneself from the ugly thing in ones head…a way of turning the ugliness in life into something manageable ..maybe even beautiful. It was and is a way to cope. (Above: 4th from left).

Virtually all of my work deals with coming to terms with the subconscious elements to my life and the way I experience the world around me. My work seems to keep on the regular themes of “Hunting Back Innocence” and “Revelations of Light” and the painful process of “Self Examination” and hidden voices calling like sirens in the night…

Ray Caesar is like no other, and I am thankful that he and Jonathan LeVine provided the opportunity to create a dynamic collection of his work back in 2008. Ray Caesar “A Dangerous Inclination” opens on Saturday, October 22 at 7—10PM at the Corey Helford Gallery in Culver City, CA and on exhibition through November 12. (Interview 1/20/11 : Ray Caesar Book Overview : FL Cute and Creepy Exhibit : Order Book Here).

Cute and Creepy Museum Show

Guest curator, artist and instructor, Carrie Ann Baade, unleashes a new exhibition at the Museum of Fine Arts at Florida State University tonight entitled, “Cute and Creepy: An exhibition of sweet and sticky macabre art.”

I am not entirely sure what the sweet and sticky references are, but the line up is exceptional: Ray Caesar, Thomas Woodruff, Martin Wittfooth, Kelly Boehmer, Kris Kuksi and many more. I loaned the Ray Caesar original, “Messenger,” (22"x30" digital print edition of 20 2004), and the Ray Caesar Limited Edition with a dynamic print too. The “Cute and Creepy” exhibition runs through November 20 and looks to be a show not to miss.

Carrie Ann describes her curatorial inspiration, “My tastes and interests have always been the strange and unusual, but what drives one to spend four years of their life making an exhibit like this a reality is the desire to support the artists who have come to make up my community. Ten years ago I was in graduate school when I first saw Judith Schaechter's stained glass at the Whitney Biennial. It was the first time I had seen such a graphically dark sense of humor paired with exquisite craftsmanship. Six years ago the Pop Surrealism genre developed and artists such as Kris Kuksi, Richard Kirk, and Travis Louie were showing with me in New York and Berlin. Becoming fast friends and fans of these fellow artists, I wanted to promote those who paired skill with unique vision.

While there is work that is far darker, it is the playfulness that makes these works endearing. For example, Jessica Joslin's delightfully retrofitted, articulated animal sculptures, or Kate Clarks disarmingly beautiful diorama of animals with quixotic human faces makes one want to collect this seemingly endless supply of freakish pets.

With the recent publicly celebrated exhibitions of Tim Burton at MOMA and Edward Gorey at the Wadsworth Athenaeum, now is the time to revel in the genre of the macabre. It's my desire to seduce new art lovers with this enchanting contemporary art that is so easy to adore.” (Ray Caesar, “Morning Glory,” edition of 500, dotless serigraph, Limited Edition Book by Murphy Design).

Author Nancy Hightower wrote a compelling article that is published in the “Cute and Creepy” catalog for the show entitled, “Revelatory Monsters.” Nancy describes her discovery process and the development of her featured piece, “I actually discovered the theory by accident as I was reading scholarly articles about the short fiction of Flannery O’Connor and Franz Kafka. The term “grotesque” intrigued me, so I started researching more scholars who had written about it—Wolfgang Kayser, Philip Thomson, Geoffrey Galt Harpham—as well as authors such as O’Connor, Joyce Carol Oates, and others. But it was reading Modern Art and the Grotesque that made me realize it wasn’t literary theory at first—but a theory derived from art. That fascinated me and opened up a whole new world of the fantastic and strange to me, starting with artists such as Goya, Dix, Bosch, Brueghel, etc. and expanding into contemporary art.

What I admire very much about the theory is that it has to play by certain “rules”—i.e. just because something is strange and weird, it’s not necessarily grotesque, not in the sense that I teach it. The grotesque is an operation, a form of persuasion that artists and writers use to create a paradigm shift in the viewer. And to me, this shift must always move in the direction of redemption, i.e. in making us a kinder, more loving world.

I never teach shocking stories or art merely to shock, for that, to me, would be cruel and insensitive. But I will introduce people to the shocking if it allows them to see what they have deemed “Other” in a new light. Most people think of grotesque as being something pejorative or strange or bizarre. This is certainly the more pervasive definition of the grotesque, yet it is limiting. The grotesque has always existed in the underside of culture; it is always taboo. As culture changes, so the grotesque.” (Laurie Lipton, Travis Louie, Martin Wittfooth, featured above).

This exhibition is described as grotesque, cute, sweet, sticky, creepy...and you are invited to determine the appropriate term(s) for yourself. The exhibition, “Cute and Creepy,” is now on display at the FSU Museum of Fine Arts, Fine ARts Building at the FSU Campus in Tallahasse, Florida. Check for exhibition hours, Monday—Friday 9am—4pm and Saturday and Sunday 1—4pm. Enjoy.