That Was 2025

Every year is an amalgamation of the years that came before. While there might be touchstones and specific events keyed to one year or another, no year can be entirely of itself. So some of what follows is tied to this past year, but some of it is from outside of that temporal container. Regardless, I wanted to make a few notes about what struck me and what stuck with me this year without a whole lot of thinking about ranking or hard and fast lists. It’s good to take stock and look back so that the turning to look forward can have some context.

At a great party with former students in Rocheport, MO.

100 Pounds Down

2025 is the year that I lost 100 pounds. On January 18, 2024, I was 291.6 lbs. Today, I’m 186.6lbs. This is a testament to medicine, determination, consistent workouts, and finding ways to manage my own instincts about food and drink and effort. But what changed in January 2024? Why do I think of that as the start of something new? That’s when I began to supplement my daily workouts, efforts to eat and sleep well, and overall stress-reduction with Zepbound.

What it did was take the edge off of my constant feeling of hunger… what many people describe as “food noise” in the mind. Zepbound was the little tweak that enabled me to no longer have an inner insistence that I endlessly had to fight. I felt satiated, FINALLY. My portion sizes went down. My need to just eat everything on the plate – or to have a double or triple portion – disappeared. All of that went away. It became much easier to control my desires in much the same way that antidepressants helped me focus on what was truly important for my family and for my life.

This tirzepatide medication enabled me to turn around years of baggage in my thinking and habitual activity. I was disciplined with working out for nearly a decade, but I still struggled with knowing that it was time to stop eating or drinking. With Zepbound, I was able to do what I needed to do and hear my inner rational voice about what was important. It has definitely been a life changer. My whole world is so much better. Without that extra 100 pounds everything – working out, teaching, playing with my kids – is so much easier and more fulfilling. My knees, ankles, and back feel DECADES younger.


In The Ear and Eye Holes

Another great aspect of 2025 was experiencing (or re-experiencing) some amazing podcasts and movies from a bit of a different perspective. One of the things that I did was watch a bunch of vampire movies with Miranda, my oldest daughter. Seeing those films again (starting back with the original 1922 Murnau Nosferatu and then watching the 1979 Werner Herzog Nosferatu, not to mention a half dozen others) was a unique and dynamic endeavor. It was wonderful to watch those monster and horror movies with Miranda (and sometimes some of her siblings), ask her about her interpretations, and explore how she was understanding all of it. I greatly enjoyed the Robert Eggers 2024 version as well (but I didn’t take my kid to watch that one).

Another powerful experience early in 2025 was when I watched a movie starring Amy Adams called NIGHTBITCH (2024). Based on the novel by Rachel Yoder, it’s “a magical realism-style story of a stay-at-home mom who sometimes transforms into a dog.” I encourage everyone to go watch it. It’s about embodiment, change, parenthood, meaning, self-actualization, and hope. Such a great movie. Amy Adams goes SO HARD in this film… an award-worthy performance.

Amy Adams in NIGHTBITCH

Movie Highlights: Watching The Shining with my kids and seeing Eggers’s Nosferatu in the theater with Jesse. Experiencing NIGHTBITCH on a whim.

In the podcast realm I enjoyed going back through the Futility Closet podcast episodes. This phenomenal podcast is no longer is being produced, but that doesn’t mean they’re out of date or stale. The married team of Sharon and Greg Ross made 365 episodes, then called it quits. The episodes are infinitely re-listenable, there are NO ADS, and the opportunity to be astounded by the world and get inspired to research events is just solid gold. I’m almost done with a full listen-though in 2025, and it was so worth it. Futility Closet really is a cohesive account of global culture and what we try to do as human beings. The writing and the presentation overall are very much accessible. This is not highfalutin fare. It’s not the multi-hour-long episodes of people like Dan Carlin, not a dry lecture about history. Futility Closet gives you tight 30-minute episodes that hit on the main takeaways. They give you the backbone, all the resources so you can look up more, and they’re just really personable, sweet people.


Music in 2025

My students get me hooked on so much good music. This year, these are the heavy-hitters that stuck in my studio rotation. I’m not ranking them, just telling you to get on the train and listen.

Ecca Vandal

Key: Band/Artist – My Suggested Description of Genre

                  Key Tracks (linked to videos)

Big Thief – Alt-Americana-Emo?

                  Vampire Empire (2023), Velvet Ring (2016)

Ecca Vandal – International Pop-Punk/Hardcore?

                  Cruising to Self Soothe (2025), Molly (2025)

Eartheater – Semi-Androgenous-Femme-Alien-Anthemic?

                  Crushing (2023), Below the Clavicle (2020)

Wet Leg – 21st century-BritPop-Post-Punk?

                  mangetout (2025), Chaise Loungue (2022)

Suki Waterhouse – Shoegaze-Dream-Pop

                  Dream Woman (2025), Good Looking (2019)

Pacifica – Argentinian-Girl-Pop

                  Indie Boyz (2025), Anita (2023)

Main point from the music section: Ecca Vandal, Eartheater, and Pacifica need to get PAID.


Seasons In Academia

One of my great joys is teaching. I love working with my students and seeing what they do when they graduate. In 2025 I saw one of my grads, Andrew Long, graduate with an amazing thesis exhibition and text, then immediately get a great job.

Another transition was the amazing Dr. Barb Kerr retiring after nearly 50 years of teaching and scholarship. It was an honor to be at her celebration party. She’s been such a mentor and inspiration to me.


RIP Dad

My dad passed this year. He was 83. For years I wrote to him with photos and updates in physical letters… and now at least once a week I think “I should write to Dad” only to remember that he’s gone. I’m glad he lived on his terms and did just about everything he wanted to do and not much that he didn’t. And I’m glad I got to speak at his funeral and give him the send off he wanted.


Thankfulness

One thing I’m taking away from 2025 is the understanding that I was able to have positive growth and a grateful mindset in my family, job, and art-making in spite of the horror show going on in the world. Straight up state-sponsored murder and genocidal activity on one hand, and obvious grift and obfuscation of the truth on the other, all wrapped up in nationalism and religion. It’s enough to put anyone into a high stress crash-out. But I’m thankful that I’ve been able to find a balance where I can be informed about that stuff and take steps to counter it in my own small ways (as a parent, educator, and community member) without letting it put me in the ground. In 2026 I want to keep living with hope and joy, not through some abstract pie-in-the-sky platitudes, but though real life with my family, honest interactions with my students and colleagues, and deep exploration of ideas and meaning in the things I read, watch, write, listen to, and make.

Ten Years of Seizing the Sixth

Ten years ago today the great Eric Sweet passed away. It’s right and proper that we keep celebrating him with art and memories, and with hearing his voice reverberating over time.

Today I went into the printmaking room at The University of Missouri and placed a lithophane in the widows there.

The idea for this began a few years ago while playing with my drawing robot. I wanted to try different line modes in various images, and happened to throw in a picture of Eric. One of the resulting works was this small ballpoint pen piece:

Head of Sweet. Ink on paper, 5×3 inches. 2022.

The piece I’ve hung today is intentionally related to Sweet’s MFA thesis works, which featured embossed relief and required specific lighting to be seen. Click here to see examples of these works (and a cool picture of Eric in the very printmaking room where my lithophane is now hanging). The portrait of Eric I’ve made is designed to be somewhat inscrutable unless strongly lit from behind. In the documentary images I’ve posted below, you can see the image is barely visible. I have included some shots with a flash on so you can see the relief dimension of the piece.

Ten Years of Seizing the Sixth. PLA, printed on a FlashForge Adventurer 5M. It’s 7×5.25x.25 in size. 2025.

It’s important to maintain the reality of those who have passed on. This is as much about keeping ourselves real as much as it is celebrating their lives. In reminding ourselves of others’ lives, in being creative in that remembering, we find and define ourselves. Keeping Eric in the world through making and practicing attention is a way of honoring him and the values he held.

Ten Years of Seizing the Sixth. PLA, 7×5.25x.25 in size. 2025.
This is what it looks like with strong illumination behind the lithophane.

POR VIDA!

Nine years ago today I experienced cardiac arrest, and I started a journey to becoming a new person. One of the ongoing fun bits related to my heart attack and eventual recovery, was that my friend – famed bookstore co-owner, and local arts organization legend – Kelsey finally accepted the reality of narwhals!

You see, it – the existence of narwhals that is – had been a minor contention between us for quite a while (see above image). I’d mention the unicorn of the sea and she’d push back. But when I woke up from my ordeal and began sorting through the notes, good vibes, and other well-wishes I found a Post-It note from Kelsey. On it she drew the beast and wrote above it, POR VIDA – “for life!” She told me that since I’d pulled through, she could accept the truth of narwhal-kind!

I’ve kept Kelsey’s Post-It note up all these years, right there in my kitchen where I can see it daily. But this year I felt it was appropriate to take it to the next level. I’ve commissioned a local tattoo artist to bring Kelsey’s drawing to life on my very flesh!

Once it is healed up I’ll add a nice shot of it to this post. I’m grateful to people like Kelsey, who have given me so much joy and hope in humanity over the years. She is a true community spirit, someone who understands kindness and laughter. And I’m proud to carry her drawing with me – on me! – from now on, a reminder to seize the day, be happily present, and to embrace the wondrous absurdities all around us.

October Comet

This October has been an amazing time to see the cosmic scale on display. Comet Tsuchinshan–ATLAS passed through, giving us multiple viewing opportunities each night after sunset. It was here some 80,000 years ago, and “the most current calculations from NASA’s Solar System Dynamics group show that it is on a hyperbolic path, meaning that it will not return.

Click the images above to see them larger.

The beginning of the third week of the month was best, with some striking observations made possible with a short exposure time. Each night the viewing has been a little more difficult, and the tail a little shorter, so it may be beyond easy spotting very soon. It’s worth it, though. Once in a lifetime event here, folx.

I’ve gone out each night just to put my eyes on this ancient thing. Perspective is a quality that exhorts and propels the human heart. Seeing our conflicts and passions in the light of cosmic time and distance offers us the chance for true reflection.

Mizzou Football All-American Portraits

Since 2019 I’ve worked as a portrait painter celebrating Mizzou student athletes. This last year was a high mark for Mizzou Football, with four of the squad being named All-American.

The University has a posh facility located in the south end zone area of the stadium where they hang all of the All-American portraits, stretching back into the 1930s. The great illustrator Ted Watts (1942-2015) created most of the portraits over the course of more than three decades, so I’ve got a big act to follow.

The All-American portrait wall at Mizzou Football’s South End Zone facility.

The display is pretty cool, and it’s cool to have my work extend that tradition. Portraits of Kentrell Brothers and Harrison Mevis are two of my works currently on display, and four new ones will appear soon (Fall 2024).

When I began to create my paintings, I went on a tour to see the previous works up close and to evaluate the aesthetic through-lines (format of names, dates, poses, backgrounds, etc), as well as the techniques prior artists used.

I take a central role in the design process, creating digital mockups which are approved at Mizzou Football before I begin the paintings. I generally work with ink on paper, which is mounted on panel and sealed, then painted over with layers of acrylic. I try to maintain a painterly quality, with texture and dynamic brushwork on display. I also attempt to bring the digital effects which naturally appear in the preliminary studies into a physical realm with semi-transparent washes of paint.

Working on the portrait of Cody Schrader.

As the projects have developed I’ve found my own approach to the portraits. I want them to have kinship with the portraits of Watts and other previous artists, but I make sure to give the works my own unique inflection.

I’m excited for the new crop to go on display. Kris Abrams-Draine, Luther Burden III, Javon Foster, and Cody Schrader are the 2023 All-Americans for Mizzou Football. See images of the works below, but also be sure to stop by the All-American wall if you ever get into the South End Zone building!

Click on each to see the work larger.

The Garage Cheese Tale

As 2023 rolls toward an ending, I want to share with you something I’ve been keeping to myself for a few years now.

Go back to the beginning of the pandemic. Schools closed. Information and misinformation flew back and forth. Of course everything was a political dumpster fire; a pervasive heaviness spread over the land. And don’t even get me started on the ritual of using disinfecting wipes on every square centimeter of grocery item delivered to our front door. Even on nature trails and in wild spaces we were warned to keep spectacular distance from each other.

It was the weirdness of being told we shouldn’t use the nature trails for hiking or triking that caused me to consider using the Hitt Street Garage as a place to get my miles each day. School had closed in March, and after finishing up that semester remotely I began to spend time in the garage. There were no cars there, and often my children got some out-of-doors time in by riding their bikes around the middle levels while I walked (click here to see evidence of one of my first workouts in the garage).

By the time May ended I was going to the garage several times each week. It was then that I took special notice of a denizen of that forsaken building: the cheese. That’s right: a slice of processed cheese product cheekily flung off a take out burger and – somehow – perfectly caught on the concrete wall. It was THE garage cheese.

I had seen it earlier in the year – perhaps the first week of March. I had no solid idea how long it had been there, but it was leathery and tough (yes, I touched it). It might have been there a month or two. It still had the strong, unnatural hue I’d come to expect from cheese like this. At first it was just a funny bit of ephemera living in the garage, much like the plethora of unused .223 bullets, spent CO2 cartridges, or carcasses of baby birds that hadn’t made it through the summer heat. But as I passed the cheese over and over again in my rounds up and down the floors of the parking garage, it began to take on more and more importance.

Crazy, right?

I shared my observation of the cheese only with family and a few close friends; I didn’t want it to be disturbed. Being early in our collective quarantine, I felt sure the cheese would be safe. But I was keenly aware that once things went “back to normal” there would be some frat-bros carousing in the garage. There was no way the cheese could survive the onslaught of undergraduates! I just wanted to see how long it would last, and I didn’t want any human intervention. There was an alchemy taking place between the cheese and the garage, a synergy that must be allowed to continue! I was committed to no engagement other than photographic documentation.

The Garage Cheese on September 12, 2020. Ballou.

I began taking periodic shots of the cheese, with my first one from September 2020. I know I took earlier images, but I didn’t see the cheese as anything more than a humorous curiosity then, and so didn’t save them. It wasn’t until March 2021 that I made the decision to document the state of the cheese monthly, as well as make periodic check-ins every other week or so. I viewed the month of March as the anniversary of the installation of the cheese, and it felt right since that was when Mizzou closed down. In a way, the cheese was a physical artifact of the many ways in which COVID altered our experiences of life.

Over time, the cheese itself began to change. Flexing with the heat and humidity, cracking under the pressures fighting against its preservative-laced body, the cheese maintained its grip on the concrete. Something in the material nature of the porous wall and the glue-like substance of the cheese made their union not only possible, but hearty. By March 2022 the cheese was gnarly and swarthy, hung all over with dust and the debris of generations of spider webs. The darker coloration made me feel more secure that people wouldn’t see it.

This was important, because life was returning to the campus. The garage was being used more and more. By the fall semester, most people felt safe teaching and learning in masks. This was a tense time for me. I began to check on the cheese several times a week, certain that it would be gone one day. I took to obtaining photos of the cheese only when I would not be observed. I didn’t want my attention to a seemingly nondescript section of the garage to draw others near.

The Garage Cheese on March 14, 2023. Ballou.

I got a bit more intentional with the photography in 2023. The shot from March that year is particularly nice. I began to think the cheese really would make it to the four year mark. People encouraged me to post about the cheese, to make an Instagram account for it, even to mark it on maps. But I knew there would be time later to show folks where it had been. I wanted it to make four – maybe even five – years! As Thanksgiving passed, I felt more confident than ever. After the first day of graduate reviews on December 1st, 2023, I made a pass by the cheese for my December check-up. It looked robust, confident. It was ready to press on toward another anniversary upon the wall. So it was that when the second day of grad reviews concluded on December 8th, I took one of my grad students over to see the cheese. I figured I could share the glory with more people. Surely that would be okay.

THE CHEESE WAS GONE.

Astonished, I rushed out to investigate the scene. There, amid a thick mass of trash and various organic detritus, rested the cheese. It was in a gap between the wall and the floor, and it seemed to be intact. No one had abused this artifact; it had let go of the wall on its own. Its time was up. The race was won.

I carefully rescued the cheese. It was rough and hard, as dense as holding a fragment of bone. Yet, like bone, I perceived it would be brittle. Maybe it had been the dusty garage trash that provided a soft enough landing to save the cheese from breaking against the concrete. Whatever the reason, after nearly 45 months on the wall, the garage cheese was now mine!

The Garage Cheese, framed in a shadowbox on December 26, 2023. Ballou.

I quickly collated my photos of the cheese and obtained a simple shadowbox frame for it. Now safely transferred to the wall of my studio, the cheese can exist in perpetuity, assured the status of a protected relic. As part of the process of documenting and celebrating the garage cheese, I have created the GIF below. I did a modicum of image adjustment so that you can get a sense of the changes that happened over the course of the years. Of course, it’s not perfectly color-corrected, nor entirely aligned for precision, but you can definitely get the sense of how the cheese transformed.

While the cheese itself has left the Hitt Street Garage, there is something that remains behind: a kind of oily stain is still quite visible on the wall of the garage. If you look in this wide shot below, you can see it just a bit left of center. Follow the inner vertical line of the leftmost column downward, and you’ll notice the apostrophe-like arcing shape. That’s a ghostly shadow of the cheese, somehow still clinging to that precarious perch.

The location of the Garage Cheese, photo taken on December 26, 2023. Ballou.

Click below to take a look at a curated selection of the cheese. If you’d like to purchase a print of one of these images, send me $20 on Venmo (here), and I’ll mail it out to you. Just be sure to tell me which one you’d like.

The distance between months and years, and all that we did and saw and felt… in one image. Maybe I should do some risograph prints of these, too… On to 2024!


A final thought, as I sit here with family and smile at my cheese…

Here’s hoping your ’24 is joyful, safe, and peaceful. We know it probably won’t be, though. At least not for most of us. So why do I offer the above trifle about faux fromage? Why present some cast off cheese as a visual metaphor or point of access for meaning? Well, I think the greatest part of our human experience is in the realm of attention. I teach my students this, and I try to teach my own children it as well. When we are attentive to the world around us, when we believe in the value of observation and awareness, then we are most able to be both realistic and hopeful. It is willful ignorance or chosen obfuscation that breaks the social contract, that causes us to care less about each other and the world.

We are living in times of serious violence against not only people but against our ability to apprehend true things. We desire to be told what we want to hear, rather than what we ought to hear. We ignore what should be seen straight on, seeking instead things that distract us from beingness. These are our great sins, particularly in America. We have allowed our politicians to be criminals. We enable them and they stroke our egos in return. Our domestic and foreign policies – for all of our posturing to the contrary – are not “pro-life.” We have become the arm of death. We resist over and over the chance to do what is right, because we know that will make us feel a little uncomfortable. Our comfort is our chief aim, and it’s obvious.

In light of all of that, perhaps everyone would do better to pay close attention to their own version of garage cheese. I hope we can get started on putting our collective house back in order in 2024.

Peace.

Poltergeist (1982) is really good.

I watched Poltergeist again this year, and am still so impressed with it. There are a lot of reasons, but a few things really stand out.

It’s not just the expertly crafted and paced music (Jerry Goldsmith).

It’s not just the practical, in-camera, optical effects (Richard Edlund, John Bruno, Nilo Rodis-Jamero).

It’s not just the fantastic physical and emotional presence of JoBeth Williams (an absolute classic performance that should have been rewarded).

JoBeth Willams as Diane Freeling

It’s not just the introduction of one of the most compelling characters in all of cinema (Zelda Rubinstein as eccentric medium Tangina Barrons).

Zelda Rubinstein in Poltergeist.

All of that is great and worthy of note.

But it’s also that the children and women are centered. They’re not “hysterical” nor are they “irrational.” They see and know deep realities, even if they can’t understand or entirely describe them (a theme borrowed from Spielberg’s Close Encounters of the Third Kind). These characters are the central interpreters. They stand in for the viewer. We don’t dismiss the father as a moron, but neither do we have to make him the hero. Furthermore, we don’t have to MANUFACTURE the heroism of the Carol Anne, mom Diane, or mystic Tangina. The film naturally makes them function in ways that stimulate the narrative arc without BS or montage-based tropes. They don’t miraculously and instantaneously become triumphant; they live through a trajectory of growth. They don’t automatically know everything; they use their innate characteristics to attend to the film-reality in specific and logical ways.

Heather O’Rourke, JoBeth Williams, and Craig T. Nelson in Poltergeist.

Sure, there are other examples of these qualities in popular (and more niche) media. But an average suburbanite mom coming into contact with a situation so physically and conceptually counter-intuitive gives this movie a sense of genuine humanity. Its influence is still palpable in the the horror genre some forty years on, and it’s an experience always worth a revisit.

See it if you haven’t yet (it’s available on MAX)!

The Body as Zone of Incident Guest Lecture

This past week I gave a talk for The Honors College at The University of Missouri. The theme this fall was The Art and Science of Living, and they asked me to give a guest lecture about the nature of the body in the context of my work. I chose to focus on a number of artists who have shaped my ideas about the meaning of the body. – from Anne Harris and Robin F. Williams to Kathe Kollwitz and Charles White.

To hear the talk and see all of the artists and images I explore in the presentation, click the link here.

Andrew Wyeth. Spring. Tempera on panel. 1978.

Panel Discussion on AI and Art

I had the opportunity to sit on a panel at The Columbia Art League on October 12, 2023. Moderated by Diana Moxon and including CAL Executive Director Kelsey Hammond, the wide-ranging talk engaged with a lot of what artists are thinking about in the age of AI. Watch the video below to see a visual presentation of our research, examples, opinions (and humorous asides) as you follow along with the discussion.

OK Computer Panel Discussion Video

Many artists were mentioned in this presentation, and many others could have been included. A few of them were Daniel Ambrosi, Joey Borovicka, and Geo K. Weissler.

Impossible Interiors at William Woods University

I’ve got a group of works on display at William Woods University in Fulton, Missouri. The show runs through October 6th, and I’ll be giving a talk that evening. For a preview, look below.

This is the third time I’ve shown this body of work, and I’d like to get the chance to show it again. The subject of the work – a “friendly-fire” bombing of a Doctors Without Borders hospital in Kunduz, Afghanistan. If you’d like to see more about this situation, check out my writing about it here.

The card for the exhibition.
Back of the card with description of the show.

I’m also pleased to have a small group of my collaborations with Joel T Dugan also on display at the gallery. These Phoneme works are some of my favorites, and there are a number of just finished works included.