PUBLIC ART FOR DOWNTOWN PARK, AUBURN, WA

BRICE FRILLICI SUBMISSION

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Introduction and Executive Summary

Brice Frillici is a uniquely qualified artist-builder whose dual mastery in both heavy construction and visionary multimedia art sets him apart. Operating under two personas – Trufabricator (for custom carpentry, architectural builds and functional design) and SEKDEK (for ritualistic, psychedelic performance art) – Frillici bridges practical craftsmanship and imaginative artistry. This embedded proposal outlines why Brice Frillici is the ideal choice for the Auburn Downtown Park Public Art Commission. It highlights his proven construction experience across Washington State, his track record of creating immersive art environments, his artistic vision in the lineage of transformative art icons, and a lifelong self-driven creative practice. Few if any candidates can match Frillici’s ability to both envision and independently deliver a 10’ x 15’ wood-and-concrete monument with integrated audio/visual (AV) and AI features – all without subcontractors – while staying on budget. This project would not just be another commission for Frillici, but the culmination of a life’s work built on passion, integrity, and resilience. The Auburn selection committee can be confident that no applicant is more ready, more visionary, or more cost-effective than Brice Frillici for this commission.

Dual Mastery: Builder and Visionary Artist

Brice Frillici’s career is defined by a rare dual expertise in both construction and multimedia art. On one hand, as Trufabricator, he is a master builder with decades of hands-on experience in carpentry and project management. “I’m Brice Frillici, a builder and designer with a rich, multifaceted background in construction, carpentry, and creative ventures,” he introduces himself . His professional journey has ranged from testing aerospace materials at Boeing to framing cabins in the Pacific Northwest forests

. He has led teams as a foreman and developed a reputation for methodical, high-quality workmanship – evidenced by 100% positive client reviews . On the other hand, as SEKDEK, Frillici is a visionary multimedia artist whose performances and installations push creative boundaries. Under the SEKDEK banner (a playful acronym for “Spirit Extraction Kit, Demon Extraction Kit”), he has developed intense visual works that “challenge viewers’ perceptions” . In these ritualistic performances, Frillici transforms himself and collaborators into living sculptures, coating them head-to-toe in psychedelic swirls of paint, clay, wigs, and wild costumes . The result, as one art magazine aptly noted, is “fantastic and a little bit gory” – surreal figures dripping with pigment, suspended between the beautiful and the grotesque . In short, Trufabricator and SEKDEK represent the two halves of Frillici’s talent: the craftsman-engineer and the avant-garde artist. This dual mastery means he can design and build anything he imagines – an invaluable trait for a complex public art project.

Proven Construction Expertise in Washington State

Frillici’s extensive construction background spans hospitals, schools, homes, and community structures across Washington. (Image: on-site wooden formwork for a tilt-up concrete building panel)

Brice Frillici’s qualifications as a builder are as robust as the structures he’s helped erect. He has over 20 years of construction and project management experience, with roles ranging from carpenter to site foreman . In Washington State, he has contributed to a wide array of projects: from residential homes and remote cabins to large-scale commercial and public works. In the North Bend area, for example, he served with a general contractor on major building sites, gaining “invaluable” field experience in complex builds . His LinkedIn profile highlights that he has built “tilt-up concrete structures, framing cabins and homes,” and even led teams on construction projects for hospitals, schools, and community centers throughout the Pacific Northwest . This breadth of experience means Frillici is intimately familiar with building codes, engineering requirements, and safety standards for significant structures. Indeed, he has coordinated multi-disciplinary crews and developed systems to ensure efficiency and safety on job sites

Working under his Trufabricator business, Frillici has completed custom carpentry and architectural design projects for a range of clients. His portfolio includes everything from installing structural framing for new buildings to designing and building custom interiors. For instance, he has built modern residential additions, crafted bespoke furniture, and even executed specialized “tilt-up” concrete construction – a method often used for schools and warehouse-like facilities. One can browse the Trufabricator website’s galleries to see the scope of his craftsmanship, from sturdy timber framing to sleek finished woodwork. In one project, he framed and raised entire cabin structures in the Cascade mountains; in another, he handled intricate finish carpentry for a community center renovation. Frillici’s own summary underscores this versatility, noting how he blends “hands-on approach with a strong sense of project leadership” and that his spectrum of experiences – technical, creative, and managerial – “sets [him] apart in the construction world.” . He approaches every build with “humility, fairness, and a methodical pace” while striving for exceptional outcomes .

In practical terms, Brice Frillici can single-handedly fabricate the envisioned 10′ x 15′ sculpture for Auburn’s park. He holds deep knowledge of wood construction and concrete forming, as well as the ability to operate necessary tools and machinery. Rather than needing to subcontract the fabrication, carpentry, or structural assembly, Frillici can perform these tasks himself (with appropriate assistants for safety), reducing costs and ensuring quality control. His experience with electrical and multimedia installations is equally impressive – he founded a multimedia production studio and has implemented technical solutions for content creation and generative media . This means any integrated lighting, sound or even interactive AI-driven features of the artwork would also be within his skill set to design and program. Few artists bidding on public art commissions can personally pour concrete, weld steel, frame timber, and program interactive tech – Brice Frillici is one of those few. His blend of construction savvy and tech know-how makes him a one-stop solution for bringing a complex interactive monument to life, within budget and on schedule.

Immersive Art Environments: From Rooney’s Lodge to Ritual Performance

Brice Frillici doesn’t just create individual artworks; he builds entire environments and experiences. Throughout his career, he has undertaken long-term, large-scale art projects that blur the line between art installation, performance space, and community gathering. Two illustrative examples are “Rooney’s Lodge” and the ongoing “Painted Head Ritual” of SEKDEK – both of which demonstrate his capacity to conceive, construct, and sustain immersive cultural spaces rather than one-off pieces.

Rooney’s Lodge was a legendary art environment and creative haven that Frillici developed and hosted over a period of years. An allusion to this space even appears in popular media – a 2012 music video thanked “Brice Frillici at Rooney’s Lodge” in its credits , indicating that his lodge functioned as a venue or studio integral to artistic projects. In essence, Rooney’s Lodge was a full-scale DIY cultural center: a place where music, art, and community converged. Frillici literally built out the space – from custom bars and shelving to stage areas and artistic décor – transforming a dwelling into an otherworldly lodge of creativity. Visitors would walk in to find walls lined with art, stacks of multimedia equipment, stage lights and projectors, and perhaps Frillici’s hand-built furniture giving the place a unique ambiance. It wasn’t a traditional gallery or club, but a total art environment sculpted by Frillici’s vision. He not only constructed the physical space, he also hosted concerts, recording sessions, and multimedia happenings there. By framing Rooney’s Lodge as an ongoing project, Frillici showed he could sustain an artistic vision over time, creating a community around an immersive art space. This ability to maintain a large art installation (in essence, an alternative venue) speaks to his dedication and resourcefulness. For Auburn’s park project, it implies that Frillici will treat the commissioned sculpture as living space – an artwork meant to be engaged with and cared for in the long term, not just a static object. His past lodge environment proves he can build structures that hold up to regular use and that invite people to gather, be inspired, and even collaborate.

A large-scale experimental wood structure constructed by Brice Frillici, exemplifying his ability to build immersive art installations. Such projects are approached as cultural environments rather than single artworks.

The SEKDEK “Painted Head Ritual” series likewise exemplifies Frillici’s talent for creating sustained cultural projects. What began as an impromptu face-paint experiment in college evolved into a multiyear performance art ritual . Over many sessions (spanning decades), he has staged elaborate body- painting ceremonies where participants are transformed into fantastical characters. These sessions – often conducted in Frillici’s own studio or improvised spaces – are essentially ephemeral art environments. The walls are draped with white paper backdrops; piles of paint cans, clay, wigs, costumes, and odd props form an altar of materials . Loud music (often Frillici’s own) plays as he and his team of friends “spit, throw and spread acrylic paint, wet clay, glitter, flour and even fake blood” onto the willing participants . Over hours, an ordinary room is transformed into what Hi-Fructose art magazine described as a scene of “surreal figures dripping with pigment”, equal parts grotesque and endearing . Crucially, these rites are full- scale cultural productions: they involve photography, video projection, music performance, and an audience of onlookers – “immersive theater” in every sense . Frillici has hosted these happenings in galleries and alternative venues; in 2017, a collection of the resulting portrait images headlined a solo exhibition at 111 Minna Gallery in San Francisco . By framing Sekdek’s Painted Head Ritual as an ongoing project, Frillici shows he can carry out a creative vision consistently over time, managing all practical aspects (space prep, materials, lighting, participant coordination) in service of art. This reflects an artist who thinks big: he doesn’t isolate his work to a single medium or moment, but builds entire experiences. Auburn’s commission, therefore, would benefit from Frillici’s inclination to treat the site as more than just a pedestal for art – he will create an environment that engages the public, potentially incorporating performance or interactive elements that activate the space around the sculpture. His history with long-term art environments proves he has the endurance and holistic thinking to maximize the cultural impact of a public installation.

Visionary Lineage: From Sagazan and Giger to Rodia and Saint Phalle

Brice Frillici’s artistic vision places him within a lineage of transformative, genre-blurring artists – from visceral performance provocateurs to visionary site builders. In interviews and writings, Frillici cites an eclectic mix of influences. For his SEKDEK performances, he draws inspiration from the extravagant stage personae of shock-rock band GWAR, the monstrous whimsy of Maurice Sendak’s illustrations, and the biomechanical surrealism of H.R. Giger (famed designer of Alien) . Perhaps most significantly, he acknowledges French performance artist Olivier de Sagazan – known for covering himself in clay and paint on stage – as a key inspiration: Sagazan’s visceral art in the film Samsara “made the greatest impact on Frillici,” spurring him to “do something weird” in his own work . One critic observed that it’s no surprise to find GWAR among Frillici’s inspirations, given the messy, theatrical nature of SEKDEK, and indeed Frillici’s process of “expressionistic painting by any means necessary” – spitting paint and adorning bodies with wild props – echoes GWAR’s outrageous costume performances . By the same token, the eerie, metamorphic quality of Frillici’s painted faces is very much in dialogue with Sagazan’s clay-smeared transformations and Giger’s grotesque elegance. Frillici channels this lineage into something uniquely his: reviewers have noted that what might be frightening in another context becomes “oddly endearing” in Frillici’s work, thanks to his redemptive, almost playful twist on the grotesque . This positions Brice Frillici as a torchbearer of transformative performance art – the kind that doesn’t just present an image but triggers a profound psychological and emotional response in the audience. If Auburn is seeking a public artwork that can captivate and perhaps even challenge viewers, Frillici’s vision aligns with that goal. His piece would likely provoke curiosity, awe, and reflection – much as the works of Sagazan or Giger elicit deep reactions beyond surface aesthetics.

Equally, Frillici can be seen as part of the tradition of visionary “site-builders” in art – those who physically create large, iconic environments or structures as personal artistic statements. Think of Simon Rodia, the Italian immigrant who single-handedly built the towering Watts Towers out of steel and mosaic in Los Angeles over 30 years, or Niki de Saint Phalle, who constructed the fantastical Tarot Garden sculpture park in Italy. Like these figures, Brice Frillici has the drive to construct entire worlds out of imagination. One might also compare him to California assemblage artist Noah Purifoy, who turned desert scrap into a sprawling outdoor art museum. These visionaries share a few traits: they work often in solitude or outside the mainstream, they blend art and architecture, and they persevere for years to realize their grand visions. Frillici’s lifelong project mentality clearly resonates here. His friends and colleagues have already likened his undertakings to “a kind of awe experienced in outsider art environments” (as noted in a recent exhibition commentary ). Just as Rodia’s and Saint Phalle’s constructions became treasured landmarks, a Frillici monument in Auburn could become a distinctive destination – a piece born of singular vision and community spirit. Frillici’s work on immersive spaces and his hands-on building approach indeed “align perfectly with the trajectory of an artist who has always thought big even while working alone.” He thinks in terms of environments and experiences, not just objects, which is precisely the mindset needed to create a lasting, engaging public art installation on the scale of a park monument.

Lifelong Independent Creative Practice: Publications, Music, and Archives

While many artists pursue grants, gallery representation, or academia to fund their work, Brice Frillici has consistently chosen the path of independent, self-funded creativity. Over 35+ years, he has built up an

astonishing body of work across music, visual art, writing, and design – not for fame or fortune, but out of pure creative integrity. This is evidenced by the extensive archive of publications, recordings, and projects he has produced on his own. Frillici’s discography alone is impressive: since the late 1980s he has recorded dozens of albums under various project names (Sekdek, Brice Frillici, etc.), releasing them through his own label (38th Parallel Records) or independently . His breakout album The Sun Comes in Circles (2006) earned praise from NPR for its kaleidoscopic, genre-blending sound – “like a warped Randy Newman record, dancing with the Beach Boys, all washed in psychedelia” . Instead of cashing in on that success, Frillici eschewed commercial aims and kept experimenting in homegrown fashion. “After that comparatively accessible album, Frillici didn’t rest or angle for commercial success. Instead, he continued pushing his music into new territory,” producing a string of unconventional records with titles like Maximum Saw Basement, Gnomicide Methem Ride, and Stone Moon Demon . Each is essentially an art experiment in sound – he’s explored everything from underground noise opera to avant-rock and ethereal ambient styles

. Across these albums, Frillici typically performs every instrument and vocal part himself, like a solitary one-man band . Such commitment to DIY production speaks volumes about his dedication. It also means he has a wide palette of skills (audio engineering, songwriting, electronic programming) which can inform any multimedia components of an art installation. His music isn’t just background; it’s part of his artistic worldview. In fact, many of his art projects have companion soundtracks – for instance, the Stone Moon Demon photo book came with an album of the same name . This interdisciplinary fluency ensures that any audio/visual elements in the Auburn project (say, an ambient soundscape or interactive music triggered by visitors) could be composed and integrated by Frillici personally.

On the publishing side, Brice Frillici has been equally prolific. Through small-press and self-publishing platforms, he has released numerous zines, art books, and graphic novels over the years. He often uses Blurb.com to print limited-run art books – by one count, he has put out “at least 19 volumes” compiling his artwork and ideas . These include avant-garde graphic novels (often wordless, dreamlike comics), photographic compilations, and writings on his creative philosophy. The titles of some of these self- published books are telling: Stone Moon Demon, as mentioned, or Gnomicide Methem Ride – cryptic, intriguing works that mirror the psychedelic and mystical ethos of his music . By creating and distributing books on his own, Frillici has essentially built an archive of his life’s work accessible to the public, entirely driven by personal initiative. He has also run a regular blog and podcast (the Sekdek Podcast), sharing behind-the-scenes insights and raw field recordings from his projects . In an era where many artists wait for institutional approval, Frillici simply creates and documents relentlessly, whether or not anyone is paying attention. This attitude means he is driven by integrity over acclaim – a crucial point. The Auburn commission would not be a vanity project for him, but the natural next chapter in a lifelong mission of making meaningful art for its own sake. His extensive catalog of music and publications demonstrates that he finishes what he starts and shares it with the world, regardless of external reward. As an Auburn committee, one can trust that Frillici’s commitment to the project will be 110%; he has effectively been “granting” himself the freedom to create for decades, at great personal sacrifice, simply because the work matters to him.

It’s also worth noting that Frillici’s independent output has garnered underground respect and the occasional spotlight. Aside from NPR’s coverage, his Sekdek project was featured in Hi-Fructose Magazine and exhibited in notable galleries. These nods show that while he hasn’t chased mainstream fame, the

art world recognizes the authenticity and originality of his work. He is, as one essay dubbed him, an “unseen icon” – a legend in the making who has operated largely outside the official art establishment . Awarding him this commission would effectively be acknowledging and empowering a truly original talent who has devoted his life to art on his own terms.

The Auburn Monument: Culmination of a Life’s Work

For Brice Frillici, the Auburn Downtown Park Public Art project is not just another job – it represents the culmination of a lifetime of hard work, learning, and creative sacrifice. Few opportunities could unite the twin strands of his identity as perfectly as a commission to build a permanent large-scale public artwork with integrated technology. In many ways, this project is what Frillici has been preparing for his entire life. He has spent decades honing the disparate skills required: mastering construction trades, exploring cutting-edge multimedia art, developing content with emerging tech like AI, and engaging communities through immersive experiences. To channel all of that into a single monument would be the fulfillment of his artistic vision – “the towering edifice” to which every prior painting, album, and project has been a metaphorical brick . “Every painting, every album, every experimental project in a dusty SF loft or a makeshift Wisconsin studio was a brick in the foundation of a towering edifice – one that the wider world has yet to see in full,” writes one profile of Frillici . When that edifice finally comes into view, it may well redefine what we consider a life’s work in the arts . This Auburn installation could very well be that moment when Frillici’s work is seen in full, rising in a public space for all to witness.

It’s important to stress how personally invested Frillici will be in this project’s success. He approaches each endeavor with humility and a “quiet certainty” born of passion . There is no ego-driven bravado here – his tone, even when discussing grand future ideas, is focused and earnest . He creates “for the art itself,” allowing recognition to follow as a natural consequence . In practice, this means Auburn would get an artist who prioritizes truth in art over convenience. If a design or technique isn’t right, he’ll refine it until it is, regardless of extra effort, because he genuinely cares about making something “so genuinely powerful that it simply cannot remain unnoticed.” This commission would receive that level of heartfelt dedication. For the city, it means a guarantee of quality and originality – the final piece will not be a cookie-cutter public sculpture, but a one-of-a-kind manifestation of Frillici’s vision, built with the kind of love and attention only a life’s work merits.

From a practical standpoint too, awarding Brice Frillici the commission is a savvy investment. Few artists possess the all-around capabilities that he does to execute a complex project within a limited budget. Where a typical public art project might require separately hiring a structural engineer, a construction crew, a metal/wood fabricator, a multimedia consultant, and a software developer, Frillici rolls many of those roles into one. He can design the structure (leveraging his construction knowledge to ensure stability and longevity), pour and form the concrete base, fabricate intricate woodwork or metalwork details, and integrate electronics or interactive AI-driven components himself. For example, if the piece includes motion-activated lighting or sound that reacts to park visitors, Frillici can program that system drawing on his tech background . He has even worked as an AI consultant in creative contexts, so he’s well-versed in the latest interactive media possibilities . This means cost savings and streamlined communication – the artist fully understands the fabrication process and the tech, so nothing is lost in translation or sub- contracted at markup. Additionally, maintaining the piece over time would be simpler since the creator is intimately familiar with every bolt and circuit. Frillici’s history of maintaining his own environments (like Rooney’s Lodge) and returning to projects over years suggests he designs things to last and is always willing to adjust or improve them if needed. He would see the Auburn sculpture not as a “drop and forget” piece, but as a living part of the community whose care he is invested in.

Conclusion: The Ideal Candidate for Auburn

In summary, Brice Frillici stands out as the ideal artist for the Auburn Downtown Park Public Art Commission. He offers an extraordinary combination of skills: a visionary imagination to conceive something truly inspiring, and the concrete abilities to build and implement that vision with his own hands. His dual identity as Trufabricator and SEKDEK means he can speak the language of engineers and craftspeople as fluently as the language of artists and performers. Frillici’s extensive track record in Washington’s construction industry (hospitals, schools, homes, civic structures) gives him local know- how and reliability, while his 35-year independent art practice speaks to his passion and perseverance. He has already effectively sacrificed comfort and acclaim in pursuit of integrity in art, working quietly and diligently until the world takes notice. That moment has arrived. Auburn has the opportunity to be the site where this “unseen icon” finally gets seen – where a community can benefit from the culmination of Brice Frillici’s life’s work.

To the Auburn Selection Committee: choosing Brice Frillici is choosing an artist who will pour his heart, soul, and sweat into delivering a landmark artwork for your city. He is ready. More than that, he embodies the spirit of what public art can be – a fusion of community, innovation, and raw creative expression, built on a foundation of skill and devotion. Auburn’s Downtown Park monument will not be just another piece of public art; under Frillici’s hand it will become a living project that engages people for years to come, a testament to what a single determined artist can achieve. As outlined in this proposal, no other applicant offers this unique blend of visionary artistry and pragmatic building expertise. Brice Frillici is more than qualified – he is uniquely qualified – to transform Auburn’s aspirations for this project into an awe-inspiring reality. The committee is urged to give him the opportunity to do so. In doing that, you are not simply awarding a commission; you are partnering with an artist at the culmination of his powers, to create a monument that will stand as a beacon of creativity, integrity, and community pride. Few artists can both imagine and independently deliver what Brice Frillici can – and none are more ready, visionary, or cost- effective for this commission. Auburn deserves the very best for its downtown public art, and with Brice Frillici, that is exactly what you will receive.

Sources and References:

Frillici, Brice – Trufabricator Website: About, Gallery, and Project Pages . (Background on construction experience and portfolio of works)

Frillici, Brice – Sekdek Blog and Publications. (Insights into Sekdek performances and album/projects documentation)

Hi-Fructose Magazine – “SEKDEK Project Covers People in Psychedelically Colored Paint”, Aug 5, 2015 . (Article describing Frillici’s SEKDEK performance art and influences)

LinkedIn Profile – Brice Frillici . (Professional summary of construction projects and technical skills)

“Brice Frillici: Thirty-Five Years of Solitary Brilliance” (2025). White Paper/Biography Excerpts

(Detailed narrative of Frillici’s career and philosophy, used for background and quotations)

Latino Rebels (2012) – Credit mention of “Brice Frillici at Rooney’s Lodge” . (Evidence of Rooney’s Lodge as a creative venue)

NPR – All Things Considered: “Brice Frillici: ‘The Sun Comes in Circles’” ( June 15, 2006) . (Review highlighting musical style)

Analog Tattoo Arts Kollectiv: “SEKDEK” essay (2015) – participant’s perspective on a Sekdek session (used for context on immersive environment) .

Various project images from Trufabricator.com (Gallery/Experimental sections) and archived posts, demonstrating Frillici’s work.

SEKDEK Project Covers People in Psychedelically Colored Paint - Hi-Fructose Magazine

https://hifructose.com/2015/08/05/sekdek-project-covers-people-in-psychedelically-colored-paint/

Brice Frillici - Sekdek, Trufabricator, 38th Parallel Records - LinkedIn

https://www.linkedin.com/in/bricefrillici

SEKDEK — ANALOG TATTOO ARTS KOLECTIV

https://www.analogtattoo.com/sekdek

Sekdek Podcast | Brice Frillici

https://bubblegoreproductions.podbean.com/

BRICE FRILLICI’S SUBMISSION STATEMENT

After decades of work spanning construction, immersive art, and public storytelling, I see Auburn’s Downtown Park as the ideal place to merge my dual expertise into a lasting and awe-inspiring monument. Having built hospitals, community centers, 500,000-square-foot concrete warehouses, and residential projects across the Pacific Northwest, I feel deeply connected to this city’s built environment—and committed to elevating it further through public art.

My most authentic passion for building and design lies in creating furniture and sculpture pieces, such as those required for this project.

This opportunity aligns perfectly with my life’s arc. As Trufabricator, I bring the rare ability to design, build, and install every aspect of a complex sculptural project—from timber framing to interactive AV genius—without relying on subcontractors. As SEKDEK, I’ve created transformative work featured at NPR, the San Francisco Museum of Modern Art, Hi-Fructose Magazine, Times Square, and countless underground exhibitions across the West Coast—reflecting a lifelong commitment to creating environments that are not only visible but also felt.

My work is defined by depth, originality, and resilience. I don’t just build objects—I create experiences. Over 35 years, I’ve self-published books, released 25+ albums, and constructed cultural spaces like Rooney’s Lodge—a DIY performance/hang sanctuary remembered in Bay Area lore. I exhibit hundreds of other examples online. Each project has taught me to fuse vision with execution and aesthetics with integrity.

I’m a citizen-artist living/working in the Auburn area and want to contribute a lifelong gift. Auburn deserves innovative art—something mythic, bold, and alive. Otherworldly. Inclusive of a new age of sentience and beyond. I’m ready to co-create a permanent landmark that honors Auburn’s civic blue-collar spirit and invites generations to gather, wonder, and dream.

Concrete Diamond 2001 Space Oddessy Monolith Yes.

ON GRANDEUR

Note: These are not single pieces. Each entry represents a complete body of work executed over years, standing as an indivisible whole.

Rooney’d Lodge (San Francisco, CA, 2008–2018)
Immersive domestic installation & social sculpture

Fully functional bar designed, built, and mythologized by Frillici as a hybrid between Cheers, a speakeasy, and a sacred art chapel.
Hosted thousands of guests in an underground ten-year run. Served as living installation, funnel for community, and social performance site.
Included: original podcast (45 episodes), zine series, theme song, performances, and rotating installations.
A legend in Bay Area lore, it remains an unmatched feat of live-in art mythology.

SEKDEK Painted Head Ritual (2013–2018)
Live performance, body painting, photography, and sculptural portraiture

Hundreds of models became subjects in transformative visual rites. Documented in large-format photography, published series, and exhibitions.
Influenced by Sagazan, Giger, Sendak, and the dream-animal of the subconscious.
Featured in Hi-Fructose Magazine, exhibited at 111 Minna Gallery, and disseminated across artist circles as formative inspiration.
“An army of archetypes,” as one gallery visitor wrote.

trufabricator.com & sekdek.com (Ongoing)
Websites as standalone works of digital-era resistance

Refuse template conformity. Built in the style of early-2000s free-form vision.
Trufabricator blends carpentry, sculpture, photography, and utilitarian architecture into a brutalist visual grammar.
SEKDEK serves as myth-channel, archive, and host for 30+ years of audio, prose, visual, and spiritual download.
Together they form a museum-grade relic of an unfiltered, uncommodified artist life.

Graphic Novels & Artist Books (2000–Present)
Visual storytelling & wordless narrative

Books such as Stone Moon Demon and Gnomicide Methem Ride stand as hand-designed mythworks blending experimental illustration and dream logic.
Self-published via Blurb; 20+ volumes of concept art, philosophy, abstraction, and experimental graphic poetry.
Celebrated in underground art circuits for pushing the visual language of zine, dream, and scripture into a new format.

Trufabricator Magazine (2020–Present)
Trade journal meets art manifesto

A rare hybrid publication showcasing original photography, brutalist design, construction essays, and avant-garde art philosophy.
Blurs the lines between jobsite, gallery, and sacred object.
Serves as a living catalog of Frillici’s works in the field, often tracking builds never meant to be exhibited—until now.

Writings & Blogwork (1990s–Present)
Experimental prose, poetic cosmology, and unfiltered critique

Longform blog entries, philosophical essays, satirical rants, and mystical reflections form a critical foundation for the larger body of work.
A personal library of texts that read like dispatches from an exile of time, orbiting themes of vision, labor, absurdity, and beauty.
Available in archived blog entries and print manuscripts.

Discography as Monument (1989–Present)
Over 25 albums spanning 35 years—an evolving audio mythology

Albums such as The Sun Comes in Circles (NPR featured), Maximum Saw Basement, and Crystal Mountain Timberline Fountain blend genres like lo-fi pop, experimental noise, doom-folk, and psychedelic gospel.
Every instrument, lyric, mix, and cover is original—crafted alone as a chronicle of personal mythos.
Upcoming national and international submissions signal a major emergence.
This isn’t a catalog. It’s a sacred audio diary of the late 20th and early 21st century, told through an unbroken thread of sound and sincerity.

Final Note to Panel (Optional Narrative Placement)

These works are not simply submissions. They are artifacts of a life wholly consecrated to creative truth. I’ve sacrificed comfort, money, housing, and conformity to remain aligned with the authentic core of artistic evolution.
I’m always waiting for the right opportunity to bring one of these universes into physical reality in a public space—one I can build, manage, and deliver without compromise, with efficiency and greatness.
I am the one to build this sculpture.