Acrylic and Enamel on Canvas, 3' x 4’

The exploration of historical military photos lead to this image.

Peters was intrigued by the contradiction of the dancer’s sensual cut-off shorts and strong 1950’s boots. The stenciled words in the background are meant to emulate downtown New

York City graffiti and to illustrate how aesthetic shifts over time have changed the definition and perception of a mannish physique.

2012, Acrylic on Canvas, 6' x 6'

“Black Boys and White Boys Shouldn’t Play Together”

A play on the Blues Brothers album cover, Peters was interested in the creative energy, larger-than-life personality, and tragedy of John Belushi. The image expresses itself through long-standing themes found in his work: the light-hearted examination of the self relative to the failures and heroic aspirations of those with whom he shares an intimate relationship.

2011, Acrylic on Canvas, 5' x 4'

Inspired by the training necessary to achieve a body appropriate for the Lingerie Football League, Peters was exploring the image of a 1980’s sports hero.

2010, Oil on Canvas, 4' x 3'

Having grown up in Hawaii and watched Sumo wrestling on television, this painting was inspired by the juxtaposition of how

Sumo wrestlers are viewed as heroic athletes and sex symbols in Asia and how the current male standard of beauty seen on television, in the movies, and on the newsstand is muscularly toned and rail thin.

2012, Oil on Canvas, 5' x 4'

Motivated by the model/artist Ashleigh Caffey, her strength and simultaneous femininity modernize the icon Mr. T.

2011, Acrylic on Canvas, 5' x 5'

Inspired by a print of Mysterious Al’s Incredible Sulk, Peters considers the conflicting highs and lows of being in the world with a meticulous physique and a sad face. Katrina (For George Bush)

2011, Acrylic on Canvas, 7' x 5'

Pictured prominently in stars and stripes, a regal looking Uncle

Sam sits motionless, his hat floating in the murky waters of a broken levy. Originally begun in the aftermath of Hurricane

Katrina, this piece of work was informed by what Peters perceived as excessive feelings of carelessness toward the people of New Orleans and a hollowness of courage by the administration that was meant to protect them. By reacting to the grand heroic failure of men in power, the painting style is more aggressive and raw than most of his other work.

2011, Oil on Canvas, 5' x 5'

Lyrics by songwriter Brooke Williams and Joshua Peters

Peters has never driven a car, but is often aware of the respect garnered by the ability to own one of status. Riding a donkey cart, this image portrays Peters as resourceful, industrious and not at all as attractive as the man in the “Benzo” or Bentley.

2012, Acrylic on Canvas, 7' x 5'

Reference Photography by Mike Brown

Robin costume co-design and tailoring by Denise Gray

Through scale and vivid colors, Peters playfully explores the problems with the male ego and the ideas of hierarchy and dominance by casting himself as Batman’s ward, the beta male. This sidekick is posed to either hurdle rooftop obstructions in the heroic culmination of a chase or, with his high top fade, he will drop in and begin break dancing.