In sequel to the "Schmozone" series of eco-realism, the "Experimental" works examined laboratory animal testing. Environmental issues of that time (circa 1989) such as oil tanker spills (the Exxon Valdez), carcinogenic second-hand smoke, and ozone depletion through aerosol fluorocarbons were explored.
The sub-series of ten "Oils" operated as pseudo generic black & white abstract paintings —in fact, black oil paint was spilled on white mice in an effort to produce these slice-of-timely contemporary paintings. Formally this work borrowed from both spin-art basics as well as Yves Klein's body-prints. The gravity of these "Oils" was concealment of the actual
dead mice sandwiched between the photographs and the backboards.
Other experimental works subjected hamsters to aerosol hair spray, and gerbils to cigarette smoke —the spray cans and the cigarettes were also wedged underneath the canvases.
The "Experimental" series was conceived for an exhibition in Hamburg at the Dörrie-Priess Galerie. To offset the difficult nature of the work, the "Pop" series was created in tandem for the same exhibition.
"Pop" consisted of color photographs of bubblegum, chewed and blown into bubbles; the images resembling pearl-esque organisms. Each photo was mounted to plywood backboards with 50 wads of Bubblicious gum chewed by the artist.