The green Stevens Graph charts the destructive path of the KRG art terrorists across Norval’s most prolific period, shown by the Morrisseau Curve, and by the Robinson Curve, which Donald Robinson says depicts his view of Norval’s best period. It seems clear to me that Stevens was terrorized by the Robinsons to NOT publish Morrisseau BDPs from the late 70s and early eighties. This was the generally accepted period of Norval’s peak output, as shown in the “Morrisseau Curve.” And it is the very period that the Stevens Bar Graph shows a marked decline and absence of Norval’s pictures he used in his book. It’s, I believe, a bar graph of art terrorism at work. We also note Stevens was also apparently threatened by Robinson, to NOT include mention of Morrisseau “studio” contract artist, Karl Burrows, in his book. Burrows, of course, said he painted lots of fake Morrisseaus – complete with signatures – for Vadas, Ross, and the Robinsons, who gleefully sold them as direct-from-the-artist Morrisseaus. And they all knew they were at best, Burrowsseaus.
The Sad Demise of a Baby Genius – For slow readers, who can’t wade through the academic documentation exposing the HOAX, we offer this pictorial snapshot of its chief “enforcer,” his bogus claims of expertise and faux credentials, and the utterly dim view of him and his claims expressed by numerous respected Deputy Judges, Judges and Justices, of numerous Ontario courts. It is a sad end of an artist who is probably the very first in history to show promise at such an early age, telling Judge Martial, “Actually I began formal training (in art) at the age of four.”