"Praise the world to the Angel, not the unsayable"

"Praise the world to the Angel, not the unsayable," sketch in-process, 2012, 21cm x 29cm, 8" x 11.5", graphite, Moleskine folio Sketchbook A4. Title is a quote from Rilke's 9th Duino Elegy.It gave me peculiar pleasure tonight to work on some anatomical shadowing, not entirely successful, but getting there.The chest to my eye isn't quite right, and I need to imagine myself into that rib cage (or another,
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The Cafe Writer

Just a doodle. Began in charcoal and from there, watercolours, acyrlics, and finally an ordinary ballpoint pen. The Cafe Writer, 6" x 8", mixed media on archival paper.
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My mother, her waxen, yellowed, translucent skin;her mute —acceptance._______(I wonder if I'll get an opportunity/the courageto draw her,or if that'll be too painful)
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Figment, or what is departing?

Figment, or what is departing?, 2012, 20.5" x 16", mixed media on 90lb archival paper. For me, I see strange and unintentional resonance of the woman with one of the earliest cave paintings, the Shaman of Trois Frères (scroll down a bit). She is half elk, a shaman, and he is a primal man who may transform on the full moon, an adept of the great goddess. Does the strength of moonlight compose him?
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The Room, where the Buddha waits

The Room, where the Buddha waits, 2012, 18" x 19.5", mixed media on 90lb archival paper. This series, for me, has resonances with Tarkovsky's 'the Room' that is within in the dangerous region of approach, 'the Zone,' in his movie, The Stalker. The Room doesn't appear to be anything more than the strange approach to it. While there is a physical journey, it is circuitous and covers a surprisingly short
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The Playing Field

The Playing Field, 2012, 20" x 17.5", mixed media on 90lb archival paper. Pierre-Marie Cœdès commented at Facebook: 'It is funny you name it The Playing Field, since I see them hesitating and very much interrogative ...'Ah, I answered, that's what the playing field is like, then, Pierre-Marie. I would like the title on this one to be interpreted however the viewer reads it and sees the painting.
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The Men Who

The Men Who, 2012, 23" x 18", 58.5cm x 45.6cm, mixed media on 90lb archival paper.If I can, I like to finish my life drawing sketches. These were one minute poses - which I tend to place all on the same page (being into doubles, doppelgängers, clones). I have to consider placement on page, how the gesture of that pose fits into the overall rhythm of the figures, and the particular anatomy of that
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Figure Drawing at OCAD

After a poetry meetup group friday night, with an open mic, and a post-poetry pub visit, I dragged myself off to OCAD (Ontario College of Art and Design) the next morning for a drop-in figure drawing session. I carried a large board with a canvas sheet taped to it, my large drawing pad, 2 sets of paints, watercolour and acrylic, brushes, water jars, palette, etc. since I had been unable to determine
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Charcoal Sketches

Right before going to bed last night I grabbed my charcoal pencil and began a few 'tests' - all tiny, like 6" x 8" - watercolour brushed in afterwards. The self-portrait done in a dark room is overdone but you can't undo charcoal; the woman in the middle, well, what can I say, the pencil is clumsy to use, it needs larger paper; and the final one is exactly what I wanted.Though I drew her last night,
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Little Magnolia Tree That Is Now Blossoming

Little Magnolia Tree That Is Now Blossoming, 2012, 6" x 10", conte, watercolours, Grumbacher acid-free journal paper.Just a little experiment... I found a dozen or so tubes of watercolour (Windsor and Newton as well as their Cotman line) in a dusty old box under my desk, tubes that must be 25 years old. Some of them are still usable! A quick watercolour sketch of an even quicker street sketch a week
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