Crab Control

The bottom right is my side. Playing with the pallet knife and adding in a little bit of whatever color she wanted.

Here is her next project on a board. She started on the water and is going to do a sunset with the flamingo.

Here are two close up shots of what we worked on.

Below you will find two posting, much the same, pasted into one. One depiction is a faster art description and the other is one with more of an artist description.

If you give it your time to view I hope you have found value in it. Our time is not a thing to be wasted.

I completed this a while ago and never posted it.

Medium:

Traditional Chinese Ink

Waterproof India Ink

Inkwell pens

Multiple paintbrushes

.38mm Gel Ink Roller Pen

BFK Rives - made of cotton with no brightening agents

“talenti” Sicilian Pistachio container (a flavor that I do not care for), 1 Pint,  473 mL

Plastic Drawer

Magnifying glass with a built in light

Paint Scraper

TIme:

Start Date: 04/07/2019

End Date:  08/29/2019

60+ hrs of direct work on the page

Most sessions were completed in 4-10 hr spurts.

The first session was roughly 16 hrs

A warning:

Do not view the “Description” until after you have looked at the piece and decided your own thoughts, feelings, and a reason for the piece. If the "Description" is read before you have given the piece a story of your own design: then the point is missed. I do not claim this work is good, nor bad. It is what you, the observer, make it.

Description:

The piece starts with the scene in the bottom right hand corner. The area is usually described as a tree sprouting. People, depicted in multiple levels, observe the tree in different worlds. The tree sprouts through a lens that shows a map of the world. The lens and floor is inscribed with some words and things to look like words, cracks, smudges, runes, or nothing. Large strokes were made using the “Plastic Drawer” to move large volumes of ink from the point of origin. From the “Drawer” the “talenti” (Sicilian Pistachio container) was used to create some curved lines and circles. Ink was flecked onto the “BFK Rives” and blown into other locations. In the sections bisected by the large black shapes there are miniature scenes depicted. Each one was addressed using the magnifying glass to apply additional ink. None of the areas shown were premeditated. Each section can tell a story if you sit and think of one. Two signatures are hidden inside the piece though there may be more as my memory is not the clearest and my level of self-importance maybe greater than I believe. The final area completed was the large swaths of black. They were carved away at by scraping with the inkwell pens as well as a scraping tool used previously to clean up paint. This was a suggestion made by a close friend. I disregarded it when the statement was first made. When everything else was finished I decided to listen to his advice and am much happier for it.

People have described it as / seen images within):

Controlled chaos, beautiful chaos, spider, skulls, towers, gardens, water, without hope, beautiful, moon phases, calendar, book, summoning, Doom Man (meaning "Doom Guy"), flowers, monsters, silly, cute, not very hopeful, I don't get it, I like art, where I know what I'm seeing, etc.

There have also been many short glances with the words cool, awesome, dark ascribed.

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Untitled

2019

Traditional Chinese Ink, Waterproof India Ink, Inkwell pens, Multiple paintbrushes, .38mm Gel Ink Roller Pen, BFK Rives ( made of cotton with no brightening agents), “talenti” Sicilian Pistachio container (a flavor that I do not care for, 1 Pint), a Plastic Drawer, Magnifying glass with a built in light, Paint Scraper

16x24 in

The pursuit of perfection is admirable: with or without completion. 

The intent of the piece is a lack of intention. When it started there were rules made and not written. The piece instructs action based on the viewers rules. The bottom right is the origin of the piece and extends outwards.

Anyway here are some anatomy drawing based on photos from "Anatomy for the Artist" by Sarah Simblet, done with medium charcoal pencil on news print.

I believe the foot at the top lost some much needed length. Continue to have the issue where I get too dark too quickly. Should start more frequently with a lighter pencil.

After that I drew for an hour+

Here are some more sketches for that painting I've been thinking about. I like the more rigid skull from the original picture (featured at the bottom). I enjoyed the idea of the bone moving more to a fabric like texture; but, I think it would lose much of it's strength and be elongated past what I want. The top wold be barely visible from shadow with a faint yellow tint. The lip of the skull's base would be highlighted in a dull blue.

This section is a cut out of the left side of the woman's chin. It shows an alien like skull leading two different bodies. One a feminine form and the other, the spine of the main figure. The small skull area would be in a difused blue light. The body portion would be fleshy in tone with a greenish haze. The bone would be white, slightly yellowed with a soft blue light.

Here is the original sketch for reference.

Went to my nieces birthday party.

Played some piano (me mashing keys without the dedication to learn a song).

Did some drawing.

Continuation of that flower heart thing from earlier probably 8-12 hrs in. Not sure what I want to do. I feel like if I continue it will be another 200 hrs and I think I may have reuined it at this point. Shelving it for now or forever.

Here are some notes for something I started the other day. Unsure if I'll continue it. I think it would be about 3' x 2' oil painting. Keep thinking ehh let's do it but then worry my work is "cringe". Eh writing "cringe" was "cringe". I think this one could be done in a year.

The woman's is a patchwork of different faces. (Orientation based on her position) her right eye (realism) showing pity and sorrow looks down on a figure. The figure (illuminated in blue) is skeletal thin in rags and sits on a single beam of metal.

Her left eye (cubism) is alert or shocked, looks on a figure in the bottom left of the screen. Nude shot of a person from behind. Covered in blood that is raining from above.

This is what would be in the bottom left section. It shows a pair of legs. Blood has pooled beneath them from a shower of blue/red droplets the left leg holds all of the weight, while the right one hovers centermeters of the ground. Debating doing just the legs up to the calf, to avoid nudity and help keep the piece becoming 9' x 6' and probably quadrupling in time.

Also would allow for more of the viewers time looking at how the blood sticks to the feet and their weight.

The lips and teeth will be important. There are two mouths situated together. Her right would be portrait perspective. The left is a 3/4 view and shows the left tooth biting into the lip.

Think I went too far on the gum line. There is a denting effect happening as well near the gum line that is too pronounced.

Trying to figure out the weight on that foot with the side perspective is giving me some difficulties.

Need to make sure that I extend the toes at an angle or else I will get some bad perspective.

The foot is not quite as vertical as I would like it. Will have to try again.

This picture was taken at the LACMA museum in California.    (We will see how those links turned out.)

Chris Burden, Urban Light, 2008, Los Angeles County Museum of Art, the Gordon Family Foundation’s gift to “Transformation: The LACMA Campaign,” © Chris Burden/licensed by The Chris Burden Estate and Artists Rights Society (ARS), New York

Two people were taking photographs at this exhibit. A woman taking the photos and a man posing. This caught my ear first as the man (in yellow) shoved out his butt and laughed. Soon following the laughter he exclaimed, “No, you’re not that good a photographer!” at the woman taking the picture. I yelled to the man in yellow, “I’ll cherish it forever”.

I never received a response; but, I will remember the moment and some others may remember.