096:365 Stomata

096:365 Stomata

I was doodling and this weird shape came out, but it reminds me of those drawings from Biology of the anatomy of leaves.

Spring flowers are popping up in random spots around the yard. It’s lovely. Flowers are so wonderful!

This has been a very long week, and this is yesterday’s drawing and it’s already tomorrow!

094:365 Emergence

094:365 Emergence

Sleep has been evasive this week so far, so what started out as an effort at a freestyle crocus (with the intention of it looking realistic but invented) turned into this wild sprouting dance.

Not sure what it means yet. I’ll have to look again tomorrow, but there are miles to go before I sleep.

091:365 Meditation

091:365 Meditation

This is a motif that has come up before, and I’m never quite satisfied with the result.

A figure for one reason or another portrayed as an aura.

And today, this contemplative image of a flower-petal person glowing.

I’m actually not sure who the person is. There have been enough people I know in the last year or so dealing with loss that it could be any one of them. Putting it down on paper is probably inspired by seeing a friend today. But this image has been floating there in my head for awhile, trying to find form.

This version is more successful than previous attempts, though its genesis is different (previously sensuality, currently loss or pain).

As I’ve mentioned before, many of my drawings over the last few years have been explorations or meditations on emotional states.

It all began many years ago when I began describing people that I knew in terms of what kind of fabric they felt like to me. They turned into semi-recognizable (to me anyway) prose-poems that described not just what someone looked like, but some essence that is hard to pin down.

As time has gone on, and my motivation and scope of art-making has changed, this project of trying to capture the fleeting essence of people, or their relationships has taken on other guises. The multi-layered “water” drawings I did while I lived in Madrid; or photos that I’ve manipulated and superimposed (with little success, none of these have I shown anyone).

This drawing seems like it’s getting somewhere. Enough of an image for people to connect to, with enough abstraction to convey a broader message.

081:365 Moving Mountains

081:365 Moving Mountains

Today’s drawing is a contemplation of illusion and space.

At first glance it is the same drawing as yesterday, but I decided to put more emphasis on analagous colors and leave only blue and orange complementary colors.

Though I didn’t notice it until the second row of blue triangles were drawn, the process ended up creating heart-shapes, an unintended side effect of the tiling process. So I decided to use the second layer to break them back up into analagous sets of triangles.

The ending effect leaves me pondering vanishing points and reflections. They look like hills and valleys, perhaps desert terrain and mountains, all vanishing into the distance with something that feels like reflections.

This drawing is a contemplation of progression in color, space, and maybe even time. Maybe I’ll turn the concept into a video of ever changing progressing colors along triangular rails that end in a vanishing point.

It almost reminds me of that Sesame Street video where the lights are sort of disco-flashy.

069:365 Flash

069:365 Flash

Today, this past week really, was a roller-coaster, so I wanted to do a drawing that showed motion abstractly.

The space on the picture plane is divided into stripes that are delineated horizontally with both varied and fixed bands of color to create an illusion of depth.

Vertically, the lines are organized in changing curves with strokes that go from almost vertical to horizontal along an imaginary point of rotation to create the illusion of a solid, if flexible object, like the folds in a skirt, traveling through space at a regular rate.

Though the drawing is made up mostly of lines, the blending of colors and the allowance of the paper to shine through in places are instrumental to the illusion of motion, if not so much depth.  By blending similar, but distinct colors, the contrast in each vertical stripe spins into the next related color, but stands out against the background, while the horizontal stripes create the illusion of light and shadow by using high-contrast without blending colors as much.

Further, the transparency of the colors chosen for the vertical stripes, which were layered on top of the more opaque colors of the horizontal stripes, allows the viewer to imagine that he is looking past them as they move rather than seeing them as a series of stationary objects that block the view of the receding space.

Though all this is dry and formal, because this is an almost purely formal drawing, all artists think about how to show space and motion or stillness in their drawings.  All drawing, even figural work, is an abstraction because it is the attempt of the artist to put something they see or think about into a limited medium for others to see.  Whether those limitations are the 2 dimensions of the picture plane; 3 dimensions of a sculpture or installation; or more dimensions of temporal and performative artworks, whatever the artist sees cannot be directly communicated, and even the choice of medium influences who hears the message and how it is interpreted.

I should write more about this, but I’m falling short tonight.  Maybe the next time I’ll play around with this idea some more.