Work in Progress = EUOF (excessive use of force). This is far from done. It actually evolved from thinking about Ferguson, and ISIS, and people taking it upon themselves to execute others under whatever thin rationalization, and with the power structure they happen to occupy [not to mention the indiscriminate bombing by drones, and other crimes of war]. The “victim” here is organic, overly organic, vulnerably organic, cancerous, tumorous. And the assailant has become a robot. Think DARPA, and the military robots that are being created, and which I fear may be used against civilian populations in revolutions against corporate, corrupt, absolute rule. I was never sure where I was going to put the robot’s guns, and then finally they emerged on its face. Everything is slowly evolving, and despite the fact that I use a computer, the process is really organic and intuitive (even more so than when I used traditional mediums, because working digitally is more flexible). A lot of things at this stage are just plain wrong. Proportions, perspective, lighting/shading and so on. That’s part of the process I use, in which I’m constantly restructuring everything, and then getting new ideas, and then fixing the new mistakes. Eventually this will go in color. To see earlier stages of this, you can go here.
Art & Crit by Eric Wayne 
For some reason the body on the ground made me think of the Pol Pot murders.
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Probably apropriate. Same sort of idea. Some sort of rhetoric to justify murder in the name of good. I don’t know what this will look like when it’s done. I haven’t even dealt with the background yet, and the rot’s back and legs remain to be defined. And then the color!
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That feeling you get when working out your creations cannot be beat.
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I work in different ways, which I think is good, but with this peace there’s a lot of just looking at it and then seeing what to change. That element is kind of like an inkblot test. And then I get new ideas (the robot originally was a human), and it develops. That can’t happen when one does conceptual art and pays someone else to execute the process.
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Yes, I agree. I don’t see how an artist directing someone else to do their work can even say they created the work. I love Rauschenberg and Bearden but wonder about their heavy use of assistants.
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