Here’s my latest. If you have a few spare minutes, do click on it and spend a little time with it. It’s not really an Instagram, one-second, postage stamp, one-liner. The more time you spend with it the more interesting it gets, as shapes begin to materialize, shift, and you notice the different possible relations between objects, and illusionistic space.
This is kind of an oddball piece for me, because I didn’t really intend to do it, and the results are unforeseeable. If you are one of the rare people who follow my blog (congratulations), you’ll notice this doesn’t have my trademark (so to speak) digital impasto technique. Instead it’s smoothly blended via lots of work with airbrush and blending tools. In essence, this is an experiment gone awry, because I was actually attempting to do something else, which didn’t work out the way I expected. I persisted with this anyway because even though it’s not how I usually work, I was interested in it, and I plan on reintegrating this technique with my other ones for hopefully some new and interesting hybrid with added potential.
I have done this sort of intermediary between abstraction and representation before. There are parts that resemble things, but if you look closer nothing is a thing that actually exists. Overall there’s a sort of head in it, but it’s just a conglomeration of sort of melted shapes.
It’s quite detailed because I worked on it zoomed all the way in for the finer details.
I think it has a psychedelic, Surrealist (Yves Tanguy) feel about it. I’m not sure if I’ll do any more like this, except I have a black and white one that’s about 90% finished that’s also this sort of non-representational/abstract/Surrealist image. I never finished that piece because I work on it zoomed out, and it looked like crap zoomed in. But I can use this same technique with airbrush and blenders to finish it. That one will probably be next, and then another monster maiden that will possibly use this same method for the final details.
This can also be printed flipped horizontally. I often flip images while working on them – this is a great way to see problems that the eye otherwise adjusts for over time – and while I usually have one angle in mind, this one works equally well either way it’s flipped. Here’s the opposite view.
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