I’ve been picking away at this one for a while, abandoned it a couple times, and finally finished it. It was more difficult than my prior piece for this series (below), and the main difference is just that I used a smoother brush.
The smoother brush is more technical and demanding in terms of rendering skills, but perhaps less expressive. With the rougher brush I can get away with suggesting forms without having to articulate them as particularly. The finer brush is more illustrational.
Both, along with several others in this series, explore what I can produce just using y imagination, one brush, and B&W. This is all drawing.
Here’s a detail of the new piece:
You can see it develops organically with no plan. The images reveal themselves slowly, like a hallucination in slow motion.
In this series I like to throw in some hidden images and subliminal stuff. Mostly it’s just stuff I see and isn’t so much deliberate.
Here’s the full image again and see if you can find some less obvious things before I point them out:
I suppose it’s possible to miss the head in profile smack in the middle of the canvas. It’s a negative space profile and intersects with the sort sculptural alien head. And if you look at what an artist friend (who saw an early rendition) called the yin and yang head, it is also intersecting heads, but its ears are nipples, and the backsides of the heads are breasts.
I rather like this piece, but am tired of working on it.
I have no idea what it means, which mens it’s not making an argument in linguistics, no sort of statement that can be contextualized in written/spoken language.
Here’s all 49 pieces in the series, which are all images done exclusively from my imagination, and unpremeditated, so far in a slide show.
Or, if you prefer, you can see them in a click-through gallery:
To see other posts about other pieces in this series, go here.
See a video about my first 25 pieces in this series here.
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