Doing more of these is partly just an excuse to try out something new, or add something to the brew. There are a few new elements I mixed in that didn’t appear in prior pieces in this series. Can you guess what they are? Have a look at all 8 below.
The piece was entirely unpremeditated except for one device. I wanted to incorporate a hand. That’s it. But I also thought to have the hand in front of the face and casting a shadow on the face and across an eye. I did what I sought to do, and everything else just happened spontaneously.
Very often I will work with absolutely no preconceived idea at all and just see what happens. That keeps me curious and engaged. It’s a bit of a treasure hunt where I don’t know what I will find. But other times I have a firm plan. In this piece specifically I did a bit of both.
The tongues were complete happenstance. I worked with an app that gives you models you can alter and pose in Blender. And I just accidentally moved a guide that pulled out a tongue. That is probably now the focal point, because of the bizarre act where one of the heads appears to be trying to lick the tongue of the other.
Why not run with that? Some people might like a strict interpretation and to know how they are supposed to react to a work of art. I tend to avoid that. I like ambiguity and multiple meanings.
The red eyes of one of the heads was also an accident. Again, I moved a guide to fare and rolled an eye complete around exposing its back side. And that looked kinda’ cool, so I decided to incorporate it as well. I deliberately elongated some of the teeth for a bit of a suggestion of vampirism, which seemed appropriate for the tongues and red eyes.
All the figures in the series are made up of at least two heads (the Mark Zuckerberg one has three), but these two heads are the most distinctly in conflict. There’s also the most anger or violence.
The paint swatch is particularly vigorous:
It winds through the image like a snake.
And ends up behind a patch of paint that shows a repeat of the red eyes.
This is a little unusual because the long swatch of paint floats on top of the painted image, but the second set of eyes are on top of it. I added drips from behind the eyes, which will seem to be related to the snaking paint, perhaps caused by it, and suggest bloody tears.
When you look at the whole image the snake gives it a Medusa vibe. And if you’re wondering about the number 220, well, that was just in the background of the HDRI image I was using as part of my lighting for the model. I could easily have removed it, but I looked up the number online, and it has some interesting (though likely completely bogus) interpretations.
Overall I think the image has a lot of energy, and maybe it’s a bit unsettling. I see it as a very interesting addition to the series, and it’s not something I would have ever predicted I would make.
Now that you have more background on the image, have another look.
In the same way I had something I wanted to try with this image, I have another thing I plan to try out in the next. I’ve done 3 women in a row, so I’m going to follow with a man for #9. And I could stop there, as this series is wildly unpopular, but I want to add something else after #9 that will add a whole other dimension.
I’m more interested in conducting art experiments and exploring new territory than I am in appealing to the tastes of the general public.
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