gallery

1504 pieces, shuffled — reshuffle

Studio corner crowded with wood frames holding small game-screenshot prints, art postcards pinned above a green cutting mat Church on sunday — The courtyard floor holds her attention. Auriea standing with a sunburst electric guitar in a dark room, one hand on the maple neck, a cigarette between the fingers of the other E-book page with a note reading What I strive for when I write, pinned to Bloy's description of Huysmans dragging the Mother Image down the staircase of terrified Syntax Notebook spread on the cosmos: paper wheel cutouts, a watercolor star-sphere and a fiery wheel, notes on Anaximander's rings of fire Night desk: an iBook showing a dark forest painting, in front of a big monitor with Blender open on a textured cube — Endless Forest work in progress Text excerpt from James Baldwin: '...It was really a matter between me and God. I told him quite a long, long time ago there would be two of us at the Mercy Seat. He would not be asking all the questions.' Codex Seraphinianus illustration: a potted deer head whose antlers are a leafing tree, roots filling the transparent pot Rough digital sketch: a grinning bat-eared demon figure in a dark coat with a large white 6 painted on its chest, on tan ground Me and My Ghost: scanline-torn webcam self-portrait, chin on hand, upscaled 2024 A small white bunny with grey ears and nose sitting in a white bathtub, looking up with one dark red eye Printed card on the 19th-century 'Language of the Fan', pairing gestures with meanings — 'With handle to lips: Kiss me', 'Fanning fast: I am engaged', 'Open wide: Wait for me' 3d model of a weathered stone grave cross in an empty grey Blender viewport — a gravestone for The Endless Forest Bill Viola's Dolorosa: a hinged diptych of two video portraits in the manner of devotional panels — a curly-haired woman and a bearded man, both weeping with closed eyes Black-and-white double exposure on 2nd Street: a blurred face streaked with motion in a mirror, plaster wall and shuttered window folding into shadow Roma sketchbook: an umbrella pine in terracotta pencil with a dark inked sculpture head resting at its base The Path character sheet '2_Rose': four polaroids of the girl in the red hood and dress at different ages, a green hedge-maze icon at left Sketchbook 43 spread: graphite studies of a bent leg and hand holding a pen, and on the right page feet dragged mid-stride, toes trailing across shaded ground Second woodblock page of the ʼPhags-pa primer: tall columns of angular square-script letters, each glossed with small Chinese characters Sketchbook 38 spread: pencil towers — the Oudenaarde town hall dome, a crenellated castle brushed dark on pink ground, and Bologna's leaning towers with swallows Five Mary Magdalenes with ointment jars side by side: a Flemish Renaissance portrait, a Northern engraving, Caravaggio's penitent Magdalene, a tearful nude leaning on a gold jar, and a hooded mourner in a landscape Sketchbook 42, page 3: ballpoint interior — a television on a carved dresser, a figure in a patterned robe behind it, and someone sleeping under blankets in the foreground The studio worktable in 2017: a bronze head resting in a stone dish, a white David figurine, dark wax figures, a porcelain Venus on a box, and a teacup of tools Black-and-white photo of Frida Kahlo winking, pearl necklace and heavy earrings, a wire crossing in front of her face Unity scene 'Flowerfield': the red-wigged Path girl toppled head-over-heels among sketchy poppies, half the field still untextured grey Catalogue text inventorying Louise Bourgeois's 1997 cell Passage Dangereux, room by room: cuffs, mirrors, hanging chairs, glass spheres, a bronze bull Four pinned cicada specimens beside a millimetre ruler, shown from above and below, dark bodies with amber-veined translucent wings Ghost-white ambient-occlusion bake of a girl's bust, blank eyes, floating over black shoulders John Singer Sargent's Ellen Terry as Lady Macbeth: the actress in a green beetle-wing gown raising the gold crown over her own head with both arms Sketchbook 47 spread at Cologne's Wallraf museum: notes on Stefan Lochner and International Gothic, a sketch of the Virgin with a tower, and a study of Falconet's female bather The Museum of Fine Arts Ghent (MSK) with its columned portico, a red cherry-picker parked on the front steps mid-renovation Sketchbook 46, 8 March at the Met: graphite and watercolor study of the Crouching Aphrodite marble, wine-red shadows at her hip, a rainbow of paint swatches down the page edge Sketchbook 44 spread from a private model session: pencil crouching nudes at left; at right three heads on a grey gouache ground — a pink-cheeked profile facing a bald man, a shaved nape beyond Blurry snapshot of a high school graduation: graduates in white caps and gowns walking past a coral-pink wall, Lauren among them Digital self-portrait painting: a woman with long braids looking straight out, framed by green leaves and small white blossoms on deep purple Tall blurry photo: a bundled figure standing tiny at the foot of an enormous carved wooden church door Sketchbook 40, 'Going Forth By Day': Gent to Venice by train — a blue-inked station kiosk, and sleeping passengers in faint pencil — 'every now and then it lets out a high pitched scream' Logo of the word mirror drawn in thin white rounded strokes on black, the letterforms mirrored so the word reads the same reflected Quest3D tutorial titled Multi-texturing the Earth: handwritten arrows explain copying a grass surface to a dirt surface with a black-and-white alpha map Sketchbook 38 spread: rooftops in watercolor — a mottled brick gable at left, storm clouds and a dark slate roof-line against blue at right A Magnavox Odyssey, the first home video game console: white unit with two cable-tethered paddle controllers, game cards, and boxed accessories Desktop wallpaper grid of cute forest-creature illustrations in greens and plums — deer, mushroom folk, a peacock — with Mac folders scattered over it French grammar diagram of the 'maison d'être': a house with arrows acting out the être verbs — naître, rester, monter, tomber, mourir, aller, venir — around a road marked passer George Frampton's Lamia: a polychrome bust with a pale ivory face, eyes downcast, encased in a dark bronze headdress and gown set with opals Textbook skeleton standing in anatomical position, palms forward, on a teal ground Sketchbook 44 spread, 'Slightly lost': ballpoint sketch of the Heusden bus stop en route to a driving exam, a reclining graphite nude below, and watercolor figure studies in grey and burnt orange opposite Sketchbook 44 spread, 3 September, model session: soft pencil sketches of the same nude bending, kneeling and seen from the back, poses overlapping across the gutter Sketchbook 46 spread: a museum cast of a male torso from behind, modeled in charcoal and white on orange paper, beside a lighter sketch of a spiraling sculptural group Sketchbook 40, Köln museums spread: Roman mosaics and hairpins from the Germanicus museum, notes on Käthe Kollwitz's 'Frau mit totem Kind', and inked towers over park trees Smooth white 3d sculpture render on black: two abstracted nude figures curled into a ring, one body flowing into the other

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