anchor

Mark Twain (1835–1910) In the 1870s and ’80s, the Twain family spent their summers at Quarry Farm in New York, about two hundred miles west of their Hartford, Connecticut, home. Twain found those summers the most productive time for his literary work, especially after 1874, when the farm owners built him a small private study on the property. That same summer, Twain began writing The Adventures of Tom Sawyer. His routine was simple: he would go to the study in the morning after a hearty breakfast and stay there until dinner at about 5:00. Since he skipped lunch, and since his family would not venture near the study—they would blow a horn if they needed him—he could usually work uninterruptedly for several hours. “On hot days,” he wrote to a friend, “I spread the study wide open, anchor my papers down with brickbats, and write in the midst of the hurricane, clothed in the same thin linen we make shirts of.” Whether or not he was working, he smoked cigars constantly. One of his closest friends, the writer William Dean Howells, recalled that after a visit from Twain, “the whole house had to be aired, for he smoked all over it from breakfast to bedtime.” - From Daily Rituals: How Artists Work by Mason Currey “Everyone is a moon, and has a dark side which he never shows to anybody.” ― Mark Twain #dailyrituals #inktober #MarkTwain @masoncurrey

Aaaaaaaaaand, September is here. Let's make this autumn a creative one...

A whimsical illustration of a large horn-whale creature with fangs, an anchor tattoo on his fin, and a tattoo of how many ships he has sunk on his back, with a whale rider perched on its back, is surrounded by gentle waves. The contrast between the massive creature and the tiny rider suggests a playful narrative. The muted colors and simple lines create a charming and imaginative scene.

Part one of two! First, sharks…

Artist and owner: Adam Shurt, Address: Anchorage, AK, United States Of America. Email: adam.shurt@hotmail.com Artwork was uploaded on June 2, 2016 ©️Copyright By Adam Shurt ©️

Don’t get caught here unawares… I don’t suggest you take the stairs. The treasure that this castle keeps, deep beneath the water sleeps. But if you’re patient with the tides, there’s another path it hides. Quickly now! Find the door! and hurry back onto the shore. For the moon, she will not wait to turn the tide and flood the gate. Don’t get caught here unawares… I don’t suggest you take the stairs.

*bully* Hey idiot! Anchors don't float! *me* Hehe, then why would I draw this?

A solitary rowboat drifts across a muted, restless surface, unanchored and unattended. Rendered in charcoal, ink, and subtle white highlights, the vessel exists in a quiet state of motion—moving, yet going nowhere. The surrounding water is suggested through loose, rhythmic lines, emphasizing atmosphere and isolation over realism. The boat is sharply defined against the hazy background, its dark contours and interior shadows contrasting with the soft, unsettled environment. Oars rest unevenly, implying recent human presence while reinforcing absence. The name Perditas—Latin for “lost”—is affixed to the hull, anchoring the emotional weight of the piece without explanation. This work explores themes of solitude, uncertainty, and endurance. With no shoreline or destination in sight, Perditas becomes a reflection on drifting—physically, mentally, and emotionally—inviting the viewer to confront their own sense of direction within an undefined space.

24x30 canvas A weathered steer skull fixed against a wagon wheel, drawn in graphite, charcoal, and ink, evokes the grit and resolve of westward migration. The skull stands as a quiet emblem of endurance, sacrifice, and survival, while the wheel anchors the piece in motion and passage. Westbound ’49 references the year many headed west in search of promise, capturing the stark beauty and cost of that journey in restrained black and white.

"Nowhere Fast" is a compelling still life that blends mundane domesticity with surreal, slightly ominous undertones. The scene is anchored by a wooden table where a spilled glass, a pack of matches, and an ashtray with a smoldering cigarette suggest a moment of interrupted pause or quiet, long-term stagnation. Dominating the foreground is an oversized, weathered cigarette carton boldly labeled "WARNING", its subtle but unsettling presence hinting at a consumption that leads nowhere. In the background, a vintage RCA television set displays a stylized amanita mushroom, a recurring symbolic motif that adds a layer of psychedelia and altered perception to the otherwise drab setting. The earthy, muted color palette and soft lighting create a feeling of weary introspection, capturing a sense of being perpetually stuck in a cycle. The piece masterfully uses everyday objects to explore themes of vice, time, and the quiet, slow march toward an uncertain destination.

Check out the full wall timelapse! https://youtu.be/0t2FcoX-e-I

A captivating exploration of form, this work features an imaginative flower with a distinctive, almost sculptural head. The smooth, folded petals suggest a soft resilience, like a fleshy, protective helmet, while delicate antennae reach tentatively toward the light. The long, winding stem and minimal leaves anchor the drawing, creating a strong vertical movement. Rendered in a mix of colored pencil and graphite, the piece uses subtle shading to give the subject a remarkable three-dimensional quality, making it pop against the neutral background.

What happens when I keep trying to capture that spiritual image seen from the mind's eye? A shapeshifting abstract that is anchored merely by symbols. Sometimes I really just want to convey a consistent image that the world can see, which is really, really hard...

This was the base of the last anchor I drew. It doesn't look too different.

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