Another "Sick Day Scarecrow" I did recently getting over a cold. There's too much comic stuff to get into to explain this, but in summary its a parallel universe Scarecrow I decided to design who is more of a superhero. Kinda.
So the life won't sting so much, we soothe ourselves in advance with death - and at the drop of the hat we say: " Even if I die, what do I care!"
- Abram Tertz, Thoughts Unaware.
#abramTertz #dailydrawing
A doodle in the series "Spot the Tennis Ball Doodle" I did years ago. There are many story in this drawing. One thing makes me love doodling the best is you can put so many stories within a single canvas. I love stories, I love telling as much.
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The main story I want to tell here in this picture is the loving CARROT fox. He just desperately want to have carrot for meals but only the Hares, Rabbits grow them. And they doesn't like foxes. But lucky for him, somehow, he find a friend who can help him with that, a HARE friend. The friendship of two is beautiful. Hm, you know, just one of the normal days, the Fox wait for the Hare to carry for him a carrot. The waiting was long and Fox just couldn't stay still. But the Hare came finally, and the Fox was so happy, he JUMP!
"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.
The materials that Meir uses in her works are not of the refined and so she is called an “arte povere” artist. At times she describes her work as someone dealing in alchemy - work develops as in a trial laboratory with different techniques and materials. She says, “ at times the artistic work process is a sort of puzzle demanding the filling in of all the empty squares “.
Some of her work focuses on women, and they incorporate criticism and cultural protest.
Meir has strong opinions about recycling and environmental protection that is represented in her works by use of materials and shapes. In her work she reacts to contemporary art that communicates with the eco system, waste, and she also searches for different worlds. Her works are made up of layers upon colorful layers that when we look at them it becomes clear that the mound of waste she chose is not coincidental. It actually becomes a colorful kaleidoscope of utopia.
Jaffa Meir is a multifaceted, autodidact artist working in painting, sculpture, photography, product design, carpets and furniture, painting on textile, and computer graphics.
The structural composition of some of the works is influenced also by her many years of working in the architects’ office.
Meir also worked in the developing of ideas within the field of ecosystems and recycling for factories such as Coca Cola, and during this process came up with ideas for designing parks and public game spaces using industrial waste products.
This is no landscape you could ever stand in.
No observational drawing, no safe horizon line.
This chalk experiment is a dream unfolding in color: a golden field lit from within, a scarlet seam of fire at its edge, and a storm-heavy sky pressing down with ancient weight.
It feels like a place between worlds—where the conscious and unconscious meet, where memory and imagination blur. Some might see a battlefield, others a meadow after rain, and still others a veil between life and death. That is the beauty: the painting does not tell you what it is; it invites you to confess what you see.
Psychologists say we project ourselves onto images like these. So—what do you notice first? The light? The darkness? The burning red?
Perhaps that is not about the drawing at all, but about you.
Sometimes, a good goodbye is also a fresh hello.
As we wrapped up our "Sacred Spaces" paintings, I asked our student teacher to design a one-day project—something playful, earthy, and engaging to ease the class into her care. She brought mud. Literally.
Using mud and simple stencils, students pressed images—flowers, insects, wings—onto the sidewalk behind our school. There's something timeless about making marks with the ground itself. It felt ancient and immediate at the same time.
These prints won’t last long, but maybe that’s the point. A fleeting image, a shared laugh, a new hand guiding the next phase of learning.
Art is about making marks. Not all of them need to be permanent.
This is my first holiday card of the year. I paint them and get them printed on 5x7 folded cardstock. I sell them $5 a piece of $4 a piece when you buy 2 or more. I do take online orders so let me know if you would like to purchase one.
Hey, something that ISN'T a fox! ...Kinda. This is a fox-like canine with wings, not sure what to exactly call their species yet. I'm pretty proud of her design. c:
