Two cows jumped over the moon and crashed. Now they both see stars. 8000 x 6000 pixels,
15.748" x 11.811",
Resolution 200,
Bit Depth 24,
DPI 508,
3.50 MB
Trumpty Dumpty sits on the last few shipping containers weeping and wailing as a towing company, called We Remove The Wall, tows the shipping containers away.
This is the beginning of a piece I did earlier this year. I wanted to show the progression of graphite to ink. The next picture I post will be showing the rest of the ink and completion of this piece.
Elias Rosenshaw (under the name Sage Stanley) 7/30/2023
Digital collage of acrylic paint on paper & photography with filter.
On display in the "Basement Tapes" virtual gallery at www.119northweatherly.com
This is a graphite pencil drawing of a conch shell I found on the beach in Florida. I used this sketch as a base for a intaglio print I made. The sketch features the cool textures and forms of the shell in a harsh contrasting light.
One of my Swirly Designs, illustrated with different tools such as Graphite, Aquarelle, Ink Pens and Ai & Tablet. Sometimes sheer Vectorillustration/design.
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Urh.-Nr:1811955
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Copyright by Carolina Matthes
The idea is to show a figure crossing over two ` scripts’ with a bilingual suggestion. By standing in between worlds, we see opposing viewpoints.
Many artists have incorporated typography as symbols in their paintings since the 60s, but no one has attempted to approach lines in this `written’ manner. How different it is are the two writing styles of the East and the West; one with angular lines while the other in a smooth flow! This work juxtaposes the symbolism of cultures – script. At the same time, it questions the need to grasp the full meaning of the script to appreciate the aesthetic flow of calligraphic lines.
Whether the script in the background is an actual sutra is not the concern, even if it is, would it be readable to most? I question the use of lines in Calligraphy. Without the recognition of the exact words or meaning, can we still appreciate the quality and skills involved? Armed with a Chinese writing foundation, I adapted the use of the eight strokes (the basis of construction to Chinese character). The `writings’ resembles Chinese/Japanese writings but in fact, they are not. I needed a texture. With language as a symbol of culture, by visually adapting these kind of lines endears us to the image.
