13 young, Indian adults, struggling with mental health issues, explained what colour represented her/his fear and which represented hope/happiness. The left half of the face has all the colours associated with fear, while the right shows hope/happiness.
This piece began as a multi-colored abstract . . . but it was nowhere . . . nothing . . . and had no essence. So, I tried to take it in the direction of a landscape . . . and that was horrible. I gave the entire piece a whitewash using a white acrylic paint pen. And then the idea popped into my head to Doodle over the colored background. The title reflects the fact that the piece only came to life with the addition of the Doodles . . .
A tribute to Wassily Kandinsky. Painters do lots of doodling. Kandinsky played around with certain shapes again and again, so I thought I would too. I took shapes from lots of his paintings and moulded them into a doodle. Kandinksy was very meticulous wit
Next sketch one from my travelling sketchbook 2016 made this summer, this time from a very short; but exiting stay in Berlin. Our van in from of our friend's house, which was going through a lot of reparations and where I painted a big mural :) Enjoy
I can’t remember if I ever drew much in the way of dinosaurs growing up, but when my folks brought me this Anixiousaurus t-shirt from their Spain trip for me recently, that gave me incentive to do something about it at least!
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.
My painting professor drew this diagram on the board and suggested that it is a diagram for a painting. "Begin with large areas, covering the canvas with general colors and shapes. Refine the shapes and begin adding details. Refine the details and work with smaller brushes. When you are adding marks that your viewers would not notice, be done." There is more, but that is enough to ponder for now.
