I love how these nesting dolls came out. I'm also into the Dakota Fanning inspired piece on the left. Dakota's character in The Alienist is a lot of fun. I'm glad she seems to have come out of child acting fairly unscathed. We don't hear a lot of stories of her gallavanting around LA, thieving & putting substances up her schnoz. That's a pleasant change of pace for a celebrity.
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
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.
