This is my portrait by the best artist in the whole universe, my daughter. I'll trust all my best to post here every day the random things, my thoughts, and sketches, or even just scribbles from pieces of paper. So nice to meet you all ppl.
I drew this simple sketch because I wanted to have that outfit, but I didn't have the pieces for it in my closet, so I drew it instead! Close enough, I guess. :)
Watch me paint this piece and talk about intuitive painting on my YouTube channel Anna Abstrakt! https://youtu.be/wSxQzjdL3Ws [acrylics and glitter glue on 30x40 cm canvas]
This is an older piece representing an idea that I keep coming back to. This is my second attempt. I'm still not happy with it and will probably try again.
While I was drawing this months ago, my tablet pen fell apart in my hand. It was bizarre and shocking, and then I completely forgot about this piece even existed. The print that almost never was.
A quiet study of restraint at altitude. Framed through an aircraft window, the world below drifts by while the interior remains still—objects worn, familiar, and waiting. Subtle distortions in perspective and muted tones emphasize the tension between motion and pause, progress and endurance. This piece captures the discipline of waiting while suspended between departure and arrival, where patience is not passive, but practiced under pressure.
In this memory-driven piece, Patmore reconstructs the bathroom from his third-grade elementary school, capturing the sterile brightness, the tiled repetition, and the institutional reminder to “WASH YOUR HANDS.”
But the scene is not pristine — a leaky sink, an out-of-order stall, and a taped-up sign reveal the quiet decay behind childhood places we assume were orderly and safe.
Patmore blends nostalgia with unease, transforming a simple restroom into a study of what it means to grow up: how the lessons we learn early (“hygiene,” discipline, responsibility) stay with us even after the walls begin to crack. The small pop of blue tape emphasizes the DIY fragility of rules meant to guide us.
This piece stands at the intersection of memory and maintenance — of spaces, of bodies, and of ourselves.
In this drawing, I was striving to capture the spirit of contemplation and reflection, a sort of spiritual sojourn, an ancient practice of pilgrimage, focusing on subjects of transcendent nature, and exploring destinations of spiritual significance. (words taken from scholarlysojourns.com). It is a self-portrait (me as a 14-year-old boy). We had just moved from Mequon to Rhinelander. It was then that I began to romanticize the natural beauty of Mequon. But at the same time, I was falling in love with the beauty of Rhinelander. In this picture, I am walking through the countryside of Mequon. The stringed musical instruments symbolize my love for the progressive classical and folk-tinged acoustic and orchestral music that was coming out of England in the late 60s and early 70s, specifically the quieter pieces of music performed by the Moody Blues, Emerson Lake and Palmer, Yes, and Jethro Tull. A song called Reasons for Waiting by Jethro Tull is a good accompanying piece for this drawing.
