Binge-watched “Bridgerton” last weekend and paid the price for it all day Saturday. The drawing is based on my wife's picture of me on the couch sleeping off my bad decision. HB, 2B Staedtler mechanical pencils on 8.5” x 11” acid-free sketchbook.
“Claire!” Elle woke up with her daughter’s name on her lips. Startled, she sat up and looked around the living room with her heart still beating loudly in her chest. A dream, she realized dazedly.
Slowly, she crossed the way to the back door. With unseeing eyes she gazed out into the garden.
She remembered waking up in the hospital six years ago and seeing her husband sitting next to her. She remembered how he took her hand into his and looked at her with eyes full of despair. He told her that the doctor thought Claire might not survive. That she might die before she was even born, die before she had a chance to look into her mum’s eyes, feel a kiss on her forehead, clench her little fist around her dad’s finger, hear them speaking to her without a belly barrier between them… It was a silent, terrible death. It was the death of someone so precious, so innocent, so tiny…
Elle took a shuddering breath.
Some LGBTQ+ members of the community can’t openly love who they want to love, so the bars represent that barrier. The fabric, with all its complex folds and creases represents sensuality, desire and love. Love, in all its forms is a complex thing of beauty.-------------
The companion piece to my previous post ‘Ecstasy.’ Agony and Ecstasy were always meant to be a diptych. The issue for me is that there is a two-year gap between the completion of the two - there is a noticeable difference in the the way both were drawn.
Faber Castell pastel pencils, Black and White Generals charcoal pencils on 9” x 12” Strathmore Toned Grey sketchbook paper.
Pastel pencil study of the intertwined hands of the Ambrogio Borghi sculpture, Chioma di Berenice. Faber Castell pastel pencils, Black and White Generals charcoal pencils on 9” x 12” Strathmore Toned Grey sketchbook paper.
