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Let’s get this week started, shall we?

She is screaming. You just can’t hear her. Cinch tighter. The paper crumples. She takes up less space. Sometimes, silencing is just making someone smaller.

New sketchbook time in only the space of a month! I’ll have to bulk buy the next few at this rate…

Title: The Game Medium: Acrylic Paint on canvas. Size:24” W x 36” H x1” D Year Completed:2026 The first conceptual design for this painting is an ink rendering entitled: The Window of The Soul. The inspiration behind the design is the concept that Christians are supposed to be windows that God’s light can shine through. But the Christian sin nature can block that light from filling a room. The same way window drapes do. In the design the soul is represented as the inside of a house. The stair going down represent Hell. The stair going up to the second floor represent Heaven. The stairs going up to the second floor have no railings, this show that the assentation of the stairs must be made by faith. The Stairs leading down to the basement has a protective railing around it, representing that God is not willing that anyone should perish, but to repent from sin. The Trinity of God is represented by the cultic three Leif flower that is part of the railing that surrounds the subsurface stair well. The second inner railings represent man-controlled descent. No one fall accidently into Hell. People move closer to Hell with every action of rejection toward God they make. The world globe represents, all humanity needs to decide who they are living for. There is no neutral ground. The checked board floor pattern illustrates this reality, the black spaces with the upside-down heart points to Hell. While the white space with the upright heart point to Heaven. The open door with Jesus standing on the outside, represents the need for a savior. Humanity is separated from the direct presence of God, due to their sin nature. God can not stand the presence of anarchy, when Lucifer leaded an armed revolt against God’s Lordships, after he and third of the angel lost the battle, God created Hell , a place of internal punishment, where the enemies of God will dwell. God had warned humanity, that the day they disobey God, they will surely die. So out of compassion God sent His Son to fulfill the righteousness required by God’s Holiness. Jesus lived a life 33 years without sinning, even though He was temped as we are tempted. God’s son was then treated like a criminal, beaten with in an inch of His life, then took the place on the cross as a substitute for a murder and thief named Barabbas. God poured out His wrath on His son, so through faith the unrighteous can be forgiven and made righteous. By putting their faith in God’s savior, and turning from their old rebellious living, and walking in the newness of His Holly Spirit. The second floor is supposed to represent the entrance to the kingdom of Heaven. The lion’s heads in the wallpaper proclaim that Jesus who came the first time as a sacrificial lamb, is now coming as the conquering lion. The open door with the cross on it is the entrance to Heaven. The railing on the second floor with the fish standing on their tail with a cross in the mild of them represent the support of the body of Christ during the Earthly journey toward Heaven. Temptation of the world are represented by the Victorian wooden staircase and fancy rug, the roman columns. The Greek saying on the headier: Eat, Drink, he merry, for tomorrow we die. Stephen J. Vattimo 8/27/2026

Cheeky bovines et al!

Something I started but may never finish it. I wanted to work on space and composition. Its a good start.

That's one brave turtle.

When my head goes to the dark place...then the art become....interesting. Not done.

Alien unidentified spaceships are beaming up cows, from a field with crop circles, under cover of darkness.

“Just as the permanent foundation of the ground provides the springboard for voyages into outer space, so it is with the more mysterious flights of imagination.” — Roland Penrose.

Digital and hand collage.

So I am making a little animation (as part of my art training) and this is the first frame. It's to a song, so I put the words on the screen, so that's why the word is there

Another of last night’s creative adventures… Goblins in space with Ancient Egyptian themes!

A week on from Artemis II coming back to Earth from the moon and only now do I do a proper lunar themed tribute to it all! It also gave me an excuse to buy another Palm Pals plush, so happy days to that :-)

In fact, she [Mummy] said after a while, we have gone into hibernation. Nobody can get in any longer and no one can get out! I looked carefully at her and understood that we were saved. At last we were absolutely safe and protected. This menacing snow had hidden us inside in the warm for ever and we didn't have to worry a bit about what went on there outside. I was filled with enormous relief, and I shouted, I love you I LOVE YOU, and took all the cushions and threw them at her and laughed and shouted and Mummy threw them all back and in the end we were lying on the floor just laughing. Then we began our underground life. We walked around in our nighties and did nothing. Mummy didn't draw. We were bears with pine needles in our stomachs and anyone who dared come near our winter lair was torn to pieces. We were lavish with the wood, and threw log after log on to the fire until it roared. Sometimes we growled. We let the dangerous world outside look after itself, it had died, it had fallen out into space. Only Mummy and I were left. - Sculptor's Daughter by Tove Jansson #dailydrawing #tovejansson

Quick sketch.

https://jufispaces.blogspot.com/

https://jufispaces.blogspot.com/

Doodling of the Day

This is probably my best work yet. It's just me but in space. And with ears.

A colorful and dynamic scene depicts a Cosmic Christmas Tree with swirling galaxies and stars against a dark background. The vibrant colors blend together to create an impression of movement and energy in space.

For some reason, I had to prove to myself that good art does indeed take time. Anyways, this is an angel character (they're not real angels, they're a fictional species of mine) in my "spacefluff" style. I think I want to name her Mosambi, because she's sweet.

Squid Wit in Space, Acrylic, gel pen and ink on paper, 8.5" x 11"

My abstraction vision on black paper

A moment suspended between departure and arrival. Interim explores transition—where movement pauses, direction is uncertain, and meaning exists in the waiting. Rendered with restraint and negative space, the piece invites reflection on the quiet spaces between what was and what will be.

A solitary rowboat drifts across a muted, restless surface, unanchored and unattended. Rendered in charcoal, ink, and subtle white highlights, the vessel exists in a quiet state of motion—moving, yet going nowhere. The surrounding water is suggested through loose, rhythmic lines, emphasizing atmosphere and isolation over realism. The boat is sharply defined against the hazy background, its dark contours and interior shadows contrasting with the soft, unsettled environment. Oars rest unevenly, implying recent human presence while reinforcing absence. The name Perditas—Latin for “lost”—is affixed to the hull, anchoring the emotional weight of the piece without explanation. This work explores themes of solitude, uncertainty, and endurance. With no shoreline or destination in sight, Perditas becomes a reflection on drifting—physically, mentally, and emotionally—inviting the viewer to confront their own sense of direction within an undefined space.

Must be time to get things started with a new sketchbook! Introducing “Hears A New World Again” :-)

Hey boos! this is just a little doodle of a space happy version of my oc Opal. (also currently listening to a playlist of I deserve this, I'm so crazy 4 u, and all I want is you all by rebsyyz ((not how you spell their name lol)) cause they're very deter)

The Tool Bench marks my 50th canvas—completed exactly one year to the day after I finished my very first one. This piece is a tribute to work, memory, and the quiet corners where both creativity and responsibility live. Drawn entirely freehand, it’s built like a snapshot of a lived-in workspace: mismatched tools, worn wood, scribbled reminders, and the little personal things that actually make a place yours. The clipboard holds a “Honey-Do” list that never seems to end. The Polaroid-style sketch of my wife sits taped to the wall like a reminder of why the work matters. The shadows on the back wall match the tools lying on the bench—suggesting a moment in progress, a task paused, life happening between motions.

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.