This painting/ drawing is started in the Abstract with forms created organically. I used Acrylics and applied them liberally as you might use in watercolor techniques. I love challenging myself to create in this form, as I do in finding the figures which may form themselves in the process. I then detail the figures in a drawing style to enhance and bring it forward. It’s part of a three piece series I made in this color story and can also be seen on my ArtFinder page, available for purchase. @adrianajgarces
On December 2017, after my frineds and I exhanged gifts, we thought "why don't we do it next year?? Valentine's Day!" So in January 2018, we got our picks and our theme was "Something Effort" since it's important in every relationship. Since then I started making this, every day I would add some details. I was lucky to know that the one I picked likes Game of Thrones so there. Made with air dry clay then painted with acrylic paint.
Inspired by the tides at Jologo Beach on the Dampier Peninsula where Soldier Crabs create their homes, leaving little balls of sand around the entrance to their home.
A sketch recalling an era when smoking indoors after a meal was commonplace—a fleeting pause of stillness before continuing the journey ahead. Done with mechanical pencil on scrap printer paper.
Hey boos. I'm sorry I haven't been posting often. I've been really depressed recently. This morning, I though about ending it all. But I didn't. It was to close to Christmas and I didn't want to ruin anything for anyone again. I'm sorry guys. I'm so sorry.
In “I Love Lamp,” Ty Patmore blends nostalgia, humor, and subtle unease into a surreal domestic scene where time, space, and memory feel slightly off-center. A lava lamp—softly glowing with drifting shapes—sits on a worn wooden table, acting as the sole beacon of warmth inside a room that is quietly falling apart. The wallpaper peels back to reveal fractured brick beneath, as if the structure itself is shedding its old skin.
A melting wall clock drips down the surface like time losing its grip, while a framed picture of a UFO drifting over pine trees hints that even the outside world may not be quite right. Every object bends reality just enough to make the viewer question whether this room is comforting… or unsettling.
This portrait is the darkest in the series, examining the internal malice that persists even when communication is restricted, illustrating that evil doesn't require a loud voice.
* Visual Focus: The mask's mouth is horrifyingly held closed across the center by surgical thread and a needle, which only covers half of the wide, unnerving smile. The stitching reveals a set of sharp, feral teeth underneath. Disturbingly, a pair of prominent horns protrude from the top of the mask's head.
* Symbolism:
* The Stitched Mouth: Represents the idea of selective silence or the censorship of truth. The fact that the stitching only covers half the mouth highlights the "half-done" nature of modern morality. The revealed sharp teeth suggest that even in silence, the capacity for vicious, cutting, or "devilish" speech remains barely contained. Showed directly on the piece by the date being misleading.
* The Horns: A classic, unambiguous symbol of the Devil or pure malice. This is the figure's core identity—it suggests that even while hiding behind a neutral mask and being partially silenced, the individual's "tongue like the devil" and evil intent are still very much present, emphasizing the inherent corruption and hypocrisy behind the facade.
A little while back I started doing little triptych cartoons, something I could have fun with and zip off pretty quickly. Then I expanded them to four panels when it felt necessary. Some people think too deeply about my little toons and are confused about what's happening. I just tell them to look at it more simply, and not to overthink it. Like this one.
