Friday 22 March 2019

Sunday 17 March 2019

Sunday 10 March 2019

Sunday 24 February 2019

Wednesday 20 February 2019

Tunnels

Looking at this drawing of Huinga Tunnel by Sir Tosswill Woollaston it struck me that they are quite a good thing to draw:


Right up my alley etc..

Tuesday 19 February 2019

Sunday 17 February 2019

I hope I manage to leave the house at some point this weekend..

.. but if I don't it'll be because I've been working on this (see previous post) the entire time:


This is also the current state of the first Obbly portrait, waiting on (what I hope is) the final glaze:


Friday 15 February 2019

It's Friday evening and I'm starting another portrait of Obbly..



The source picture is a printout of a photo of a photo of a photo of a (Polaroid) photo which I took of her in 1999 and which is lost -- like all Roy Batty's moments and Obbly herself -- in time. She was also the source for The eyes of a killer, 2001 and appeared (twice) in Self-portrait as Noburo Kuroda's kitten, 2001.

Friday 1 February 2019

You know evil, know it well..

Started something else new:


(It first appeared here..)

At the moment it's quite hard to look at, which is not the best state of affairs, so I think it's going to be slow / careful going..

Wednesday 30 January 2019

KNITTERS to completion

Added a cadmium red med semi-transparent glaze (in better light the underpainting shines through a bit more, as planned):


Some improvised decoration and we are done. Off to the drying room for a week or so until time to varnish. Still needs a title!

Monday 28 January 2019

ACCEPTABLE RATE OF ATTRITION, 2002



Acceptable rate of attrition, 2002
wood-cut
23 x 27 cm. (printed area)
private collection

Update

This is an object (also abject) lesson in patience a.k.a. not adding a layer of paint until the one beneath it has dried properly so that it doesn't pick up the pigments and screw up the the transparency and tonality of the new layer. Oops.


A rescue mission was launched.


Also have to really make sure that the back toes of the back foot curve away from the edge of the canvas so as to avoid the creation of impression that the composition is jammed into the right edge.