gallery

1458 pieces, shuffled — reshuffle

A dense strip of engraved sheet music in 12/8, marked 'mhm' at the start, black notes crowding the staff Sketchbook 49 spread at the Met's Raphael drawings: graphite nude from behind, quoting 'keep one's compass in one's eyes and not in the hand, for the hands execute, but the eye judges' Diptych: profile nearly curtained by long straight black hair on a fur throw; below, bare feet with chipped pink polish in deep shag carpet Sketchbook 47 spread: two graphite studies of a curly-headed marble Venus, with notes on Fetti's 'Melancholy', Thomas Boudin, and Coysevox's 'Crouching Venus' — 'she's looking heavenward, sitting on a tortoise' Two stems of moth orchids, white petals speckled with magenta and deep pink lips, in front of an old wooden door Sketchbook 48 spread in graphite: a walnut hanging from its twig with one leaf, and a softly modeled human skull turned three-quarter into darkness, with small sigil-like doodles above Sunlit self-portrait looking sideways, long dreadlocks over a black top, a red anatomical-heart pendant on a red cord A branch of lunaria held before a lamp, its papery translucent seed pods glowing amber and pearl Two Mexican codices in museum vitrines: pictographic pages with red pointing hands and demons, and a text page with a village river scene Ingres's Jupiter and Thetis: the sea nymph kneels against the enthroned god's knee, one arm raised to his chin in supplication, an eagle at his side Sketchbook 49 spread: graphite drawing of wilting amaryllis blooms, facing a close study of a nude's hip and a small sanguine figure climbing into shadow Sketchbook 47 Rome spread: colored-pencil study of legs against blue 'DIVO IOANNI' lettering, and a dense ballpoint drawing made standing at Bernini's Fountain of the Four Rivers — 'ROME III' Glitchy black-and-white webcam still: two ghostly figures side by side over a striped scanline pattern, timestamped 11.6.18.47.30 Entropy8 baroque logotype: the letters E-N-T-R-O-P-Y-8 descending through a thicket of white rococo vines and flourishes on black Handbound sketchbook open on a green park table: gouache painting of the pond and trees, the same real pond hazy behind Skype call with Michaël Samyn at 07:13: he mugs close to the camera, two relatives peeking in behind, the caller smiling in the corner window Small black-and-white QR code on white The octagonal baptismal font of the Pisa Baptistry seen from the gallery above, a small bronze figure at its center, set in rings of inlaid marble floor Tiny sprite of a mosquito with green body and spread translucent wings A whole pumpkin pie on a metal plate with one slice cut and slightly pulled out, on black granite Portrait swallowed by darkness: only the tip of a nose, a bared smile and chin lit between black locs Church marquee for Memorial Baptist Church: 'Ain't no party like a Holy Ghost party, cause a Holy Ghost party don't stop' Sketchbook 49 spread of café and subway sketches: a hooded figure asleep on folded arms in red pencil, a child drawing at a table, and three bespectacled sleepers stacked in graphite Sketchbook 38 spread: the roof view again — a sunset skyline in pink and indigo above, and a brick chimney rising through clouds at right Night desk: laptop and iMac both showing The Path (Ruby leaning in headlights, a striped-sock scene), the logo glowing on a Wacom below, Michael behind the far monitor Video lecture paused at 14:54 — 'The Nature of Arguments', Critical Reasoning for Beginners, a lecturer beside a slide at the University of Oxford podium Two low-poly grey toy soldiers posed like plastic army men — one swinging a club overhead, one striding with pistol drawn Metope's Navigator tablet: the corner mini-map, the five view-mode buttons, and undo, redo and fit. J.W. Waterhouse's Circe Invidiosa (1892): the jealous sorceress in a dark peacock gown stands on the water, pouring luminous green poison from a wide bowl ZBrush sculpt in progress, close up: a dark-skinned female head tilted back, polygroup seams still visible across the cheek and brow, hair bound at the nape Closed exterior shutters of Bosch's Garden of Earthly Delights: the third day of Creation painted in green-grey grisaille, the new earth inside a transparent sphere Sketchbook 39, digital painting: a boy in a blue sweater in profile, pale face under a mop of brown hair, his shadow doubled on the tan wall The MinoRinth play space in the studio: a spiral labyrinth taped in white on a wooden floor, an HTC Vive headset resting at its lit center, controllers at the edges Four loose cards from sketchbook 47: a candlestick still life, the Farnese Hercules from behind, an ecstatic upturned face with raised arm, and a light gestural nude stepping forward Spiral notebook page dated 10/1/87 written entirely in an invented cipher of hearts, triangles, and squiggles, one line ending in a burst of exclamation marks Sketchbook 4, 'Diagram of the War': a page-spanning blue ink flowchart of spirals and rivers of self-argument — 'nothing exists until we perceive it', 'be careful what you wish for' Black-and-white still of highway signs — Holman Correctional Facility 2, Fountain Correctional Facility 3 — a helicopter overhead, and a torrent of red lyric text running below Marqueste's Perseus Slaying Medusa in marble, seen from below: the hero's arm grips the screaming gorgon by her snake-tangled hair Two Blender views of grandmother's house: the dark cutaway interior with staircase and lamp gizmos, and the whole cottage on shocking magenta terrain Sketchbook 44 spread: Mary Flanagan's IndieCade keynote — her full-length portrait beside her list from Jacquard to Gygax — facing notes from Richard Lemarchand's USC class with studies of clasped hands and a wire tangle Peter Verhelst theatre tableau: performers sprawled sleeping in a heap among foam animal sculptures — deer, swans, pelicans — in fringed costumes Villa medici and the Black congress — She came to Viale della Trinità dei Monti at the hour when the stone begins to hold the day's heat like a secret. French poster for Wong Kar Wai's 2046: an embrace in black over neon Hong Kong signage, the title in gold Dense journal spread: an inked self-portrait beside a collaged red planet, columns of handwriting, and a blue profile facing a ghostly face — 'READ IT AND COMMIT ME' Cover of sketchbook 4: black leather-look book collaged with a blurred self-portrait photo in a fractal frame, lettered in green — 'Pseudo Quasi Real' and 'chaos is my life' Sketchbook 48 spread: ballpoint portrait of a bald speaker and a colored-pencil portrait in mint-green shirt, with notes on the aesthetics of play coming from action, not objects — 'don't let a day go by' The studio worktable in 2017: a bronze head resting in a stone dish, a white David figurine, dark wax figures, a porcelain Venus on a box, and a teacup of tools Inside the MinoRinth maze: dark castle-like towers with chimneys loom over the walls under a curdled white-and-sepia sky Child's pencil note on torn pink paper with a two-dollar bill pinned under it: here is a bracelet made by my mother and a two dollar bill my dad left — spend it wisely, Chad Metope's Model Stamp window: an orbitable preview of the shape being pressed, source buttons for six primitives, model import and image-to-relief, the baked depth map, and the Detail slider.

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