gallery

1497 pieces, shuffled — reshuffle

Panorama of the Markt in Delft: herringbone brick square, gabled houses all around, the town hall at center, children and strollers at the statue's plinth Subtitled still from Rome Open City: a woman speaks to a uniformed man in the street — 'Pina, do you think Americans really exist?' The Fountain of Life detail from the Ghent Altarpiece — angels kneeling on starry grass around the slender bronze fountain — framed with a plaque reading 'Auriea 2012', a gift from Hasan Niyazi Sketchbook ballpoint page: a big-haired figure gazing sideways, an ear study, a diagram of arrows around a circle, and a small drawing of a girl in a room Page titled Pi is Irrational: Niven's short proof set in white mathematical type on black, from the defined polynomial to the concluding contradiction Tiny green-on-black terminal: 'Everything is Ok — Bonnie-2:~ Auriea$' Diagram of the Hebrew letter aleph in thick black calligraphy, its strokes numbered 1 through 10 with pointer lines Wall chart of the katakana syllabary in a blocky graphic typeface, black characters in columns with red script down the left edge Velázquez's The Triumph of Bacchus (Los Borrachos): the young wine god crowns a kneeling drinker among grinning peasants, Museo del Prado Sliver of a 3d viewport, three heads at the bottom edge, filename shouting: thatswhatyougetwhenyoumisusewhatiinventyourempirefallsandyouloseeverycent.png Sketchbook 46, 8 March at the Met: graphite and watercolor study of the Crouching Aphrodite marble, wine-red shadows at her hip, a rainbow of paint swatches down the page edge Five penitent Magdalene paintings side by side, including Georges de La Tour's candlelit versions, each with long hair, a skull, and upturned eyes Metope's Face Sets tablet: the paint-regions switch, the list of sets with their colours, stone dropdowns and lock/hide flags, and the region tools — rect, circle, flood fill, smooth edges, fill with material or texture, and extrude set. 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 Scrawled white handwriting on black, from Arkham Asylum: 'I don't know how many times I have to say this: I am sane… There's been a TERRIBLE mistake.' Hospital close-up: a hand taped with gauze, an IV line running red past a gold ring First page of Robert Graves's I, Claudius: Claudius introduces himself and his nicknames — the Idiot, the Stammerer, Clau-Clau-Claudius — under a Greek key ornament Journal spread: a crosshatched ink head with hollow eyes among falling leaves — 'what a horrible way to go, to be crushed...' — opposite a page of pencil writing Sketchbook 44 spread: pale watercolor notation of the Pacific coast — green scrub hills, scattered trees, and an ochre bluff washed over faint pencil beneath Inside back cover of sketchbook 38: a sun-bleached Polaroid self-portrait among bare branches, hair falling over the face, taped beside a German page on 18th-century literature Smooth grey 3d male body in A-pose, faceless, feet on the green ground line Back cover of sketchbook 17: a Kokoschka Kunstschau drama poster, an 'Andre the Giant Has a Posse' sticker, a strip of red velvet and a tiny yellow cat charm on a string Full master copy after Benoist's Portrait of a Negress: seated black woman in white headwrap and drape, one breast bare, ochre ground Annotated guide to the Japanese social network mixi: orange navigation bars broken down row by row into kanji, kana, and English definitions Spolia-Style-Strut-Detail Dutch botany diagram in six panels showing successive growth stages of the prikneus (Lychnis coronaria), pink blooms multiplying frame by frame Spolia-Style-SpiralStrut-Detail Blurred photograph in amber light: a bellydancer in a sequined costume performs on a white runway in an ornate gilded hall Group photograph of the Bauhaus masters in coats and hats on the Dessau roof — Gropius, Kandinsky, Klee, Moholy-Nagy among them Keith Arnatt-style photograph: a dense white cloud of smoke hanging between green trees in a summer forest Logo of the word mirror drawn in thin white rounded strokes on black, the letterforms mirrored so the word reads the same reflected Sitting small in red under a magnolia in full bloom at the pond's edge, drawing among the fallen petals Sketchbook 40, 'Plan V': a hand-drawn watercolor map of the Venice trip — the Grande Canal, Lido, flight numbers, hotel notes, two instant photos taped on, 'we sat here + kissed' Diptych by the wooden door: grinning in a fur-trimmed hooded coat, then hiding — pulling the hood down over her face Family posing under Louise Bourgeois's giant spider Maman: a woman in black, a man, and a small girl in a red coat, grey sky above A Gemini year-ahead horoscope: 'a big change is in the works… everything you've been thinking of changing will be greenlit, light by light, and in time.' Guggenheim Foundation rejection letter, March 9 2007: 'I am sorry to inform you that your application for a Guggenheim Fellowship was not successful' MinoRinth screenshot: a dark glassy figure stands on a yellow wireframe mound, the horned shadow of the Minotaur cast huge on the red wall behind Sketchbook 49 spread of Louvre copies: a crouching satyr and standing nude pulling off her shift, facing a Daumier-like group of heads and a pensive figure resting chin on fist Still from Silent Hill 2: Maria leans close behind the cell bars, subtitle reading See? I'm real. Ink sketchbook page of antlered stag studies — one full body with heavy fur, two roaring heads, loose antler diagrams Unity scene 'Flowerfield': the red-wigged Path girl toppled head-over-heels among sketchy poppies, half the field still untextured grey Cover of the earliest sketchbook, mustard yellow and dense with ink doodles: 'RIEA!', 'UTILITY SKETCHBOOK', Japanese characters, spirals, faces, 1989 Five Mary Magdalenes with ointment jars side by side: a Flemish Renaissance portrait, a Northern engraving, Caravaggio's penitent Magdalene, a tearful nude leaning on a gold jar, and a hooded mourner in a landscape Sketchbook 46 spread titled 'The Audience': overlapping colored-pencil studies of a group of nudes in graphite, brown and wine red — standing, crouching and turning as if watching something Sketchbook 32 spread, Athena 4 Oct 06: the Erechtheion caryatid porch in red ink, a purple caryatid 'cement copy', pencil snakes twisting below — 'growing hair, moving arms, shifting weight' Ornate gallery with The Graveyard(?) on a flatscreen — a blue underwater scene — a woman mugging wildly for the camera while a man gazes up Quote card — Ingres said: 'Drawing is three-fourths and a half of what constitutes painting. If I had to put a sign over the door of my atelier, I would write: School of Drawing... and I'm certain that I would create painters.' Italian grammar cartoon 'La casa di essere': a cutaway house whose rooms illustrate the verbs that take essere — nascere, stare, vivere, salire, cadere, morire and more Back cover of sketchbook 48: green and brown marbled paper over worn boards with dark leather corners and a red cloth spine

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