gallery

1479 pieces, shuffled — reshuffle

Blurred black-and-white mirror self-portrait: standing in a bare room with a camera at the chest, a lit sconce and door behind Sketchbook 42 spread: notes for a talk on designing from emotional experiences — The Graveyard, The Path, The Endless Forest — beside a gouache castle tower with flags and pencil portraits, with 'we draw on the dead body of the world' in red ink Sketchbook 41 café spread: ballpoint sketches of a coffee cup, kettle, and a long-haired bearded man, with conference notes on Silent Hill 3, spatiality, the uncanny, and games as creative writing tools Zoe Leonard's typewritten text I want a president, 1992, beginning "I want a dyke for president" and ending on presidents who are always clowns, liars, thieves ZBrush fragment for the Magdalene: a single bent arm rising from the elbow, its hand gripping a skull whose jaw dissolves into the fingers Contact sheet of eleven webcam video stills, timestamped: a man and a woman on a green sofa in take after take — interview recording Triptych of skull self-portraits: cheek pressed to the plastic skull; regarding it at arm's length; holding it up as a second face over her own James Jean's painting Sink: a robed minotaur pours a thread of water from a teapot toward a pale bald girl curled in a tub among dark leaves Protective styles: hands parting and braiding a seated girl's hair, her eyes patient and downcast, a mug and dark shelf behind Atta Kim's long-exposure Making Love: two bodies dissolved into a single yellow-green cloud of light on darkness Design sheet of fifteen gravestone sketches on black with red annotations — 'taller + on angles', 'SHE CRIES', 'ERODE BREAK' — planning The Graveyard's tombs A tall vessel in Spolia with the overhang heatmap on and no supports: red bands mark the rim lip and the underside of the base ring, the surfaces that lean past 45 degrees from vertical. Dark render of a girl in a red dress facing forward, hair merging into blackness, her face and body a cracked mosaic wireframe — early Path work Sketchbook 38 fold-out: a quince studied twice — in soft graphite lying on its side, and in saturated watercolor hanging yellow against green Two mirror photos rotated sideways: trying on a green-blue-white abstract print dress with heels, in a sunny wooden-floored room Grid of nine Tale of Tales game stills: The Path, The Endless Forest, The Graveyard, Fatale, Vanitas, Bientôt l'été, Luxuria Superbia, and Sunset A thin strip of printed text reading The labours I endured were Bruce Nauman's 1967 neon spiral: 'The true artist helps the world by revealing mystic truths' in blue script wound inside a red-pink coil on a dark wall Sketchbook 47 spread on the 'Rubens in Europe' exhibition: écorché studies, notes on Van Dyck's Charles I and Rubens's Leda and the Swan copy after Michelangelo — 'bursting out of this rectangle, but so still' Sketchbook 40: notes from the Theories of Beauty symposium in Leuven under a blue KASK Cinema flyer, with a pencil drawing of a woman reading beside an hourglass Unity editor: camera and sound gizmos hovering over a ground plane textured with a black-and-white cloud sky Cover of sketchbook 2: rows of white profile heads drawn on black leather, a few picked out in blue, pink and green, with a chaos star — 'Auriea Harvey's Sketchbook II' 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 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 page in faint pencil: a domed high church on a cliff above the sea, with ruled text beginning 'The high church of Oorcon looms massively...' Cover of sketchbook 18: a silhouetted photo-booth portrait taped under wrinkled white tissue streaked with rusty red drips Sketchbook pencil studies: a woman's downcast face, a dark heavily-shaded bearded man grimacing, and a faint construction-lines head Corner of a Mac desktop: film thumbnails and a '1001 More in Finder' badge over a photo of a sleeping woman curled on patterned sheets Hazy sunset over Ghent rooftops seen from the Pollepelstraat window: two pale suns — one real, one reflected — hang over silhouetted buildings and a crane Inside cover of sketchbook 20, winter 1993: an inked self-portrait on sky blue under the printed word 'EINLEITUNG', golden grasses collaged over the chest Untextured brown 3d man in a hooded jacket standing at rest in the Blender viewport — 144 character work Four photos of black garments: a wrap top worn with long locs, a dancing blur, a sleeper under a black coat, and two coats laid out on a patterned bed Cover of sketchbook 6 (1996): crumpled white spiral notebook inked 'Auriea Part 6' over a taped clipping reading 'sex, life, and the cosmos…', dated 8 May–20 Aug A solid red square Screenshot of the classic Mac OS X Colors picker panel showing a web-safe palette grid, with hex value #0099ff entered and a bright blue swatch above A finished dessert plate: strawberry-red smears, one strawberry crown left, spoon and fork crossed Sketchbook 41, page 43: charcoal seascape — two dark headlands flanking open water, a small buoy mid-channel, gulls scratched into a pale sky Guggenheim Foundation rejection letter, March 9 2007: 'I am sorry to inform you that your application for a Guggenheim Fellowship was not successful' 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. Sketchbook 46 spread: orchid buds barely open, purple and green against a brown wash — 'things that are not, that cannot, but must be' — beside a chalk study of a weathered column and rooftop Roman studio in morning sun (photo on its side): gilt rococo mirror on a bare wall, pine shelving with white sculptures and skull, an open notebook of red-chalk drawing Ingres's Odalisque in Grisaille: the Grande Odalisque reclining nude among grey silks, painted entirely in tones of grey, looking back over her shoulder The print studio bench against pink walls: a crowd of small sculptures — printed heads in a dozen materials, black falling figures, gold twins, glass jars — with an iPad, a pencil study, and a sticky note pricing it all at ONE MILLION EURO New Year's Eve tray on a yellow table: a bowl of chips, cheeses, clementines, cookies, and a hand pouring the sparkling wine Sketchbook 49 spread on Michaël Borremans at BOZAR: thumbnail sketches of 'The Avoider', 'The Garment', 'The Angel' and 'The Devil's Dress' with notes, facing ballpoint figures from 'The Storm' 35mm projection loop The Bauhaus curriculum wheel: VORLEHRE around the rim, rings of Stein Holz Metall Ton Glas Farbe Gewebe, and BAU at the core The grown support forest in trunk style, oak: barked struts holding the vessel's rim like a pergola, gnarled legs flaring into the plate below. Notebook page headed 7 kings, 7 hills, Feb 20 2011: numbered lists of Rome's seven hills and seven kings from Romulus to Tarquinius Superbus, with a sketched map Peter Verhelst theatre tableau: performers sprawled sleeping in a heap among foam animal sculptures — deer, swans, pelicans — in fringed costumes Cover of sketchbook 41: grey-blue board stenciled with curling vines, a moth sealed under a round window, a blue tape stripe and a Belgian lion patch

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