gallery

1479 pieces, shuffled — reshuffle

Page from Rodin's conversations on art: asked if art is a kind of religion, he answers that its first commandment is to model well an arm, a torso, or a thigh The Graveyard: the old woman leaning on her cane at a fork in the white path, tombs and dark trees pressing in, black and white AP news graphic 'A broken heart is not just folklore': a grey figure with heart, brain, kidneys and numbered steps explaining stress-hormone cardiomyopathy, after the New England Journal of Medicine A single white dahlia wide open in a green glass vase with sprigs of eucalyptus, on a white table Scanned spread from The Unbearable Lightness of Being, chapters 14 to 16: Tereza embraces a tree like a lost grandfather while the man with the rifle waits Book page of Chris Crawford's definition of interactivity: 'a cyclic process between two or more active agents in which each agent alternately listens, thinks, and speaks' Sketchbook 38 spread: a great cedar in the botanic garden, dark boughs in ink and wash spreading over water, small figures picnicking beneath 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 John Singer Sargent's Ellen Terry as Lady Macbeth: the actress in a green beetle-wing gown raising the gold crown over her own head with both arms Attic wall mid-repair: patches of white filler over old yellow paint above a long white floating shelf, bare wood floor below Roadworks warning sign gif: the digging man in a red triangle — u radu je spas, in work is salvation A Roland TR-606 Drumatix drum machine: silver face with accent and drum knobs above a row of sixteen grey step buttons Back cover of sketchbook 48: green and brown marbled paper over worn boards with dark leather corners and a red cloth spine Cover of sketchbook 7 (1990): white spiral book covered in pink lipstick kisses, inked 'Auriea Sketchbook VII — chaos is my life — Pseudo Quasi Real', 20 Aug–26 Sept Lecture slide from The Endless Forest: sunbeams falling into a clearing where a white stag stands at a small ruin Cover of the earliest sketchbook, mustard yellow and dense with ink doodles: 'RIEA!', 'UTILITY SKETCHBOOK', Japanese characters, spirals, faces, 1989 Green-tinted diptych: Auriea photographing herself in a mirror on a staircase, paired with a framed portrait of Freud hanging beside a curtain Sketchbook 46 spread: loose watercolor peonies in rose and magenta with sap-green leaves, blooming across the gutter of the tan pages Daniel Lefcourt's The Invention of Public Relations: gold-painted nuggets, a slide projector and carousel, rulers, gloves, and archive photos knolled on grey In the studio — On Borgo Angelico at 14:09, she found Deep Red—that inward turning, garnet-dark, the colour of old blood pooling in silk. Journal spread dated 20 Nov 1993: 'not in the same way nicotine addicts are addicted to cigarettes' painted over a murky face, a blue skeleton stamped at right Auriea standing with a sunburst electric guitar in a dark room, one hand on the maple neck, a cigarette between the fingers of the other Two self-portraits of Auriea at 25 with short locs: leaning against a car on a mountain road, and among junipers at the rim of a canyon Mac desktop with a giant dark skull wallpaper, a small photo of a figure at a lectern set into its mouth like a tooth Browser screenshot of a2p.bitmark.com, Artworks I own: an edition grid with works by Warburton, Sougwen Chung, Petra Cortright, LIA, Lieberman, Shu Lea Cheang, Pipkin, and Auriea's Sketch for a Cyclops Grainy photograph of the transit of Venus: an arrow points to the planet's small dark silhouette against the Sun's blurred limb Catalogue text inventorying Louise Bourgeois's 1997 cell Passage Dangereux, room by room: cuffs, mirrors, hanging chairs, glass spheres, a bronze bull Sketchbook 38 spread in pencil: a glass of tea, its bag slumped beside it on a crumpled napkin — 'tea, Ronse(?)' Another view of Proserpina in sepia: the twist of her torso, his hand gripping, her body arching away Sketchbook 49 spread at Chicago's Driehaus Museum: sanguine studies of Tiffany bronze candlesticks and a caryatid ('Renaissance + Japanese motifs combined'), facing graphite silhouettes of cinnabar lacquer and skyline finials Two album-cover squares made from Correggio's Jupiter and Io: 'IO II' in white varsity letters, 'JUPITER' in black over the cloud god Duchamp's To Be Looked at (from the Other Side of the Glass) with One Eye, Close to, for Almost an Hour: a striped pyramid and lens on shattered glass Church marquee for Memorial Baptist Church: 'Ain't no party like a Holy Ghost party, cause a Holy Ghost party don't stop' Blender simulation of a striped exhibition table: a grey torso on a ziggurat plinth, blue and orange cyclops heads, an orange-gloved fragment, and scattered skulls Cover of sketchbook 30: a hanging cluster of pale bell-like flowers painted over turquoise and gold wash Sunny's Lion: a blue-green painting of a snarling shishi guardian lion face, round eyes and bared teeth framed by spiraling curls of mane Example #22 installation: the Minories vitrine on its tall stand behind the flat Magdalene case holding open sketchbooks, tablets and small dark figures Soft black-and-white photograph of a Penguin Classics Ovid, Metamorphoses: Bernini's Apollo and Daphne on the cover, laurel leaves sprouting from her hands The grown supports with the overhang heatmap turned back on: almost no red remains, and the branches themselves show none, meaning the supports do not need supports of their own. Dim webcam photo: a man's face half out of frame beside a window with potted plants on the sill, a pale building across the street and a radiator below Sketchbook 43 spread: pencil lilies in a glass jar — 'Nature is organized. It's like all my life I've been worshipping the wrong goddess' — facing faint studies of hands and feet Teiji Furuhashi's Lovers: life-size nude figures projected walking and running around a dark room, a scaffold tower of projectors at its centre Standing in split-toe tabi boots on a concrete doorstep, grey trousers pushed into the black boots, a number-printed black skirt above The Archive to Come at Telematic gallery: a dark room where a projection of two golden particle faces hovers on blue between bright screens on the walls Cover of sketchbook 17: cream paper with a small dark varnished window of foliage over faint cursive script, red velvet spine at left 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 iPhone tarot app, three cards on green wallpaper: Five of Pentacles, Seven of Pentacles, Nine of Cups Sketchbook 41 spread: pencil and red ballpoint life-drawing studies of crouching and reclining nudes, with a handwritten list of painters — Morot, Shishkin, Carlsen, Mancini, Prud'hon, Vibert, Bonnat, Ribera Sketchbook spread drawn from a hospital bed: flowers in a water glass by the curtain, the IV stand, and the cannulated hand with one line touched in pink The planet Mercury as a thin grey crescent against black space, its cratered limb lit along the right edge

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