gallery

1479 pieces, shuffled — reshuffle

The Graveyard-era prototype: two white vases in an endless field of red poppies, above dark text panels of overlapping muttered dialogue Cover of sketchbook 36: red Moleskine with a dark Polaroid of a braided head wrapped in red-veined tissue, a postcard of an ornate clock-tower shrine, and a skull sticker Soft grayscale painting of a white rabbit at rest with ears raised, glazed like porcelain against a white ground Photo-weave collage: a black-and-white portrait cut into small rectangles and rewoven, scattering eyes, lips, and hair across the grid Sketchbook 45 spread: pencil copy of a church sculpture — a bearded God the Father flying with billowing drapery, arm outstretched — beside studies of trousered legs kneeling on a cushion Francesca Woodman's Blueprint for a Temple: a large blue diazotype collage assembling photographed caryatids and Greek-key friezes into a temple facade Blender screens of a pinstripe-suited character (FeyWolf) with white hair and green cuffs, plus a smooth grey female head below 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 Thirty-minute digital portrait study: a scowling face lit blue from one side against dark red, white tank top roughed in Sketchbook 25 spread of watercolors: a faint green figure bleeding through above, and below, a blond man in black standing in a Maine yard by a shed — the only known drawing of Rick 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 Cover of sketchbook 40: plain dark grey woven bookcloth, worn at the corners, no title Sketchbook 45 spread: graphite life studies of a seated male nude torso with crossed legs at left, and a slumped figure with an arm swung out along a dark bolster at right Page 12 of Hiroshima Mon Amour: in the café she tells why she went mad in Nevers — her head shaved in 1944 for loving a German soldier — every mention of Nevers highlighted Subtitled frame from Serial Experiments Lain: Lain holds up a small chip between herself and her mirrored double — 'If I install this chip...' 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 Blender scene for MinoRinth: twelve wooden folding chairs ringing a flat round labyrinth carved with concentric paths Astrodienst natal charts side by side: Auriea, Gemini sun with Aries rising, and Michaël Samyn, Cancer sun with Leo rising Sketchbook 32: pencil studies of heads — a downcast woman at left, and a large anguished bearded face, eyes closed, drawn dark and dense Sketchbook 44 spread: pencil profiles of faces and a hand with a ring, facing a faint mapped reconstruction of Alchemilla Hospital from Silent Hill — elevators, kids' room, kitchen — labeled 'SH1 endgame' FlightView tracker map: flight DL5372 en route from Indianapolis to New York over a weather-radar map of the eastern US 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 George Frampton's Lamia: a polychrome bust with a pale ivory face, eyes downcast, encased in a dark bronze headdress and gown set with opals Botticelli's Map of Hell (c. 1485): the funnel-shaped abyss of Dante's Inferno in tempera on parchment, its terraced rings of the damned narrowing down to Lucifer at the point 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 Labeled cutaway diagram of the Teller-Ulam two-stage thermonuclear design: primary with plutonium pit beside the cylindrical secondary in its radiation case Webcam self-portrait at 18h54: a sheet of handwriting held in the teeth over an open notebook and printed mandala images A house porch on fire at night: flames and smoke pouring over a stairway railing, lens flare purple in the foreground Max/MSP patch for the MaxMBROLA~ speech-synthesis object: message boxes loading a voice and .pho phoneme files wired into pitch, time, and voice inlets above a dac~ Sketchbook 42 spread: inked fantasy landscape — a cypress and tower at left, windswept trees with ribboning branches at right, and two small girls standing beneath them Journal spread painted black: a red anatomical hand with a blue-purple palm reaching down the right page, faint red writing in the margins Vector-flat forest study in two registers: thin black saplings on flat blue above, dense white frost-like branches and pale trunks below The Metope Atelier interface: the glyph spine at the left, the Tools tablet pinned open with all twenty shape tools and the brush controls, the Material tablet at the right, and a relief in progress in the viewport. iPod ebook page from Ted Hughes's Tales from Ovid with highlighted lines: the goddess rose out of the depth and began the old story of how she was loved by a river Path production prints: black-and-white posters of the six sisters hung on a line, and the tall Scarlet poster taped up over the tidy desk Diptych on the Malecón in Havana: the seawall curving toward the smoky skyline, and a brown hand with a gold ring raised against the grey sea Blurred black-and-white frame: pale hands and limbs smeared in motion against darkness Square medium-format photo: a drainpipe kinking down onto a flat tar roof, brick school building and fenced windows behind, morning haze Sketchbook 49 endpapers: ex libris page with a photo of an Egyptian harpist relief at the Met and three blue Met admission tags (Feb 16–18), facing studies after Rubens nudes — Ghent, Paris, Dec 2013–June 2014 Vija Celmins drawing of a spider web: concentric silk rings and radial spokes in white on black KOLLA app icon — two photos pasted overlapping on the cutting mat, the overlap multiplying Second woodblock page of the ʼPhags-pa primer: tall columns of angular square-script letters, each glossed with small Chinese characters Sketchbook 44 spread from the Imagining the Future symposium, Neuchâtel, 10 July 2012: ballpoint portraits of speakers with a microphone, and a watercolor of the Alps over the lake with a sailboat 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 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' Double page from Hokusai's Manga: sketched vignettes of kneeling figures — a startled couple, a shamisen player, a monk, and a gossiping pair — with brush captions Table of the Celtic tree calendar: thirteen months from Birch to Elder or Myrtle, the tree of death, with thorn, heath, poplar, and fir for the seasons Night desk: an iBook showing a dark forest painting, in front of a big monitor with Blender open on a textured cube — Endless Forest work in progress Textbook skeleton standing in anatomical position, palms forward, on a teal ground Two dim screenshots from the horror shooter F.E.A.R.: a red corridor with clotted dark ceiling, a small figure at its end and bare footprints down the tiles

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