gallery

1479 pieces, shuffled — reshuffle

Two Belgian ballots, 7 June 2009: the mint-green European Parliament sheet and the Flemish Parliament list, red dots marked under GROEN! A dense strip of engraved sheet music in 12/8, marked 'mhm' at the start, black notes crowding the staff Atari Tempest title screen: the word TEMPEST in glitching red-and-blue vector strokes above the 1980 Atari copyright AP photograph of the yeti crab Kiwa hirsuta: a white deep-sea crab, its long arms shaggy with pale silky bristles 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 Listening party — On Viale della Trinità dei Monti at dusk, she gathered the palazzo's held warmth—travertine walls yielding their pale grayish browns, the yellowish grays of weathered stone like old parchment. Sketchbook 38 spread: charcoal sketches of the blackened statues on Charles Bridge, birds swarming around a saint's head Reading Ovid at 03:16 — iPad page of the Metamorphoses with Medea's lines underlined in red: 'It's useless to fight, Medea… This, or something akin to it surely, is what they call love.' Palma il Giovane's Jael and Sisera: bare-shouldered Jael kneels with hammer raised, driving the tent peg into the sleeping general's head Subtitled frame from Serial Experiments Lain: Lain holds up a small chip between herself and her mirrored double — 'If I install this chip...' Raphael's self-portrait from the Uffizi: the young painter in black cap and robe glancing over his shoulder, in a gold frame inlaid with knotwork panels Roma sketchbook: the Colosseum's arched wall brushed in ink with red scaffolding crosshatch, tourists reduced to black strokes — 'Colleseo' Netscape screenshot of LOVE by Group Z, Belgium — early net art by Michaël Samyn: the word LOVE spelled in daisies inside gold and floral frames, hosted in Rhizome's anthology Sketchbook 40, Schloss notes: a red ribbon whipping between inked topiary and hedges, sketches of chandeliers and a fountain in a room, notes on hidden servant doors Max von Sydow as Ming the Merciless in Flash Gordon, gloating in a red high-collared uniform beside a white rocket in a rivet-walled corridor Four Saint John test prints against orange: a white resin figure, black demon legs on a rod above a tiny reclining body, a small black figurine, and a bronze-patina cast Side by side: the 1796 silhouette of Flora, an enslaved American woman, on Instagram — and a white 3D-scanned head in profile, echoing her Cover of sketchbook 16B: raw grey board with a pasted three-panel comic strip — a woman's face, a burst of static, dark tentacles — captioned '...my wound healed, and I continued my journey' Unity editor: camera and sound gizmos hovering over a ground plane textured with a black-and-white cloud sky John Berger in a patterned shirt against a flat blue ground, a still from Ways of Seeing, BBC 1972 Sketchbook 41 opening spread on grey paper: attempts at painting the moon in gouache — 'clouds hiding her face' — waves in white ink, and a figure in a red-pink cloak on a dark thorned hill Digital painting study in umber and bone: a downturned face after an old master, brushstrokes loose, a brush-tool icon floating top left Sliver of a 3d viewport, three heads at the bottom edge, filename shouting: thatswhatyougetwhenyoumisusewhatiinventyourempirefallsandyouloseeverycent.png 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 Design sheet of fifteen gravestone sketches on black with red annotations — 'taller + on angles', 'SHE CRIES', 'ERODE BREAK' — planning The Graveyard's tombs Sketchbook 42, page 66: watercolor and pencil of a sleeper's face resting on a yellow-washed arm, the head faint graphite, the raised forearm a wedge of gold Close on the trunk legs: bark fissures sized to each limb's girth, and a lopped branch stub with its collar — the scar every Roman marble trunk carries. Sketchbook 45 spread: graphite portraits of dying flowers — a drooping daisy over collapsed petals at left, a closed rose bending on its stem beside a tulip at right 3d prop: an open wooden treasure chest with a faceted diamond on its red lining METOPE paint and glaze figure Finding the eye: three photos of one prosthetic blue-gray eye rolling about an open palm, white-tipped nails, gold ring Snapshot portrait of game designer Fumito Ueda, dark hair falling across his face, against sunlit foliage Tall blurry photo: a bundled figure standing tiny at the foot of an enormous carved wooden church door Cy Twombly's Poems to the Sea, 1959: twenty-four white panels of scribbled pencil, oil, and wax crayon evoking horizon lines, numbers, and sea-script Two Blender views of grandmother's house: the dark cutaway interior with staircase and lamp gizmos, and the whole cottage on shocking magenta terrain Comic panel: a goggled surgeon in green scrubs brandishes instruments before a blood-spattered map of America, ranting that laser surgery is what the country needs The Endless Forest deer with a glowing white skull face and huge branching red antlers like coral fins, standing in fog Metope's Canvas tablet: the canvas shape modes (rectangle, circle, polygon), the block width, height and depth fields with the resize anchor, the block material dropdown with its reroll die, and the new-slab button. Small Mac notification bar: 'You hear the sound of Crows (7).' — NetHack speaks A finished dessert plate: strawberry-red smears, one strawberry crown left, spoon and fork crossed Sketchbook 46 spread: two graphite dancers pressed back to front, one gripping the other's hip, beside a black gouache figure with a raised brush-stroke arm 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 Close crop of a portrait study after a 19th-century painting: a black woman with hoop earring and white headwrap, unfinished edges Mac desktop tiled with video-chat screenshots — a classroom of students on the far end, the two callers picture-in-picture in each window The Graveyard-era prototype: two white vases in an endless field of red poppies, above dark text panels of overlapping muttered dialogue Uscio Dentist office view — The waiting room holds its pale blue certainty—sky caught behind glass, the colour of a summer afternoon in the north, bleached by fluorescent light into something patient and still. RCA Victor Opera Series cover for Bizet's Carmen: Leontyne Price in large hoop earrings against red, with Franco Corelli, Karajan and the Vienna Philharmonic billed 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 Sketchbook 30 spread labeled 'Hecuba blinds Polymnestor': ink and wash studies of gravestones and crosses, numbered like a catalogue of monuments

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