gallery

1479 pieces, shuffled — reshuffle

Sketchbook 32 dark side spread: pencil sketches of family on couches — a woman reclining with cats curled below, a young woman seated, studies of faces Sketchbook 44 spread labeled 'Murillo': blue and graphite studies of standing nudes and women with 1960s bouffant hair, one gaunt figure gazing down at right — noted 'Battle of the Frigids, Slovenia' Lain's bedroom from Serial Experiments Lain: a girl hunched at a glowing monitor amid stacked computers and coolant cables, stuffed animals lined along the window Studio corkboard packed with sculpture clippings: bronze foundry photos, Johan Creten and Dirk De Keyzer pages, insects, casts, a blue clay head, 'IT WAS LIKE SO BUT WASN'T' Dark digital drawing: a doll-like face buried in a storm of scribbled black hair over mottled green and magenta Morning's desktop, windows fanned out: a 'How to Draw the Voronoi Diagram' blog post, tumblr fashion images, palm fronds, a rose-garden double exposure, a bun of locs Raphael's black-chalk study of an upturned female head beside a pencil sketchbook page of an older man in a tank top with studies of mouths and noses Sketchbook 32 spread: Washington Square Park fountain in white and brown gouache, black silhouettes circling through hot pink swirls — 'a beautiful day after meeting with Wayne + Ashley, 2006' QuickTime window playing Parajanov's Shadows of Our Forgotten Ancestors (winter birches) over an engraved anatomical plate of dissected legs Sketchbook 32 dark side spread: Acropolis columns dripping in dark red ink, a Greek alphabet chart taped above a pencil island — 'first meeting with the Mediterranean sea, 2006' Textured 3d prop: a red-handled knife stuck upright in a green-topped tree stump Sketchbook 44 spread from a private model session: pencil crouching nudes at left; at right three heads on a grey gouache ground — a pink-cheeked profile facing a bald man, a shaved nape beyond Black-and-white diagram of the lost circular pavement labyrinth of Santa Maria in Trastevere: eleven concentric mosaic rings around a dark center Vija Celmins night sky: white stars of varying sizes scattered dense across a black field Till We Have Faces, pages 294 and 295: the dream of the golden rams that trample Orual in their joy, and the other woman gleaning bright wool from the thorns Sketchbook 42, page 88: ballpoint domestic still life — a stereo tower and tissue box on a table, a game controller resting on a bed, snacks and a glass on a striped cloth Sketchbook spread in red and blue ballpoint: a couple with a baby on a patterned couch, and opposite, a figure seen from behind in a white slip Sketchbook 46: soft pencil drawing of a crowned Madonna statue with hands pressed in prayer, ringed by a halo of roses MinoRinth canopy: the scanned tree bends into a dome of stippled black-and-sepia foliage over the copper chimneys of the maze towers Sketchbook 49 spread: graphite study of a mannerist pose with arm raised, and a sanguine drawing of two intertwined nudes dated 30 Dec 2013, 17:45, at the Louvre SPOLIA-Shelf Sketchbook 47 Vienna spread: blue-pencil study after Correggio's 'Jupiter and Io', museum sketchers at easels, Klimt ornament motifs, and notes on the Secession's Beethoven Frieze and the Leopold Museum Three murky frames from Silent Hill 4: a grainy monochrome ceiling, a huge fist against a lit corridor, and a row of apartment windows over a courtyard Cover of sketchbook 45: a small oil painting glued to the black cloth board — two extracted molar teeth painted thickly in ivory against a deep teal ground Yayoi Kusama's Fireflies on the Water: an infinity mirror room strung with countless golden points of light trailing into black water Theatrical scene lit against black: a bald monk figure peers over a carved stone chest across a floor of purple tangles toward a shoji screen with a shadowed silhouette A three-dimensional digital sculpture of a standing female figure rendered in pale gray and white, viewed from behind with arms crossed, a long staff or pole extending vertically through the composition from head to toe. The figure wears flowing, draped clothing with horizontal scan lines and pixelated artifacts visible across the surface, suggesting a 3D model or point cloud visualization. Etching, fourth state: a seated nude Magdalene with a skull's face resting her chin on one hand, winged figures swooping toward her over a dark inky floor Sketchbook 5 fold-out scroll: collage of a torso photograph, a surgical-instruments catalog page, an Elric of Melniboné 'Stormbringer' text, film strip, comic panel and handwritten x-ray notes with red measurements Auriea seated with an orange classical guitar, dreadlocks falling over a green tee, right hand spread across the strings The Path's red room: girl in striped top standing on a dark table in a blood-red interior, black silhouette figures around the walls 3d modeling tutorial on limb deformation: three wireframe cylinders comparing edge-loop layouts that keep elbows and knees from collapsing An enormous pale pink peony bloom overwhelming its blue vase on a red table, an orchid pot beside it White brushed hand-lettering on black reading MEDUSA@entropy8.com, painted like chalk strokes 3D render of a purple cyclops figure: a fleshy one-eyed male torso with truncated arms standing on a green-and-blue striped angular pedestal Album cover of Puccini's Turandot with Maria Callas in a jeweled headdress; Schwarzkopf, Fernandi, and the La Scala forces under Tullio Serafin 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 Dozens of telephone lines crossing a pale evening sky, small birds strung along the farthest wire by a streetlamp 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.' Till We Have Faces, pages 182 and 183: the god's unmoved voice sends Psyche into exile — you also shall be Psyche — as Orual hears distant weeping Back cover of sketchbook 16A: a Daniel Clowes 'PARANOID' comic page varnished in amber, its edges dissolving into dark red drips Cover of sketchbook 9: pink-washed board stamped 'ENCLOSED' in red, scratched with a circled monogram and penciled 'retro-sketch #IX Auriea L. Harvey — PROFOUND IDEAS' Cover of the Ōkami art book: gold wolf linework over a large red sun on black, with Japanese title columns and a red seal reading kizuna Cover of sketchbook 23A: plain deep magenta cloth, worn and water-stained, no title Silent Hill 2 twice: Maria lying dead on the green diner floor, and James reading 'There was a HOLE here. It's gone now.' on a newspapered wall Example #22 installation view at Kassel: two glass vitrines of small sculptures against a cloud-painted blue and orange wall, heads glowing inside the upper case A red 3d-printed extension worn over the middle finger of a brown hand with gold-painted nails and a gold ring; laptop keyboard and grey cat beyond 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 Mirrored webcam self-portrait: face doubled down the center line, drinking from a glass, dreadlocks framing both halves Sketchbook 46 spread: notes on Viktor Shklovsky's 'Making Strange' and estrangement in art, a small self-portrait with twisted locs, and a nude holding dark lilies drawn in pencil and sanguine

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