|drawing on the block|
|I tested out adding white ink on top [hmmmmm - still trying to decide if I like this for this piece...]|
|each limb is its own block|
|I went ahead and carved the hands even though|
they'll be covered up on this one
(it seemed weird to stop at the wrist)
|I may carve a new heart. [hmmmmmm]. This is one I happened to have on hand. (I think I have reached the point where I have a "heart archive" (-at least 4 that I can think of off the top of my head -) - weird - yes; useful in this particular scenario - also yes ;) ).|
|I think the feet/boots are so funny -maybe my favorite part|
(though it's hard to compete with wings....)
|with my foot in the corner for scale.(and a carving tool - making changes right up til the end)|
The book on top is Holbein's Danse Macabre, a favorite. Interestingly, the anatomy of Holbein's skeletons isn't that specific/accurate, but they're extremely expressive (and I find them darkly funny - apparently, Holbein's Death has a thing for nice accessories - s/he's often seen messing with or 'borrowing' hats, jewelry, a crosier, etc. from his victims )
Holbein may also have been on my mind as I "finished" the hands (at least, I thought they were finished when I took the picture; now, I think the one on the left needs just one more round - doh!
Durer, Da Vinci and Goltzius, get lots of love for their drawings of hands, and I think Holbein would also be on the "incredible drawings of hands" list.
The precision with which Holbein draws hands makes me think that his skeletons are pared down on purpose - maybe to keep the focus on their actions and not be too clinical (the horror is what they do and the careless brutality with which they do it, rather than what they look like? - Hmmmmmm).
Over the weekend, I saw lots of art out and about around town. I feel like I can't do all of it justice (it's still sinking in), but among my favorites - grayscale paintings by Chris Freeman in the exhibition Earth, Sky, Dream at Carrie Haddad Gallery.
I took pictures of the paintings by standing in one spot and zooming the camera lens to try to capture a sense of how it feels to look at these - it's like the painting is working at different focal lengths at the same time - seen from a distance, whole thing seen closer, then in sections seen closer, and closer...
|Chris Freeman, Twins, 2014/15|
|detail, Chris Freeman, Twins, 2014/15|
|A conjoined twin flower!|