I love drawing on cards and other scraps of paper. Here are 4 new ones that I quite like. They are all available in my shop.
Card Drawings
art for sale, ink, ink drawing, Stippling, webstore, Works for Saleeyes
Lander 1
Cross Hatching, Details, Drawings, ink, Natural History, Stippling, Works for Sale
The inspiration for Lander 1—and yes, expect a Lander 2 and 3—came from watching the Perseverance rover descend on Mars in February. I started thinking about humans being sole explorers/ representatives from earth. This piece imagines a true lander, with organic rather than mechanical senses, a spirit of earth lander, if you will.
I wish there was some way to better embed the music I was listening to when I was working on this piece, Coil’s Time Machines and Soliloquy for Lilith by Nurse with a Wound. These seem like the perfect soundtracks to meditate on the idea of vast unknown spaces.
Richard.
Three Windows – The Building
Cross Hatching, ink, Process, Technique, Work in ProgressThis progress shot represents several hours of cross hatching using very fine brushes with diluted ink. It looks a little stark without the framing background elements but so far so good. My main goal for this building was to capture the weathered, patchy elements. I always forget how grotesquely time consuming this technique is, but it it’s also very meditative. So there’s that.
This piece is about vision. The building represents the enclosed brain relying on inputs from the optic nerve to create an image (some say, hallucination) of the world outside.
Bird of Ill Omen
Details, Drawings, Mythology, Natural History, Stippling, Works for Sale
Bird of Ill Omen, 2020, ink on 300lb cold press paper, 10 x 14 inches
The Bird of Ill Omen, was finished earlier this year. Even though it’s only the end of March, the time spent on this drawing already seems long past thanks to the dramatic events in response to the Covid-19 pandemic.
The first tentative lines for this piece were drawn many years ago: the creature with the bird wings for arms and a few simple lines to indicate the form of the main figure. It was put away, and I forgot all about it. When I returned to it this year, I started by fleshing out and rendering the figures. Only when that was done did I add in the background, and the owl (lending the piece its folkloric title). Compositionally, this piece is a pattern of scalene triangles, and rectangles. The buildings in the distance echo the two main figures. There are strong lines from the elbow of the bird man to the eyeball and the hip of the primary figure. Thematically, it follows my usual preoccupations: artificial life, mutable forms and birds.
The primary figure of the artificial life form is not a scientific construction, but rather magical creature embodying the form of its human creator. It’s simultaneously liberated from stasis by human imagination but fated, maybe doomed, by the limits of the same. Its form follows the human. It’s bias is human. The mutant may represent science gone awry though genetic manipulation – an attempt at developmental peak hopping contrasted with the slower hill climbing of evolution represented by the owl. But I guess if you’ve watch Blade Runner, or more recently Westworld, you know how reliable appearances can be.
- Richard
PS. It wouldn’t be unreasonable to see a homage to the Residents in this piece.
Detail 1
Detail 2
Pale Agent
Drawings, Works for Sale
PALE AGENT, 2016, charcoal on paper, 12″ X 9″
I’m currently working on illustrations for a new book, which this has nothing to do with. Later in October I will be at a local event called Art O’ Con, with some new prints.
For those that might be interested, Pale Agent will be available on my webstore later today.
Richard.
Richard A. Kirk 