Nameless Larvae of the Other Gods

Here is my piece for the In the Depths show to be held at Copro Gallery in August. The show is curated by Cris Velasco and features works themed  around the writing of H. P. Lovecraft.

I always associate the works of Lovecraft with the doldrums of summer. I was barely a teenager when I discovered Lovecraft, thanks to a rich vein – that reeked of the last owner’s cigarette smoke – in a nearby used bookshop. It was a discursion from  Tolkien, Verne and Peake, my other favorites at the time.

It is pointless to pretend that his lush writing did not have an influence on my developing artistic aesthetic. All those strange cities and damp gardens, and of course the monsters, had a way of sticking in the mind and resurfacing at unexpected moments.

Maybe one day someone will hire me to illustrate a Lovecraftian edition, until then, I’ll leave you with the Nameless Larvae of the Other Gods. If you are interested in purchasing this piece from the show, please contact Copro Gallery.

  • Richard.
Lovecraft Larvae_web
Nameless Larvae of the Other Gods, 2016, ink on paper, 14″ x 10″

img_0555

Tin Man’s Dream

Tin_Mans_Dream_final_web
Tin Man’s Dream, 2014-16, ink, 14″ x 10″

I finally finished rendering The Tin Man’s Dream in pointillism. This drawing was started back in 2014 as a line drawing. It sat for a year, during which time I digitally colored the image. At the end of last year I decided to complete it as a pointillism piece. I’m hanging on to the original, but I will be making a print in February, which will be available on my webstore. You can click on the images below to enlarge the images.

Oneiric Natural History

bellman_low_detail1
Detail from Bellman . 2009 . Ink on Paper

One of the joys of the year coming to a close is thinking about what  will come in the next year. This is a time when I make a lot of lists; possible names of new drawings, ideas for images, books I want to read and things to research. Right now I am thinking of a series of drawings that could be a book, or an exhibition or both. Time will tell. It’s going to be called Oneiric Natural History.

  • Richard

2015 Price-List

Nightmares_Diversion_web
Nightmare’s Diversion

I have produced a PDF price-list of selected unframed works created in 2015. These are works that I was compelled to create, not for formal exhibition or specific projects but simply for the sheer joy/ challenge of doing so. If you check my blog or FB page every now and then, some of the images may be familiar to you. If you are interested in seeing the price-list, please contact me: Richard A. Kirk, and I will send it to you. Works are offered on a first come, first served basis. Serious enquiries only please.

  • Richard

Walking Backwards: Idle Hands

idle_hands_web
Idle Hands, 2006, ink on paper

Continuing the Walking Backwards theme for a second day, I give you Idle Hands. This one wasn’t even on my hard-drive. It was hidden away on a recordable DVD. Honestly, I had completely forgotten about it. I’m not sure why. It has a lot of my favorite elements: books, wasp nests, birds, weird characters with ambitious heads.

  • Richard

The Dark Bead Finished

dark_bead_final_web
The Dark Bead
2015
12″ x 8″
ink on 140lb Arches hotpress paper
All images © Richard A. Kirk. Any reuse is strictly prohibited without permission of Richard A. Kirk
dark_bead_final_web_detail_1
Detail 1
dark_bead_final_web_detail_2
Detail 2
dark_bead_final_web_detail_3
Detail 3

The Dark Bead is finally finished!

This image shows the completed drawing, The Dark Bead. You can see details and work in progress images in previous posts. The Dark Bead is an ink pointillism drawing done primarily with a Rotring .13 technical pen, and a Koh I Noor .18 for the outlines. As is typical for pointillism, this drawing took many hours of work. I chose this style for its soft gradations and ability to deliver fine detail.

A theme of impenetrable mystery is at the heart of The Black Bead. The narrative revolves around the nature of the bead and its import to the creatures. The bead represents any kind of mystery and proposes that any mystery can seem magical until it is understood. The drawing also raises questions about the cottage in the distance, the identity of the creatures and the setting. It is deliberately non-committal about the time period, suggesting an otherworld scenario; a liminal place of change.

Up next is a larger piece for a show coming up at Copro Gallery later in the fall. Stay tuned.

  • Richard.