Great painterly effect on this one...I like the diffuse, distorted background; there's almost a sense of Francis Bacon in the rough, aggressive strokes. That kind of crude, unfinished quality, that intentional "primitiveness," connotes a slightly chaotic, frenetic energy. Slightly unbalancing, disconcerting, like much of your stuff. I'd like to see you do more with paint!

This may be an odd comment, but the ominous, "looming" quality of the figure and its placement against a doorframe, in addition to that unsettling chaotic atmosphere, reminds me of some of the creepier scenes from the "Communion" movie when the Strieber character is first being abducted by aliens. That nightmarish intensity of something totally alien intruding on mundane life...Great stuff!

I wrote the new journal after reading all the comments, this included... The crudeness and primitiveness, combined with compelxity of form and texture, are what I'm going to focus on now... I've even made myself a phrase to summarize the approach...
Never draw a thing the same, not even twice. Sculpture is where accuracy gets preserved, canvas is where accuracy gets forged

Whitley Strieber? Heh, he did a transformational story I hesitate to use in my MA due to some lush and taboo sex scenes It's 'The Wild'.

I took a brief look at the movie on Youtube... got to get it, see the whole... It's this scene? [link]

I've got at least a thousand ideas what to do with paint... I used to hate gouaches, but then I realized how I can pull out those 'dry brush pull' textures... hard to do with oils. And then I sprayed the thing with pastel fixative, all the whites went glossy, and blacks went dark matte, and I was like WOW.
I am surely going to do more gouaches like this... I've got a big thing in mind ATM, A1 or above on woodboard...

Amongst other things... The only thing between me and an airbrush right now is a pressure reducer...

Thanks for the comment and general support I'll drop by your gallery for a small revenge once time allows...

ahhh, 4-armed goodness. I need to pay attention to what you do with your backgrounds more ... I also really am enjoying the subtle shadows uniting the arms and torso.

re: Communion--yeah, it's a great movie! I mean, not "great," but it's got a lot of weird and disturbing imagery and ideas in it. TOTALLY different than the book, though.

That scene I was thinking of was actually this one here:
[link]
--But it didn't seem nearly as cool when I re-watched it! I think the scene you referenced is actually far stranger and more disturbing.

Glad to hear you're back on track!

Eh... all this is so unpurposeful. Everything is by feel.

Except for the mass and anatomy of the critter.
Such torso construction is my recurrent motif.

Wahahaha, you have no idea how enthused I am to hear you describe it as 'by feel' ... I'm constantly trying to learn how people break down drawing. The internal sensation of directional feeling in drawing and concept is something I'm really interested in ... I think people take for granted that drawing is as much of both a tactile and emotional feeling-based projection as a visual one.

Since I've been thinking about my mental processes and drawing as wholem I'll elaborate... this stuff is pretty freshly realised (I realised this recently), and from now on I'll be doing it intentionally...

I rarely do things purposefully... I sort of 'do the best thing I think there is to be done'. I never have a complete version of the painting or the drawing in my head... I do not attempt to reach an aim. I just... dab at it. Dab away. Dabaway. Mister Dabaway.

See... I've formulated the ultimate and most general aim I have... which is

Get better at being intuitive.

Because every time I try to learn technique and look 'ro' I end up doing 7 year old's job...
and the more careless and mind-to-paper doodle-at-school I get, the better and more unusual the results are. I just can't get myself a technical direction... every time I go like "and what if i did THIS"... and dab away

And try to find limits. 'Why can't i draw the face line like THIS? okay... why does it look wrong? I've seen people with chins like this... so... how about THIS?' and so on.

Mr. Dabaway ... that could be taken to so many levels

Hmm, i've been having trouble going at it organically like that ... once I learned to see the images im ny head, it seems like only crap comes out if I try to jump ahead of schedule and draw something I can't see in my head first. This is why it's taking me a month to finish 5 comic pages. I need to watch a video of you drawing, or something

[link]

mmm, perfect.

I sketch a lot. Tens of tens of sketches, trying to capture the same thing over and over again. really fast things... sometimes they grow exponentially, when i catch the mood. Sometimes I print them out and experiment on them... but that rarely happens recently. And i keep them vague. Try to get mass balanced... or distorted if I see I'm following a motif. Do something contrary.
Sometimes i don't even know what I'm going to draw... most architectural pieces start like that. i make a line. And another. And another.

I feel that, at least in my case, the fear of white paper is a sociopsychological thing... the fear of wasting a piece of paper, the fear of not succeeding... the inability to become one, the mental and physical, to restrain yourself... like, this fear some people get when they're watched while drawing. It's present, even when you're alone to some degree...

Hmm, i don't know how to say that. Being intimidated at drawing three lines and calling it finished. Some sort of obligation of fulfillment as an artist...

I know they're there, the rules... it's jsut that i tell them to fuck off, cause I'm drawing now, and it's a personal thing. intimate. Complete freedom. You want to draw recurrent motifs? go ahead. you want to draw things that would make Freud sweat? go ahead. Absolute freedom.