Certain models of the brain show that the human mind most likely has two or more sources from which thoughts are created. For example, some of us study the left and right sides of the brain, or the zones of the brain that perform specific tasks (frontal cortex vs Broca’s area, for example). These aren’t perfect models but they get us closer to understanding how our bodies help us to think.
I think it is very telling and natural that there are many cultural explanations as well for where thoughts come from. A very important one is the light/dark or yin/yang allegory. These speak of a “dark” and a “light” side to all people, to keep it simple, and finding equilibrium within that context is something we all share as people. We just call it by different names.
A lot of what I draw attempts to reconcile different areas of my mind, to accept all aspects of the self. Here the shadowy hand is reaching out to eat from the bowl of another world made up here of cleaner lines. It’s just one example of a work that expresses my desire to explore the mind – another thing shared by all people.
The carpet bird is a new monster I created after remembering that I loved drawing birds as a child and teenager – even though I didn’t like actual birds very much (things are different now!).
Not being a fan of realism, I decided to decorate my abstract bird monster with a pattern that I remember from an old Persian-style rug we used to have. I can forget lots of things about my childhood, especially visual things, but I’ll remember a carpet we used to have when I was tiny.
I guess what I am trying to say is that this drawing is as much about a carpet as it is about a bird.
“The discerning and calculating gaze of another” is made obvious by its title. Need I say more? 🙂
One thing my doctor and I talked about when he was diagnosing me with ADHD was that when I was a kid, I saw faces in everything. I would always find two eyes and a nose, even inside the barely-visible strokes of paint on the wall. What a weird superpower.
Finding the face in things made me feel calm when I was in a stressful situation; something that happens to a kid pretty often. To my doctor, this was something of a sign that my brain was wired a little differently from others.
Today, I draw faces more than I see them. They still comfort me.
Etchings are amazing so I thought I’d let myself be inspired and go from there during this practice. I love the depth you can suggest using simple lines.
I drew this a few weeks ago, based on the idea that music lives in our every cell.
It’s a little cliche, sure. But much of art is based on things we’ve seen over and over again.
One of my favourite artists ever is Vasily Kandinsky, who drew music effortlessly (based on his synesthesia) and I would have him no other way. I adore the obvious movement his music-based works have; the clear emotion of his experience.
Just like any other artist, I tend to draw what’s close to home. So while I did think of Kandinsky, these colours and lines are all mine; a representation of my musical “home.”
I love horror. Gory, funny, dark, demented, all of it really.
This drawing is meant to have undertones of the mystery and paranoia that come wrapped up in the “occult” or “horror” themes. The sinister feeling in your body, the uncertainty of knowing and not knowing, etc. all inspire me often when I doodle or draw.
The eye I doodle constantly makes an appearance as a major character this time. The floating eye and mixed messages coming from it hang authoritatively over the structure below; all existing in a cold white space. I used the structure and environment of a farm because it was a wholesome setting where our sustenance grows.
To me, no place is safe. I have to deal with that reality. Basically, I wanted to show somewhere vulnerable.
These doodles come from using a multi-color ink pens like this one (except mine was bought at an O’Hare airport store years ago).
Red and orange turned out to be great conveyors of my typical themes/inspirations; I chose them because i) I wanted 2 inks to switch between for the challenge factor and ii) I was interested in light/dark contrast.
This unplanned doodle started with a big X in the middle of the page.
When I like the outcome of a drawing exercise, it’s special for me. It gives me hope that the determination to get something done can produce something to be proud of. That is something I’m happy to depend on. Relying on “Eureka!” bursts of genius leaves you hungry the majority of the time, believe me.
Personally, my spirituality has blossomed out of what most societies call “feminine” ideals. The binary hasn’t impressed me since I was little and called tomboy, which didn’t bother me but nonetheless was based on silliness. However, sometimes the language of masculine and feminine is useful, and for the time being it’s what we have as a society.
When it comes to art, I tend to create things that some may view as “sexless” – sexuality and gender expression are not a huge part of what ends up being expressed. Since I do things so intuitively, I just let those aspects of my identity show themselves as needed. It just so happens that it is rare. *shrug*
I decided to draw in pencil again the other day, and when I looked at it I could immediately see the “feminine” aspects of what I had drawn. I wasn’t surprised, or upset, but instead viewed it as merely interesting.
I’m content with that.