Rib Removal

Sunken Ribs watercolor and graphite on bristol 19"x24" 2010

googled image included in upper right corner

Dreams of Perkinss

Long Term Upper Fullness graphite and watercolor on bristol 2010

You can do this at home by printing a picture of your breast, cutting out the breast, then turning them upside down, and reattaching them to your chest. It's easier than reversing gravity.

It's a Bra

Self-Medicated Relief graphite and watercolor on bristol 2010

Natural

Natural graphite and watercolor on bristol 19"x24"

Flirt

Flesh...more, or less

The Cinching, graphite and watercolor on paper 18"x24"

artWORK

Something a lot of people don't realize is the amount of work it takes to make artwork. Galleries, museums, and especially entertainment give viewers the impression that art seems to magically appear on the canvas, paper, or clay, like some materialized drug induced vision. Ideas may come about this way, but that would lead me to discuss conceptual art, which is an entirely different story. My point is, it takes a lot of work to get from the idea, to the product and that's were the work comes in. Writers have to go through multiple drafts before submitting a version worthy of publication. Artists must do the same through research, sketches, studies, and failed attempts of full-size models. The amount of time, consumed by mental and physical exertion, is usually reflected in the price of the art, along with payment for name recognition, but what I'm focusing on is the work related to the art being viewed, not past achievements. Perhaps viewers would get a better understanding of the value of art if elements  of the practice were included in the exhibit. This may destroy the illusion that art comes from divine inspiration, thus making the artist as mortal as everyone else, but to be blunt, they are. If you shoot an artist in the head, it will die. The major differences between artists and patrons lies in the artist's ability to look at ordinary things with an attentive eye, rather than gloss over the daily obstacles, interpreted as annoyances by the masses.  Here are a few examples of watercolor studies made to better understand the zombie interpretation of St. Sebastian. Enjoy the vision. 

RKO, Skin & Bones sampler

He's Alive, source Caravaggio

Valezquez Cramps

Skinbar Study, source Waterhouse

Sexy Beast, source, too many to name.

For those who couldn't make it to the opening, I've posted a few watercolor pieces from the retrospective, along with some let out of the show. All of these were made around the same time period when I focused my studio practice on painting the master's works as the undead, or monsters. They materials used included cold press paper, watercolors, and the uniball micro pen. I'll post more, such as the studies for St. Sebastian in the next few days.