Another digital sketch on the Jesus-in-Wheelchair theme. All the elements here started as 3-D models (i.e. the wheelchair, Christ figure, and the city); many of the neon signs in particular were built by hand using Blender.
This theme flows from previous work – i.e. a series entitled The Convalescence (i.e. a Hellenistic teacher-healer is roaming the world in search of healing from his near-death experience.)
Left: The Trinity with Martyrs. This is an oil painting currently on the easel. The few friends that have seen work-in-progress on this image seem to find it particularly repellent. Given the strength of their objections, I “shelved” it for several weeks . . . only to return to it recently. The appeal (for me) seems to lie in the way it embodies a set of primordial fears and insights (into the nature of time, human morality, etc).
Right: The Cartomancer. A tarot reading takes on nuances of a poker game. Digital sketch for possible oil painting.
Gothic Cityscape with Angel (click the image for detail). This is the digital sketch for an oil painting currently nearing completion. As suggested above, the cityscape is a 3d model; a few of the neon signs are of particular interest since they required hours of “hand building” (with 3-d software such as Hexagon, Blender, etc).
Left: I seem to have gone through a mid-summer obsession with the therianthropic Serpent-in-the-Garden theme. The therianthrope (part human-part animal) appears early in the history of art (in the caves of the Upper Paleolithic) and is typically associated with Shamanism. As a child, the Serpent-in-the-Garden was my first encounter with such creatures. As the story was told to me (based loosely on the opening chapters of Genesis), a woman, walking alone in a Primordial Garden, was enchanted by the poetry of a talking snake. In early Christian depictions of this story, the Serpent has the upper body of a seductive woman. Most of these images have more recently been relegated to my “need further consideration” file.
Right (click for detail): I will admit that I find my “Isenharp” set particularly weird. The screaming Christ on the Harp is inspired by a pilgrimage to Colmar, France, to see the Isenheim Altarpiece by Matthias Grünewald. (The ambivalent nature of the harp also features in the work of Hieronymus Bosch.) The theme is ostensibly “Redemption through Suffering” (the Isenheim Altarpiece was originally intended for a Medieval hospital).
This is a recent view of the studio, with an “Owl and Pussycat” version of the Salvator Mundi on the easel. Other paintings – awaiting final touches and framing – are visible as well.
This is the entrance to the Oneiros Gallery including the list of 12 or so featured paintings. While the gallery itself is virtual (i.e. digital 3-d) the work is real (oil on canvas), framed and sized as shown. Details of the paintings are available in Gallery One (see menu).