This piece was created by contemplating two forms simultaneously : the darker shape and the lighter shape. I think of this piece as amoebas, however the inspiration that guided these shapes had more to do with Charlotte Perriand tables or Gunnar Nylund vases.
Original art piece from my Totems series. Shown in my first art exhibition in Chicago (April 1st, 2022).
Hand drawn, sepia ink on deckled paper 9”x12”. Signed and dated.
Framed in white, 14” x 18”.
Scrutinising design and architectural shapes like an alchemist looks for essence, I found the square & rectangle to be the most essential building block shaped by human hands, followed closely by the other two essential geometric shapes, in this case the triangle. The invention of geometry meant having agency upon the world around us, a doorway to stability.
Original art piece from my Totems series. Shown in my first art exhibition in Chicago (April 1st, 2022).
Hand drawn, sepia ink on deckled paper 9”x12”. Signed and dated.
Framed in white, 14” x 18”.
Scrutinising design and architectural shapes like an alchemist looks for essence, I found the square & rectangle to be the most essential building block shaped by human hands. Those shapes translate remarkably well to any scale, providing a doorway to stability.
Original art piece from my Totems series. Shown in my first art exhibition in Chicago (April 1st, 2022).
Hand drawn, sepia ink on deckled paper 9”x12”. Signed and dated.
Framed in white, 14” x 18”.
Scrutinising design and architectural shapes like an alchemist looks for essence, I found the square & rectangle to be the most essential building block shaped by human hands. Those shapes translate remarkably well to any scale, whether a monolith or a perfume bottle.
Two rectangular shapes bearing wonderful patina.
Original art piece from my Totems series. Shown in my first art exhibition in Chicago (April 1st, 2022).
Hand drawn, sepia ink on deckled paper 9”x12”. Signed and dated.
Framed in white, 14” x 18”.
Scrutinising design and architectural shapes like an alchemist looks for essence, I found the square & rectangle to be the most essential building block shaped by human hands. Those shapes translate remarkably well to any scale, whether a monolith or a perfume bottle. Inventing geometry meant having agency upon the world around us, a doorway to stability.
Original art piece from my Totems series. Shown in my first art exhibition in Chicago (April 1st, 2022).
Hand drawn, sepia ink on deckled paper 9”x12”. Signed and dated.
Framed in white, 14” x 18”.
When you enter a space, a grotto, or perhaps even a church, you are seized and transported into the environment. The edifice has a grip on you internally: it seeps into your soul and commands you to feel moved. You feel that space’s livelihood, it is inhabited, it is haunting, and it takes a hold of you. A meditation on the earliest building inventions —the slits as window openings; the battlements like architectural teeth; the horns, spears, towers and minarets…
Original art piece from my Totems series. Shown in my first art exhibition in Chicago (April 1st, 2022).
Hand drawn, sepia ink on deckled paper 9”x12”. Signed and dated.
Framed in white, 14” x 18”.
When you enter a space, a grotto, or perhaps even a church, you are seized and transported into the environment. The edifice has a grip on you internally: it seeps into your soul and commands you to feel moved. You feel that space’s livelihood, it is inhabited, it is haunting, and it takes a hold of you. A meditation on the earliest building inventions —the slits or window openings; the battlements like architectural teeth.
Original art piece from my Totems series. Shown in my first art exhibition in Chicago (April 1st, 2022).
Hand drawn, sepia ink on deckled paper 9”x12”. Signed and dated.
Framed in white, 14” x 18”.
When you enter a space, a grotto, or perhaps even a church, you are seized and transported into the environment. The edifice has a grip on you internally: it seeps into your soul and commands you to feel moved. You feel that space’s livelihood, it is inhabited, it is haunting, and it takes a hold of you. Continuing to meditate on the earliest building inventions —the slits or window openings; the battlements like architectural teeth…
Original art piece from my Totems series. Shown in my first art exhibition in Chicago (April 1st, 2022).
Hand drawn, sepia ink on deckled paper 9”x12”. Signed and dated.
Framed in white, 14” x 18”.
When you enter a space, a grotto, or perhaps even a church, you are seized and transported into the environment. The edifice has a grip on you internally: it seeps into your soul and commands you to feel moved. You feel that space’s livelihood, it is inhabited, it is haunting, and it takes a hold of you. Continuing to meditate on the earliest building inventions —the slits as earlier window openings.
Original art piece from my Totems series. Shown in my first art exhibition in Chicago (April 1st, 2022).
Hand drawn, sepia ink on deckled paper 9”x12”. Signed and dated.
Framed in white, 14” x 18”.
Looking at a slab of stone with a geometric detail of an opening reveals a human coincidence. Continuing to meditate on the earliest building inventions —the first window openings were small due to a concern for structural integrity. The window also became an architectural exploration around vulnerability, determining how much visibility and sunlight to obtain in exchange for how much exposure to external dangers would be safe to sustain.
Original art piece from my Totems series. Shown in my first art exhibition in Chicago (April 1st, 2022).
Hand drawn, sepia ink on deckled paper 9”x12”. Signed and dated.
Framed in white, 14” x 18”.
There’s something very haunting for me in… just creating a couple of borders where the ink —just like watercolor— would be able to run off to; and then playing within that frame… relinquishing control of the medium, and equally just letting my own mind wander. It was really interesting because really quickly I found myself drawn to the notion of patina, and the uneven wear and tear of natural elements.
Original art piece from my Totems series. Shown in my first art exhibition in Chicago (April 1st, 2022).
Hand drawn, sepia ink on deckled paper 9”x12”. Signed and dated.
Framed in white, 14” x 18”.
This piece was created by contemplating two forms simultaneously : the darker shape and the lighter shape. I think of them as amoebas, but the inspiration that guided these shapes had more to do with Charlotte Perriand tables or Jean Arp sculptures.
Original art piece from my Totems series. Shown in my first art exhibition in Chicago (April 1st, 2022).
Hand drawn, sepia ink on deckled paper 9”x12”. Signed and dated.
Framed in white, 14” x 18”.