I’ve been roundly admonished for not posting, so here’s a post. I’ve been working on this picture for a while, but not in any concentrated way!
I’m not sure what it means either — the drawing was largely random, whatever my brain felt like doing at the time until the sheet was full. For some reason there are no hippos in there at all.
It’s been really busy here, which is why I haven’t been posting much!
First there was the book (which you saw); and then Karen did her new show (and I made all the scenery); and now I’m doing Artweeks.
Artweeks is an Oxford/Oxfordshire festival, in which hundreds of artists open their studios to visitors for a few days.
If you’re in the area, do come and see the hippos!
My Artweeks gallery gives some idea of what I’m showing.
Apologies for having not posted in ages. I’ve been working on a Hippo-related project, which is nearly ready to be announced, but which is taking almost all of my art time.
Anyway, last weekend we went to a local exhibition of the work of Jeff Koons. One of his special tricks is to make giant sculptures which look exactly like they are made of shiny balloons, but are actually made of steel. The urge to reach out and touch them is almost unbearable.
Why do they make me print my e-ticket? And charge me for the privilege too? What a waste of toner!
The style of this comic was inspired by the amazing Tom Gauld.
Thanks to Oxgrow for organising a session of drawing and painting in their beautiful community garden.
Itchy may not know much about art, but we know what he’s like.
Knee’s Picasso is the “black jug and skull” (1946).
If you are reading this in January, then Happy New Year! Otherwise, just Happy Year.
The Albion Beatnik Bookstore (the world’s finest bookshop) yesterday launched two new publications under its own imprint: issue 2 of its occasional magazine The Sandspout; and Baret Magarian’s novella Mirror and Silhouette.
In addition to a lot of top-quality writing, The Sandspout is especially notable for the quality of three illustrations, on pages 51, 54 and 103 by invisibules.org (alone worth the cover price of £3.00.) Take note, because the editor didn’t include them in the index.
He did, however, add a scandalous bio on p51: “Andrew Kay is a mathematician and research engineer: he is actually paid to think about welding Kit Kats to motherboards. His drawing took flight when his vanity on-line comic strip (he studied with Adam Murphy) featuring invisible characters was running out of I-can’t-see-you type gags. He leads bodybuilding workshops, likes hairdressing, plays early music with his recorder – though he himself is always late (his Skeleton Crew early music consort kindly call it syncopation); he once broke his recorder on-stage at the Isle of Wight.”
I’m afraid this is what came out of my brain today, whilst on the train back to Oxford after a day in London. I went for a meeting which finished an hour before the National Gallery closed. At the gallery I was inspired by a striking image of St. Michael slaughtering a devil, painted in 1468 by Bartolomé Bermejo:
I mean — Jeepers Creepers, where’d you get those eyes?
I went to see Karen performing as part of a celebration called “Where’s the Art?” for an organisation known as CARU (Contemporary Arts Research Unit.) I didn’t intend to draw her as the largest person on the page, honestly.
Great performance by Pete Oxley and Nick Meier last night at the Albion Beatnik Bookstore. I prepped my coloured pencils and riffed along with the fluid melodies and oh so tight rapport. I managed to include references to almost every title played, except for Vera Cruz (because I didn’t know what to draw).