My drawings include both drawings of the human figure, and still life.
In my still life drawings, which also use the “envelope” method, I try to convey the sense of an underlying story: that people have just left the room. The specific arrangement of objects suggests events that the viewer can fill in. The interaction of lines and forms create dynamism and a sense of energy. The illusion of three-dimensional space is also created on a two-dimensional surface by shading or “hatching,” making rhythmic marks that also can convey moving energy, like blood rushing through the veins. This is why we are so drawn to the great masters: even artists who died five centuries ago “live” in the viewer’s retina when we can see how their human hand—like ours—moved.
