A bi-monthly series written for %Artistle
featuring works I've come across here on dA and liked, and my reasons for liking them. Since I am not a professional or an accomplished amateur, you can be assured that whatever I write is entirely subjective
and will quite possibly not have any insightful remarks on the technical merits of the work featured.
provides (in the Artist's Comments section) a number ways in which the titular word 'souls' is, or maybe, interpreted. I continue with the assurance that you are familiar with them.
The shadow-reflections are indeed an appropriate figuration of that forever elusive ephemerality we conceive the soul to be. What struck me as particularly intriguing about this representation is that it depicts the soul as something external to the body proper, while still being vaguely connected to it. I'd like to draw your attention away from those figures, however, to the rest of composition: the blank, limbo-like space against which these figures appear. The rippling effect created around and across the figures gives the impression that they might be surfacing from that vast blankness. One may view it as the collective from which individual, defined consciousness originates, takes a step forward and aligns itself with its reflection in corporeality.
One associates the Tundra with a sort of darkness, a sort of barrenness, in which the most resilient of animals alone survive. Tundra
uses the very colours and elements of the cold wasteland - the icy blue, the green of the lichen and moss vegetation of a brief summer, and the bare branches of stunted shrubbery. Through these, it offers a dreamlike reworking of our conception of the place with the warmth it radiates through its multiplicity of patterns, textures and, of course, its immediately endearing subjects. The cosy feeling of being at home is only accentuated by the charming storybook style of illustration, and the use of a parchment-like texture.
is strangely appealing to me.
'Sanctuary' couldn't be a more ironic title for this piece which suggests to me, in every element, a sense of bondage. Firstly there are the fishnet stockings that end in a thick belt of lace: its very design and name suggests capture. Secondly, and this I find rather interesting, the prominent bones of the rib cage seem to me to form a sort of encasement. The fact that the model is nude is the only thing which justifies the title - the suggestion that it may be her (subjective) sanctuary: that she is not in any way inhibited or threatened. At the same time, a sanctuary, while being a safe hiding place, is paradoxically a sort of prison in itself. The stepping out from such a place is inconceivable: it forms a sort of restricted containment for an individual. This duality in concept and role is ingeniously explored in Sanctuary
As for the much-commented-on presence of the cat in this photograph, I agree, it does add a touch of the whimsical to the piece. And, if I may add, the touch of a sort of insidiousness; follow its gaze, its posture and position and that should become vaguely apparent. While the voyeuristic viewer gazes at the figure beside the cat, the cat gazes voyeuristically at the space beside the viewer.
[I will request you to kindly be respectful in your comments toward and about this piece and the persons responsible for its creation. Please remember that rudeness and unpleasantness is always unbecoming.]
depicts a certain state that many of those involved with creative processes might be familiar with. The state, I mean, of feeling an inexplicable sense of loss as one draws to the conclusion of the process of creation. The idea conceived, a diligent artist puts everything they have into representing it in the closest possible way to their original vision. This journey is very often a difficult one, leaving the artist exhausted and drained. In Colorful Ideas
, it is this idea of being emptied as as the completion of the task at hand draws near that is expressed. The girl sits leaning in a posture that bespeaks incredible fatigue - her limbs limp and an inscrutably deadpan look on her face as myriad colours of her creativity, that hitherto had animated her being, drain away. The only colours left to her are those that are superficially imposed: the wreath on her head and the logo on her clothes. The only part of her body that does not hang limp and lifeless is her right leg: entwined by the last strands of creativity, that too will forsake her once the process is completed.
I agree that I initially thought this a delineation of the decline of hippie culture, but that would seriously - and quite stupidly - be limiting this piece.
I think it perfectly befitting, that the first piece of pixel art I feature is
since it was her work that first inspired me (as it still does) to learn to make pixel art of my own.
Needless to say the kitty emote is perfect; its creator, after all, is a tireless perfectionist. I would rather draw your attention to the ball of yarn and the meticulous detailing with which it has been rendered to give it that beautifully realistic texture, which is a feat to accomplish in pixel art.
Feedback on the article and the works featured herein is encouraged and, indeed, looked forward to.