The wastes beyond are filled with white sand, blasted by the stars which fall by moonlight. Here in the ruins of a tower shattered decades ago, at the edge of the unknowable reaches, the journey seems to stretch into infinity.
Where did you come from? And what are you looking for?
> into the wastes
> go again
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I am remarkably pleased with the way this one came out. The night sky has exactly the feel, the psychic texture, of the fantasy illustrations from the covers of books when I was a kid. I can't really describe it, but being able to produce it is better anyway.
This particular picture does a lot of things which are important to the structure of the Sequence overall. Thematically it sets up the imagery of control and standardization seen more prominently in The Departure, and it is more ambitious with light and shadow than I had ever been previously. More passively, it separates two major experiments: my journey into implicit sexuality in where snakes go, and the textural minimalism of I Could Be Anything (all unreleased at the time of this writing.)
I regret not lowering the tower's wall to show more of the night sky. I think I will partially make up for this compositional decision when I paint the outsets for the animations, but that's a long time from now.
This is picture is also one of a few I did which have no creatures, and is unique by virtue of being my only painting to date which includes no living things at all.
This particular picture does a lot of things which are important to the structure of the Sequence overall. Thematically it sets up the imagery of control and standardization seen more prominently in The Departure, and it is more ambitious with light and shadow than I had ever been previously. More passively, it separates two major experiments: my journey into implicit sexuality in where snakes go, and the textural minimalism of I Could Be Anything (all unreleased at the time of this writing.)
I regret not lowering the tower's wall to show more of the night sky. I think I will partially make up for this compositional decision when I paint the outsets for the animations, but that's a long time from now.
This is picture is also one of a few I did which have no creatures, and is unique by virtue of being my only painting to date which includes no living things at all.
The Hylozoist is a long-form digital project I began in February 2020. Each painting tells a story, and each painting tells another story when viewed in context. Also, each painting can be followed to the next painting in the series if you follow the most interesting thing in the scene.
To see more paintings from the project, click here.
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