Pen and Ink Series #3: Maze #3, LA, 2025
This is a linear maze that is difficult (if not impossible) to traverse due to the ambiguity in the pathways.
Tag Archives: maze
Pen and Ink Series #2: Maze #2, LA, 2025
The maze in this sketch is incidental to the collection of shapes. There may not be enough clearance for the small dark circular shape on the lower left to navigate around these ‘objects’, but more is going on here than the arc of its travel.
Pen and Ink Series #1: Maze #1, LA, 2025
I am out of the 14×20″ 140# cold pressed paper upon which I have drawn more than 50 of my 8-part Meditation Series posts. I start today’s Pen and Ink Series (drawn with Micron pens) on 7×10″, 80 pound, smooth-finish paper. It is more fun to draw in this format for a couple of reasons: […]
Meditation Series: (7/8) Musings with Lines, LA, 2025
I began this one as a maze with straight lines, starting at the lower left. Then I continued with curved lines until the upper right when I made those jagged lines (I had fire in mind, since I live in LA). I inserted my linear “star” icon, choosing to interrupt the rays with the surfaces […]
Rescued Blunder
Sometimes mistakes just can’t be modified into successes. That was the case the other day. I tore up the offending ink and watercolor abstract (of dimensions 9×12 inches). I like to avoid waste, so I assembled the scraps on a 12×16 inch piece of watercolor paper. Previously, I glazed the entire surface with Prussian blue […]
Flames
My opening doodles today were a bit different than usual. Instead of closed forms, I left open loops. I was hoping that it would result in a closed maze so I could blacken the inner paths. I do like the airy nature of this composition. The forms remind me of flames.
Points of Interest, After Klee
Paul Klee is one of my favorite artists. I found a couple of articles in David Sylvester’s book, About Modern Art: Critical Essays 1948-1997 (Henry Hold and Company, New York 1997) that have given me more insight into Klee’s later work (1937-1940). Sylvester describes these compositions as pictures without a focal point. Sylvester references two works […]
