A black bug bit a big black bear, made a big black bear bleed blood.

This one is a larger plate I have been working on:


I started a second plate yesterday so my face wouldn't get too sick of this big one.

OH AND I realized a lot of my forms tend to connect to one nice bulbous creature. Also, I had sensed this "LANDSCAPIC" quality of my work before, but thinking about it in terms of the opportunities that printmaking lends me can make nice things. I can have as many of these bulbous creatures as I want, and in numbers, they become this unearthly landscape.--------Also scary as shit if each part of the leviathan earth has empty eyeballs staring at you.

The third thing I am seriously working on right now is to write a language composed entirely of tongue twisters. I can easily gain inspiration by collecting tongue twisters in languages I have had no associations with as well as just following the general rule that typically combinations heavy with alliteration and rhyme will be difficult to say.


This is swahili
Kale kakuku kadogo ka kaka kako wapi kaka?

it means "where are your chickens, brother?"

The bulbous leviathan landscapic creatures speak this unspeakable language that I haven't entirely composed yet.

also this has become important:
Using patterns to develop an image allows me to prove a devotion to the work. The time spent correlates to the intricacy of the patterns themselves, so ideally I am allowing the viewer to perceive this passage of time. Also, I use the patterns as a device to make the subject of the image secondary to the process. The images could be entirely blasphemous, but the seriousness of the patterns tends to contradict this.

devotion= manuscript illuminator= images become worshipped (accidentally) for their beauty instead of content= iconoclasts destroy