A note on my whynow illustrations

For the actual posts I kind of just wanted the images to be standalones, but I decided I wanted to expand a little on what I produced. In all honesty I was a bit nervous about taking on the commissions, having not drawn anything “properly” since sixteen or so, but I’m really glad that I did of course, and it’s actually made me want to use more illustrations in my work.

 

On BOX 18 response

Fabric, hands, and fingers. This is one where I had an immediate concept in mind, namely two hands holding a piece of draped fabric like that of curtains across a stage in a theatre. Hands can be quite an expressive tool when communicating with others, both while acting and while being sincere, or feigning sincerity, and I thought about the ways they can be used to convey different things. An illustration of a hand is what lead me to be commissioned in the first place, so I felt quite comfortable with the imagery I’d chosen, though I did struggle a bit with the positioning of hands in terms of balancing perspective and minimalism. Hands are quite strange things when you think about it.

After being told what text I was responding to, I bought a copy of B O X at the Small Publisher’s Fair. Any excuse to invest in more poetry, but I also thought it might help me to elaborate my interpretation. I can’t say whether or not it did, but I certainly enjoyed reading it.

 

On lilith (night demon) response

I tried to merge religious imagery with femininity. I have a pretty stylistic drawing style when it comes to faces, even when restraining myself from more exaggerated features (typically far more forlorn looking faces with oversized eyes gazing upwards; I’m unsure as to how this became my default but the margins of old notepads attest to it) I worried that it felt too unpolished, but I think it fits my intent.

In terms of why I chose to draw what I did, I’m not able to articulate myself as well as I’d like. Minimalist chapels overlayed with floating female heads. The illustrations wearing lace head coverings are scribbled over because it’s complicated. A few symbols are scattered about, crescent moons with crosses beneath them, the symbol of Lilith. The asemic writing kind of brings it together, and again, something complicated that I can’t quite put into words. On another subject, one of the faces in particular was drawn after Nicole Dollanganger, who I’m sure if I ever finish writing planned essays/articles will end up cropping up, as she was very much key to my formative writing years and I still admire her voice in every sense to this day.

 

 

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