“Study 1 for Sunday 11:50 PM (The Stonewall)” 16 × 20 inches, Crayon on Rives paper
This is a handmade, original work of art NOT A PRINT and NOT AI GENERATED
FREE SHIPPING Shipping takes 3–4 Weeks This ships from San Carlos, California (The San Francisco Bay Area). I use UPS and sometimes US Post.
This drawing is a study for “Sunday 11:50 PM (The Stonewall).” I was working out the relationship between two men and the dark vertical that separates them. The central passage is a large, active part of the composition. It holds the two figures apart even as their poses direct our attention across it.
The drawing keeps its construction visible. Curved contours and short strokes describe the bodies, while broader shading gives them weight. The rectangular door panels provide a different kind of rhythm behind them. Around the faces and hands, the marks become more specific; other passages remain open and exploratory.
The larger idea is my fear that social progress can reverse. I was thinking about the years before Stonewall, when visibility carried greater risk, and how that history can return as a feeling in the present. The division between the figures gives me a way to explore recognition and concealment, and the distance between the world we hope to inhabit and the one we experience.
The later painting changes the left figure's gesture and simplifies parts of the room. This drawing preserves an earlier version of those decisions, with the raised hand beside the face and the architectural pattern continuing behind both figures.
The black background in one photograph is for presentation only and is not part of the drawing.
“Study 1 for Sunday 11:50 PM (The Stonewall)” 16 × 20 inches, Crayon on Rives paper
This is a handmade, original work of art NOT A PRINT and NOT AI GENERATED
FREE SHIPPING Shipping takes 3–4 Weeks This ships from San Carlos, California (The San Francisco Bay Area). I use UPS and sometimes US Post.
This drawing is a study for “Sunday 11:50 PM (The Stonewall).” I was working out the relationship between two men and the dark vertical that separates them. The central passage is a large, active part of the composition. It holds the two figures apart even as their poses direct our attention across it.
The drawing keeps its construction visible. Curved contours and short strokes describe the bodies, while broader shading gives them weight. The rectangular door panels provide a different kind of rhythm behind them. Around the faces and hands, the marks become more specific; other passages remain open and exploratory.
The larger idea is my fear that social progress can reverse. I was thinking about the years before Stonewall, when visibility carried greater risk, and how that history can return as a feeling in the present. The division between the figures gives me a way to explore recognition and concealment, and the distance between the world we hope to inhabit and the one we experience.
The later painting changes the left figure's gesture and simplifies parts of the room. This drawing preserves an earlier version of those decisions, with the raised hand beside the face and the architectural pattern continuing behind both figures.
The black background in one photograph is for presentation only and is not part of the drawing.
