I wonder to what extent the Spanish Flu that took his life (and that of his pregnant wife) influenced his latter work. I find a boldness and strength in his phantom-like figures. A vitality in the dying that tips me just upright enough to not find it depressing, but can understand the sentiment.
This ‘I see what you did there’ series is great, Paul. I really appreciate you sharing your insights. A quality eyeball squeegee.
I’m a huge fan of Egon. There’s an undeniable humanity in his work—both in execution and subject—that I can always return to when I need to remember what it’s all about.
Here’s a little morning drawing - mostly just an excuse to explore design and a bit of figurative invention. After a busy week I’m looking for the opposite of thinking.
Happy to announce I did NO drawing today. I can feel my shoulders field-stapling themselves back to normal. Little #timelpase of that Pope-y Deacon. #creaturedesign#darkart#horrorart#digitalart
A detail crop from a larger piece in my series ‘The Red Road’. Even after two decades, it still pulls me back. Personal projects have their own gravity, and those with enough weight can span years—or, as in this case, decades.
Keys to December. I was reading a lot of Zelazny at the time. I think this was for ImagineFX magazine (2013?) - not certain about that, it's been too long.
A personal piece depicting a single species with three distinct stages of life: a tadpole-like form harvested by their older, humanoid siblings, who eventually grow into an elder form. An elder is used to traverse the swamp in search of another generation of younglings.
It would take the rest of my life to process what's already come to pass—and yet, it keeps coming all the same. Fine then, I'll just remain in slack-jawed wonder of it all.