For no good reason, though i have been thinking of some things, in the more recent ones, for specific actually useful porpoises.



That last one and these, perhaps for specific porpoises.

You have a very distinctive style with the crosshatching. Who are your influences as a visual artist?

Mostly i just try to come up with something out of nothing.

As far as what i like to see, i like the way Egon Schiele saw people, i like what Albrecht Dürer did with fine lines and detail, and i like what Franz Klein did with shapes and forms.

Other than that, i am really just into ancient artifacts and engravings such as are shown all throughout in the ...Corralling Of Historical Fact thread.

Conceptually, i am also into the idea of fractal reduction, interpreted as, looking closer at something, and seeing more in it. I like to start randomly, and find pictures in things, and then fill the pictures with little things. I need finer tipped pens.

I really enjoy most all of that shit, but the blackbird is particularly dope.

The crosshatching thing you do- does that come from a particular influence or group of influences, or is it just A Thing Chris Does?

Kind of: Just A Thing I Do.

I guess it just sort of evolved from a more standard crosshatching (like the shadow on the first one there i put up yesterday). It is kind of sort of like the multiple layers of different angle hatchings, just exploded so they sit neatly next to instead of on top of each other. But disorganized so that the angles don't necessarily make any sense in the order that they go down(unlike the more standard hatching where they get layered in a sort of specific order to establish gradiations of shade).

My brain/hand seems to like to maintain a sort of balance between reckless abandon(the underlying structure of pretty much everything, which you can sometimes see in/poking-out-of the drawings, but sometimes not, though it is certainly still there) and meticulous busy work.

Not much really, but i like the second one.