The Human-Made Art Society
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There's something calming about all three of these. The palette feels like it's doing the work quietly, not shouting. I used to push contrast too hard in my early landscape work, thought everything needed drama, and it took years to realize that the subtle stuff often lands harder. These feel like they know that already.
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These pieces feel like they're holding something quietly. The second one especially, with that figure dissolving at the edges, there's a weight to it that doesn't announce itself. I shoot objects that have been handled and kept, things with wear that tells the story, and your work has that same quality of something lived with rather than performed. The warmth in the palette keeps it from feeling heavy even when the subject matter clearly is.
I draw from my emotions more than anything else