I want to do a fresco cycle in the Dry Valleys of Antarctica.
I would do it somewhere round here, cos that'd be much more convenient, but, what with the earthquakes and volcanoes and all, that'd also be stupid. Australia's fucked, but there's another big fuck off continent not too far away.
And I reckon it could look fucking fantastic.
It'd be better to do it on Mars, but Antarctica will do.
Showing posts with label art plans. Show all posts
Showing posts with label art plans. Show all posts
08 August 2011
23 May 2011
A footnote
During the early twentieth century, smoking clubs were not uncommon for the 'social' use of opium among well-to-do Parisians, and both Picabia and Apollinaire participated in them (conversations with Mme. Buffet-Picabia, October 1962). That practice was apparently more important for Picabia and continued by him until ca. 1918–19.
Efforts by this author to detect an influence of the drug in Picabia's art have failed to isolate any demonstrable feature in either the conception or execution of his paintings.
The effect of opium on artistic creation is largely unexplored.
08 December 2009
Romantic Classicist
It was a couple of weeks or so ago now, but I was called both a Romantic and a Classicist by different people within days of each other. I thought that was pretty funny. I also thought that for different people to see what I do in diametrically opposed terms I must me doing something right (as opposed to the many things I do wrong). Admittedly, the person who made the Romantic comment is a fool, but hey.
I've also been told recently that I can churn out the paintings and drawings I do while blindfolded. If only that were true! However, rather than being offended (which was my initial response), I took it as a compliment, and one that ties in with the Classicist comment.
I'm a big fan of the Renaissance virtue sprezzatura. This term was coined by Castiglione in his book of manners for the young man about town, The book of the courtier, where he defines sprezzatura as 'a certain nonchalance, so as to conceal all art and make whatever one does or says appear to be without effort and almost without any thought about it' – that is, appearing to do what you do with effortless ease, regardless of the actual effort that goes into it.
Unfortunately, I don't think I am a Classicist (and if I wanted to claim to have sprezzatura I really shouldn't keep this blog). Yes, as part of my preparation for painting I read both Alberti and Piero (both well worth reading), and I like centralised, unified, and cooly restrained compositions rather than those that are overtly emotional and expressive (which reminds me that Bernard Berenson's The inexpressive in art is also a great little book). But I don't have any time for idealism, especially that fucking stupid Platonic idealism, and that probably counts me out. I mean, come on, a world of ideas or essences or will behind the world of appearances? You've got to be fucking kidding me. It doesn't make any sense.
This is just a long drunken prelude to saying that I'm thinking of doing a self-portrait as a Renaissance man about town. I think it's time for some more self-portraits. Fuck they're fun, and in the final analysis that's all that counts. After I've got the Classicist one sussed, I might do a self-portrait as Romantic. Facing each other perhaps.
Update: Rose just read this post. Her response: 'That's a real narcissistic self-portrait.' No, no! 'Self-portrait as narcissist' is another good idea!
I've also been told recently that I can churn out the paintings and drawings I do while blindfolded. If only that were true! However, rather than being offended (which was my initial response), I took it as a compliment, and one that ties in with the Classicist comment.
I'm a big fan of the Renaissance virtue sprezzatura. This term was coined by Castiglione in his book of manners for the young man about town, The book of the courtier, where he defines sprezzatura as 'a certain nonchalance, so as to conceal all art and make whatever one does or says appear to be without effort and almost without any thought about it' – that is, appearing to do what you do with effortless ease, regardless of the actual effort that goes into it.
Unfortunately, I don't think I am a Classicist (and if I wanted to claim to have sprezzatura I really shouldn't keep this blog). Yes, as part of my preparation for painting I read both Alberti and Piero (both well worth reading), and I like centralised, unified, and cooly restrained compositions rather than those that are overtly emotional and expressive (which reminds me that Bernard Berenson's The inexpressive in art is also a great little book). But I don't have any time for idealism, especially that fucking stupid Platonic idealism, and that probably counts me out. I mean, come on, a world of ideas or essences or will behind the world of appearances? You've got to be fucking kidding me. It doesn't make any sense.
This is just a long drunken prelude to saying that I'm thinking of doing a self-portrait as a Renaissance man about town. I think it's time for some more self-portraits. Fuck they're fun, and in the final analysis that's all that counts. After I've got the Classicist one sussed, I might do a self-portrait as Romantic. Facing each other perhaps.
Update: Rose just read this post. Her response: 'That's a real narcissistic self-portrait.' No, no! 'Self-portrait as narcissist' is another good idea!
09 November 2009
Cauchi contra mundum
I reckon this'd be a good title for a book – a little book, unassuming, photocopied perhaps. It'll mostly be drawings, interspersed with bits of text. Bits and pieces.
I need a summer project.
I need a summer project.
06 August 2009
Yet another project to go unfinished
I'd like to write a science fiction story set in Zurich in 1916. Two time-travelling agents: one from the intertemporal avant-garde, the other from Control. The Control agent plans to kill Dada dead in the water by using mind control rays to ensure the audience for early performances at the Cabaret Voltaire find them boring. While he's at it, he'll do Lenin in as well by kaiboshing his deal with the Germans.
03 August 2009
24 June 2009
Blither
My assessor seems to be on a campaign to persuade me to give up painting in favour of a so-called ‘post-material practice’. It is not just my natural perversity that makes me resist this. I am dubious that there is any such thing. Even if there is, I don’t see why it should be either-or rather than both-and.
The obvious example of an immaterial art is performance. Obviously, a performance involves material things, usually at least one body. However, it is not a permanent material thing in the way a painting or sculpture is (yeah, yeah, so I’m using ‘permanent’ loosely here). It is an event, a situation, rather than a thing.
Let’s take Vito Acconci’s Seedbed as an example. It was a specific event that happened in a particular place at a particular time. The vast majority of us know this work through its documentation. Can we really separate the work from the documentation? If so, the vast majority of us do not know the work at all, only the documentation. If not, the work is not only an immaterial event but also its material documentation.
I don’t know about you, but I’m not interested in producing work for a select group who happen to be in the right place at the right time. I’d like my work to be available to anyone who’s interested, regardless of their spacetime co-ordinates. That means producing material objects that exist over time, and to my mind those objects might as well be decent ones like paintings rather than crappy ones like photos.
Related to this is the main reason why I don’t like the term ‘conceptual art’. I consider it redundant. All art is conceptual. Take formalist abstract painting for example. If you showed one to your cat, you wouldn’t get much of a response. That’s because your cat doesn’t bring the concepts to its viewing of the painting that you do (I’m being charitable here, ho ho).
Despite this, I do have an immaterial art work I’d like to do next semester – get the Common-Sense Nihilist Party properly up and running. One of the ideas behind this is to use legal forms as a medium rather than paint. But that's no reason not to do paintings as well.
Speaking of the CSNP, a friend of mine suggested recently that I should do a book of unfinished projects, of which I have a few!
The obvious example of an immaterial art is performance. Obviously, a performance involves material things, usually at least one body. However, it is not a permanent material thing in the way a painting or sculpture is (yeah, yeah, so I’m using ‘permanent’ loosely here). It is an event, a situation, rather than a thing.
Let’s take Vito Acconci’s Seedbed as an example. It was a specific event that happened in a particular place at a particular time. The vast majority of us know this work through its documentation. Can we really separate the work from the documentation? If so, the vast majority of us do not know the work at all, only the documentation. If not, the work is not only an immaterial event but also its material documentation.
I don’t know about you, but I’m not interested in producing work for a select group who happen to be in the right place at the right time. I’d like my work to be available to anyone who’s interested, regardless of their spacetime co-ordinates. That means producing material objects that exist over time, and to my mind those objects might as well be decent ones like paintings rather than crappy ones like photos.
Related to this is the main reason why I don’t like the term ‘conceptual art’. I consider it redundant. All art is conceptual. Take formalist abstract painting for example. If you showed one to your cat, you wouldn’t get much of a response. That’s because your cat doesn’t bring the concepts to its viewing of the painting that you do (I’m being charitable here, ho ho).
Despite this, I do have an immaterial art work I’d like to do next semester – get the Common-Sense Nihilist Party properly up and running. One of the ideas behind this is to use legal forms as a medium rather than paint. But that's no reason not to do paintings as well.
Speaking of the CSNP, a friend of mine suggested recently that I should do a book of unfinished projects, of which I have a few!
22 October 2008
Sigismondo Malatesta
The dog and castle in the previous post’s pic belonged to Sigismondo Malatesta, the Wolf of Rimini. Sigismondo was pretty full on. His motto was something like ‘Whatever I do benefits the State’.
He is rumoured to have poisoned his first wife and to have strangled his second with a napkin at the dinner table, though both rumours might well be calumnies spread by his political enemies. He certainly neglected them in favour of the servant girl who became his third wife.
Pope Pius II enacted a special papal Bull enrolling him as a citizen in Hell and burnt him in effigy in Rome. Sigismondo didn’t have much time for religion. He said, ‘Even if God did exist, why would he pay any attention to us?’
The fresco I’ve ripped off is in the Tempio Malatestiano, which was a church that Sigismondo transformed into a kind of pagan temple. I have a theory that it’s actually one great big magic spell, but I won’t go into that here.
He is rumoured to have poisoned his first wife and to have strangled his second with a napkin at the dinner table, though both rumours might well be calumnies spread by his political enemies. He certainly neglected them in favour of the servant girl who became his third wife.
Pope Pius II enacted a special papal Bull enrolling him as a citizen in Hell and burnt him in effigy in Rome. Sigismondo didn’t have much time for religion. He said, ‘Even if God did exist, why would he pay any attention to us?’
The fresco I’ve ripped off is in the Tempio Malatestiano, which was a church that Sigismondo transformed into a kind of pagan temple. I have a theory that it’s actually one great big magic spell, but I won’t go into that here.
17 October 2008
On underpainting
The colour in the previous post’s pics is the watercolour and gouache underpainting. Once I’ve done something similar to the Piero one, I’ll start on the oil glazes for all three.
The idea is to build up layers of transparent colour (except for the gouache). In the finished painting, the light passes through these transparent layers and reflects off the white ground, giving it an inner glow.
Traditionally, you’d use oil paint diluted with turps for the underpainting. The reason for using turps is Rubens’ principle of ‘fat over lean’, where you put layers with more oil content over layers with less (to prevent cracking). The problem is that different pigments have different amounts of oil added to them to make oil paint, which complicates this process considerably.
My solution is to avoid the problem and use watercolours instead. Needless to say, they have no oil content. I then only have to worry about the glazes. That’s bad enough. I’m quite capable of getting horribly confused.
The other aspect of underpainting where I depart from tradition is the choice of colour. Traditionally, you’d use monochrome, usually in grey (called grisaille), or complementary colours. So in the latter case you’d underpaint the sky orange and the grass red, etc. As you can see, I do neither.
The idea is to build up layers of transparent colour (except for the gouache). In the finished painting, the light passes through these transparent layers and reflects off the white ground, giving it an inner glow.
Traditionally, you’d use oil paint diluted with turps for the underpainting. The reason for using turps is Rubens’ principle of ‘fat over lean’, where you put layers with more oil content over layers with less (to prevent cracking). The problem is that different pigments have different amounts of oil added to them to make oil paint, which complicates this process considerably.
My solution is to avoid the problem and use watercolours instead. Needless to say, they have no oil content. I then only have to worry about the glazes. That’s bad enough. I’m quite capable of getting horribly confused.
The other aspect of underpainting where I depart from tradition is the choice of colour. Traditionally, you’d use monochrome, usually in grey (called grisaille), or complementary colours. So in the latter case you’d underpaint the sky orange and the grass red, etc. As you can see, I do neither.
14 October 2008
Bollocks to that
Last week, I took down the few comic pages I’d drawn up from the studio wall and put them away. I’d found the first draft, read through it, and thought about it for a bit. I hadn’t been enjoying doing it anyway. It was boring and tedious, and I wasn’t that happy with the result. After reading through the whole thing for the first time in a while, I decided I needed to go back and start again from scratch, with a totally different approach, at some unspecified future date.
Instead, I thought I’d do some fun paintings, copies of things I want to have on the wall. So I’ve whipped up a quick black square (see previous post), and now I’m working on a couple of Picabias and a Piero. They’re straight copies. The differences are the size (25 x 29 cm), the treatment (the old watercolour and oil glazes bizzo), and the words in large letters on the top of each image. These are ‘society’ for Picabia’s Adoration of the calf, ‘cubism’ for his Woman with idol, and ‘surrealism’ for the dog and castle from Piero’s fresco in the Tempio Malatesta.
Instead, I thought I’d do some fun paintings, copies of things I want to have on the wall. So I’ve whipped up a quick black square (see previous post), and now I’m working on a couple of Picabias and a Piero. They’re straight copies. The differences are the size (25 x 29 cm), the treatment (the old watercolour and oil glazes bizzo), and the words in large letters on the top of each image. These are ‘society’ for Picabia’s Adoration of the calf, ‘cubism’ for his Woman with idol, and ‘surrealism’ for the dog and castle from Piero’s fresco in the Tempio Malatesta.
18 September 2008
Biographies
In the Boardroom Gallery upstairs at Thermostat, I've included a short biography to go with each portrait:
Friedrich Wilhelm Nietzsche (1844–1900). Philosopher. Most famous for proclaiming the death of God. His philosophical ideas have been widely misinterpreted, partly because of the provocative and aphoristic style he used to present them. He said: ‘I want to say in 100 words what other people require whole books to say.’ In 1889 he witnessed a horse being whipped and went insane.
Kasimir Severinovich Malevich (1878–1935). Painter and art theorist. Founder of the intertemporal avant-garde art movement Suprematism, which uses fundamental geometric forms to produce abstract art. Most famous for his painting Black square. He said: 'I felt only night within me and it was then that I conceived the new art, which I called Suprematism.' In the 20s and 30s, his Suprematist work was suppressed by the Soviet Union for being too ‘bourgeois’.
Piero della Francesca (c. 1412–1492). Painter and mathematician. Best artist of the 15th century. Originally trained as a heraldic painter before working with Domenico Veneziano. Known for the neoplatonic stillness and geometric construction of his paintings. Devised secret alternative perspective scheme to rival that of Leon Battista Alberti. Most famous for The Baptism of Christ, which is the best painting ever made.
David Charles Bartholomew Cauchi (1970–). Painter. Founder of the intertemporal avant-garde art movement Common-sense nihilsm. Known for being an idiot.
Francis-Marie Martinez Picabia (1879–1953). Painter, poet, and provocateur. Best artist of the 20th century. Invented abstract painting, dada, and space tourism. Known for his wide range of styles. Marcel Duchamp said: ‘One does something for six months, a year, and then one does something else. This is what Picabia did his entire life.’ Most famous for his mechanomorphic paintings.
Rosemary Jane Miller (1964–). Graphic designer. Long-suffering partner of David Cauchi. Known for being sensible.
Max Beckmann (1884–1950). Painter. Known for his allegorical self-portraits and triptychs. Did not fit into any of the conventional categories of art history. Heavily influenced by his experiences as a medic during World War I and by mysticism. Featured in the Degenerate art exhibition put on by the Nazis.
Philip Kindred Dick (1928–1982). Science fiction writer. Known for the themes of his novels. He said: ‘In my writing I even question the universe; I wonder out loud if it is real, and I wonder out loud if all of us are real.’ Most famous for writing the novel that was filmed as Bladerunner. In 1974, an interstellar communications network known as VALIS started beaming information into his head and he went insane.
Arthur Mitchell Ransome (1884–1967). Author and illustrator. Most famous for his Swallows and Amazons series of books. Heavily influenced by the anarchist Prince Kropotkin. Had many adventures during the Russian Revolution. Developed a very concise writing style when sending reports by telegram.
Friedrich Wilhelm Nietzsche (1844–1900). Philosopher. Most famous for proclaiming the death of God. His philosophical ideas have been widely misinterpreted, partly because of the provocative and aphoristic style he used to present them. He said: ‘I want to say in 100 words what other people require whole books to say.’ In 1889 he witnessed a horse being whipped and went insane.
Kasimir Severinovich Malevich (1878–1935). Painter and art theorist. Founder of the intertemporal avant-garde art movement Suprematism, which uses fundamental geometric forms to produce abstract art. Most famous for his painting Black square. He said: 'I felt only night within me and it was then that I conceived the new art, which I called Suprematism.' In the 20s and 30s, his Suprematist work was suppressed by the Soviet Union for being too ‘bourgeois’.
Piero della Francesca (c. 1412–1492). Painter and mathematician. Best artist of the 15th century. Originally trained as a heraldic painter before working with Domenico Veneziano. Known for the neoplatonic stillness and geometric construction of his paintings. Devised secret alternative perspective scheme to rival that of Leon Battista Alberti. Most famous for The Baptism of Christ, which is the best painting ever made.
David Charles Bartholomew Cauchi (1970–). Painter. Founder of the intertemporal avant-garde art movement Common-sense nihilsm. Known for being an idiot.
Francis-Marie Martinez Picabia (1879–1953). Painter, poet, and provocateur. Best artist of the 20th century. Invented abstract painting, dada, and space tourism. Known for his wide range of styles. Marcel Duchamp said: ‘One does something for six months, a year, and then one does something else. This is what Picabia did his entire life.’ Most famous for his mechanomorphic paintings.
Rosemary Jane Miller (1964–). Graphic designer. Long-suffering partner of David Cauchi. Known for being sensible.
Max Beckmann (1884–1950). Painter. Known for his allegorical self-portraits and triptychs. Did not fit into any of the conventional categories of art history. Heavily influenced by his experiences as a medic during World War I and by mysticism. Featured in the Degenerate art exhibition put on by the Nazis.
Philip Kindred Dick (1928–1982). Science fiction writer. Known for the themes of his novels. He said: ‘In my writing I even question the universe; I wonder out loud if it is real, and I wonder out loud if all of us are real.’ Most famous for writing the novel that was filmed as Bladerunner. In 1974, an interstellar communications network known as VALIS started beaming information into his head and he went insane.
Arthur Mitchell Ransome (1884–1967). Author and illustrator. Most famous for his Swallows and Amazons series of books. Heavily influenced by the anarchist Prince Kropotkin. Had many adventures during the Russian Revolution. Developed a very concise writing style when sending reports by telegram.
22 June 2008
Projects
Here are the projects I've got on:
- painting – I've gessoed a panel we took off a door (to put a cat flap into), which will be my first painting in my new studio, and I've got several other things I want to do, including a couple of portraits and some collaborative abstract work
- finishing my comic – this is a lot of work
- a catalogue essay for a friend – this has quite a tight deadline, and I haven't even started thinking about it yet
- an essay on my own account – this will be a conversation between Piero, Picabia, and me called 'The immortality machine'
- the band – we're working towards a five-track cd-ep.
29 March 2008
A new chapter
I left the Mary Newton Gallery yesterday. Obviously, I'm not going to go into why I decided to do this here. You'll have to buy me a drink instead.
I'm going to concentrate on my show in Palmy in September. I've got the title, artist's statement, and a goodly number of paintings to select from. I'd also really like to get my comic published, publish the Common-sense nihilist manifesto, and do a Can't Play Won't Play CD-EP thing in time for it. The comic's the dodgy one. The way I'm doing the final version is very time consuming, but it should be worth it in the end.
Speaking of Can't Play Won't Play, here are our first attempts at 'Omnipotent spacechimp' and 'Dread the future':
Omnipotent spacechimp
Dread the future
Update: Rose pointed out that the first paragraph makes it sound like there's a salacious tale to be told. Unfortunately, that's not the case. I'm just angling for free drinks.
I'm going to concentrate on my show in Palmy in September. I've got the title, artist's statement, and a goodly number of paintings to select from. I'd also really like to get my comic published, publish the Common-sense nihilist manifesto, and do a Can't Play Won't Play CD-EP thing in time for it. The comic's the dodgy one. The way I'm doing the final version is very time consuming, but it should be worth it in the end.
Speaking of Can't Play Won't Play, here are our first attempts at 'Omnipotent spacechimp' and 'Dread the future':
Omnipotent spacechimp
Dread the future
Update: Rose pointed out that the first paragraph makes it sound like there's a salacious tale to be told. Unfortunately, that's not the case. I'm just angling for free drinks.
09 March 2008
This and that
I've finally got around to revamping my website. It had got a bit too huge and unwieldy, and I was just going to ditch it. However, I decided something stripped down and easy to maintain would be the go instead.
I'm also having fun getting stuck into some new paintings. Most are my usual size (roughly 30 x 40 cm) but one is biggish (roughly 70 x 90 cm). For that one, I've scaled up a tiny sketch I made in the pub one day. Exciting!
I'm also having fun getting stuck into some new paintings. Most are my usual size (roughly 30 x 40 cm) but one is biggish (roughly 70 x 90 cm). For that one, I've scaled up a tiny sketch I made in the pub one day. Exciting!
23 January 2008
Comic-go-round
I'm going round and round in circles trying to decide what to do with my comic. I start by thinking I'll make minimal changes. I then think that a bit more explanation is not a bad idea (such as the somewhat important idea that it was the Spanish gold flooding into Europe from America that allowed capitalism to develop). I then get carried away and start chucking in all sorts of things (I've even drawn up plans for the Time Ship Cassandra - not that it'd be a time machine per se). Then I realise it's got stupidly huge and unwieldy, and decide to only make minimal changes. Then the process starts all over again.
I'll get there in the end.
I'll get there in the end.
11 December 2007
Painting
When I've got a new battery for the camera, I'll be able to post some pics. I've finished off some old paintings that've been hanging around for far too long. I've done a couple of new ones, one of which I'm very happy with but the other won't ever see the light of day.
The big painting I had planned has turned into a series of small paintings, portraits no less, and I've made inroads on the first of these. Come the end of the week I've three weeks of glorious freedom and hope to get a few more done during that time.
I still want to do a big painting, mainly for the opportunity for broad gestures, using the whole of my arm, but I want to make sure I've got enough to show before playing around. I have visions of blithely embarking on a big painting, sadly losing my way, and ending up with nothing.
The big painting I had planned has turned into a series of small paintings, portraits no less, and I've made inroads on the first of these. Come the end of the week I've three weeks of glorious freedom and hope to get a few more done during that time.
I still want to do a big painting, mainly for the opportunity for broad gestures, using the whole of my arm, but I want to make sure I've got enough to show before playing around. I have visions of blithely embarking on a big painting, sadly losing my way, and ending up with nothing.
26 November 2007
This and that
Last week, I sent an email to Werner Herzog asking whether he'd like to film my comic, but strangely I've not yet had a reply. No doubt he's a bit daunted by the prospect of filming planes towing a black square to block the sun from the main pyramid in Mexico (not to mention the rest of it). It's understandable really.
Today, I've added a nice slideshow to the right there. I'm also gradually adding pics of paintings and exhibitions. There's still the 2004 and 2005 paintings to go, and I'm considering doing some tidying up (i.e. getting rid of duplicates and crappy pics, and replacing them with better ones where possible), but I'm in no hurry. If you click on the relevant labels (handily listed on the right there - just scroll down a bit), you'll see all the posts with that label. Okay, that is stating the obvious, but I've found that sometimes it's not a bad idea.
Today, I've added a nice slideshow to the right there. I'm also gradually adding pics of paintings and exhibitions. There's still the 2004 and 2005 paintings to go, and I'm considering doing some tidying up (i.e. getting rid of duplicates and crappy pics, and replacing them with better ones where possible), but I'm in no hurry. If you click on the relevant labels (handily listed on the right there - just scroll down a bit), you'll see all the posts with that label. Okay, that is stating the obvious, but I've found that sometimes it's not a bad idea.
23 November 2007
Eek
Nine months seems like a long time, but I've got a fair bit to do in that time. I've got to redraw, colour, and publish my comic, and I've got to prepare an exhibition.
I'm thinking of doing a large painting for the latter. The composition is taking shape in my head, and I'm pretty sure how I'll go about it. There is the minor detail that I can't afford the canvas and paints needed at the moment, but that's not a big deal cos there's still lots of studies to do before I actually start applying pigment to a surface.
I'm also thinking of ditching my website, which I haven't updated since the end of last year, and incorporating the stuff on it into this blog. It'll mean that the blog'll suddenly look older than it is, cos I'll post the 2001 paintings with a 2001 date (and so on). However, this doesn't worry me in the least. I serve a higher truth than mere factual accuracy.
Oh yeah, and the best suggestion for the comic so far has been to include the words 'Emergency temporal shift!' (If you don't get the reference, then shame on you.)
I'm thinking of doing a large painting for the latter. The composition is taking shape in my head, and I'm pretty sure how I'll go about it. There is the minor detail that I can't afford the canvas and paints needed at the moment, but that's not a big deal cos there's still lots of studies to do before I actually start applying pigment to a surface.
I'm also thinking of ditching my website, which I haven't updated since the end of last year, and incorporating the stuff on it into this blog. It'll mean that the blog'll suddenly look older than it is, cos I'll post the 2001 paintings with a 2001 date (and so on). However, this doesn't worry me in the least. I serve a higher truth than mere factual accuracy.
Oh yeah, and the best suggestion for the comic so far has been to include the words 'Emergency temporal shift!' (If you don't get the reference, then shame on you.)
13 November 2007
Exciting!
I've got half a page to go before finishing the first draft of my graphic novel. With any luck, I'll do that tonight (though I've got a pesky flat inspection to prepare for).
I'm looking forward to getting stuck into some painting for a change. The graphic novel's been fun and all, but pencil and paper just doesn't cut it.
I'm looking forward to getting stuck into some painting for a change. The graphic novel's been fun and all, but pencil and paper just doesn't cut it.
18 September 2007
For the spooks
The form also asks 'Do you wish to discuss your answers to any of the questions in this form with an officer of the New Zealand Security Intelligence Service?'
I ticked 'Yes' and 'At work'.
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