I've been working very methodically on the new pieces that are in the works. For one, I've decided to work on paintings from the very ground level. And for me the ground level is line induced. If the piece doesn't work structurally, spatially and of course aesthetically, then it must be redrawn until it feels right. So the latest drawings, sketches rather, that I've got going as paintings are now clearly visible ideas in the form of clean line drawings.

This is only a big deal for me since I usually do a quick sketch to get the gist of the piece and then go directly to the painting stage. But going directly into the painting means that a lot of the time I end up redrawing the underlying structures a few times to get the flow of the piece to work. Somehow, this drawing thing saves a lot of time. Plus, it allows me to work on several future paintings before they're even begun. Who knew? 

That's where the sexy undercarriage of the work lies, its existence tempered by various flits of creative outbursts and elusive visions. For me and myselves, this represents a breakthrough of taking a leap by calming the creative storm and returning to the importance of the basics. If you'd like to see the first image in larger size, click here. If you'd like to get a peek at a true master of line, and a huge influence for someone like myself, check out Hans Bellmer, the highly underrated and controversial Surrealist.