Body Machine # 46
Body Machine # 47
Body Machine # 48
Body Machine # 49
Body Machine # 50
This was another experimental set, in which I developed various textures and values. I took any approach that was thought of, with the medium choice of ballpoint pen and ink wash. It was also based on the mood at any particular time. Many periods were after work, and depending on my day, could determine how a drawing would be approached.
1. Body Machine # 46, was my wanting to work with a combination of crosshatching and wash layers, in the shadowed areas. The ballpoint pen can be very versatile, depending on pressure applied to the paper, with the point. This is another visual angle of the session between the bodybuilder and his new sexual interest.
2. Body Machine # 47, is one of my favorites from the series, after currently viewing the piece again. I like the angle achieved. It heightens the eroticism of what is to come between these two. The butt, legs and thick bare soles of his feet really draws me in. And the reaction on the top's face, displays the excitement and pleasure he is experiencing.
3. Body Machine # 48, was another angle to capture the oral sexual experience. This time I wanted to focus exclusively on the act alone, without a background. I highlighted the bodybuilder's linear edge, because I did not feel satisfied with applying darkness next to darker skin tones with pen and washes. It takes away from the detail of their physical form and dulls the composition.
4. Body Machine # 49, brought me back to experimenting with using a brush to draw the composition without displaying the ballpoint lines. I think it was effective overall in this piece, considering the perspective and subject matter. I had to include foot fetish material within this series. It involves one of my favorite male features to draw. The black lines on the sofa, gives a good contrast in texture.
5. Body Machine # 50, made me hesitant about posting it on my Instagram page. It reminds me of the mistake I made, in the bodybuilder's foot within the man's hand and mouth! Perhaps if it were the other foot, I would not have been hesitant, because it is a lesser attraction in the composition. The focus and theme is about the actual foot that is being adored in this piece. And I realized after drawing the foot, that the order of the toes, was created backwards! Of course it was drawn directly with ink, in which is very unforgiving and permanent. What was I going to do? I was generally fine with displaying errors in my work during this period. The more honest my search and approach was, the better. But I wanted to correct this somehow, without having to redo the spontaneity of the moment. Any form of white out, would prevent any layer of wash from penetrating it's opacity onto the paper. So I just drew over the toes, until I accomplished the proper order on the foot. Overall I am satisfied with the piece. It actually has great potential of becoming another one of my favorites in the series. It reminds me of a documentary about Thelonious Monk, I've watched. It explains how he did not allow more than a few takes when recording with his band. It did not care for rehearsing or doing multiple takes. " You rehearse every time you play. " He said. Charlie Rouse explains how after perhaps the first or second take, Monk would choose it as the master, and move to the next tune. The saxophonist explained. " You have to listen to that mistake, for the rest of your life. " He said. It is one of my favorite quotes, as it regards to creating art on the spot and spontaneity.
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