My Childhood Night Sky

Still life with salt shaker, Apr 8, 1988, lino print, 45.5 x 56 cm

In my use of jars and other still life objects I consider the quality of light, the transparency and the relationship of the objects one to the other. The space inside a jar and between each object is carefully considered.

The linoleum print is an earlier work that shows one composition of the objects and a certain quality of light. A piece of used floor linoleum was used for the print as there was a readymade texture in the surface of the linoleum that gave the desired effect when printed. The background grey colour shows this texture feature.

 

 

The drawing below, My Childhood Night Sky, continues the involvement with the still life. While planning the drawing I recollected the wonder one has as a child of space, stars, planets and how simple objects through ones imagination can become something else. The planets are Saturn, Jupiter and the red planet Mars.

I consider how to use non traditional still life objects to convey the idea.  Jars contain not only objects but also memories and ideas. So the idea of saving something of value, like a relic, is also considered in these still life works. The Tower of Babel and David and Golliath are two other recent examples of this approach to the still life genre. The Prophet’s Comb is another, an earlier linocut print.

My Childhood Night Sky, March 20, 2011, pencil drawing, 49.5 x 63.5 cm 

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The Sacred Arabic Numerals

The drawings of the ten Arabic numerals began with the study of the Arabic language and research of the traditional calligraphy seen in numerous examples in Qur’ans, mosques and on various objects. The image below left is an example of a preliminary drawing where some of the colour and composition details are investigated.  The composition of shapes follows an alternating order beginning with a circle then a square. The use of the circle and square are shapes that are central  to the traditional designs seen in Islamic art and archtecture.

 

The image below right is a drawing of the ten numerals in black and white.  Each numeral is in it’s final form.  When using a traditional calligraphy pen the initial mark, called a noktah, is made to begin forming each numeral. The noktah looks similar to the Arabic number zero or a diamond shape which is the size of the pen nib width. The pen stroke begins at the top and then continues in a downward stroke. The numbers are qualitative and quantative entities. Their outward or exoteric expression is as mathematical numbers and there also exists an essence, in Arabic a batin (باطن ), which is a esoteric quality that distinguishes one number from another. This distinguishing feature is a representation of Unity whereby all numbers relate to their source. The numerals 1, 5, 7 and 0 will be briefly discussed.

                                                                                                                                                                                                       

One represents Allah or God the Creator, primordial, eternal and permanent. One is the principle and the origin of all numbers.

 

 

 

 

 

 

Five represents the five senses of sight, hearing, touch, taste and smell. In nature the qualities of ether, fire, air, water and earth exist. In this drawing the number five is gold leafed

 

 

The number seven represents the seven visible planets, the Sun, Moon and the five planets closest to the sun in our solar system, Mercury, Venus, Mars, Jupiter and Saturn. The moon is represented in this drawing. The number seven also represents the seven days of the week.

 

The number zero or sifr in Arabic like the other nine numbers has a quantitative quality in that it represents nothing but when added to one the two numbers represent ten and so on. The qualitative or esoteric meaning of zero is the Divine Essence. God is One, Eternal not restricted to the domain of something or nothing.

                                                                                                      

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The Ninety Nine Names

In Islam there is a tradition of reciting the 99 names of Allah or God. These names have certain attributes or qualities whereby the memorization of the names and their prescribed recitation has a spiritual dimension which has a benefit to the reciter. Other Traditions have similar practises when reciting prescribed words or phrases while using a string of beads to count and keep track of the number of times one is reciting a word or phrase. In the Catholic tradition the rosary is recited, similarly in Islam there are many remembrances or invocations that are recited.

My interest in the 99 Names (Qualities) of God and other signs that exist in our material world led me to consider not only the spiritual dimension but how to use signs or symbols to represent the names. I began with researches of the written words whether in Arabic or English. Of course traditional calligrapy has incredible merit and appeal as can be seen in so many examples both ancient and modern. This interest progressed from considering Islamic designs, to basic signs such as directional arrows, to using basic shapes and lines in repetition. In the example of the preliminary drawing below right, the placement of the arrows creates a linear pattern, a basic geometric pattern that is also seen in Islamic compositions.  This composition is the one I decided to use for future art works.

                                                              The detail of the large drawing at the left is an example of a composition using the linear grid of 11 rows and 9 columns to create 99 squares. Each square has a pattern of repeated lines scribed into the paper surface. Over each pattern a light grey value in pencil is applied to the surface which reveals the scribed pattern. The directional arrows are drawn on top of  each scribed pattern. Each scribed pattern is unique as are the 99 Names.

The following image shows the use of  symbols to represent the individual names of God. Each name is numbered in a numerical sequence from 1 to 99 beginning from the top left and proceeding to the right. The first name is The Beneficent and is number one.  The symbol in each square represents that name.

The Ninety Nine Names of Allah with Symbols

The painting below is one of a series using the symbols of 25 of the Names of Allah. The grid of squares is a 5 x 5 format. Each square has a numerical value based on a magic square, a mathematical principle based on a qualitative value. The numerical position on the magic square determines the placement of each symbol/name.

The Twenty Five Names of Allah

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The Tower of Babel

Detail at base

The idea for this drawing originated from the story of the Tower of Babel. The ziggurat of Sumer in southern Mesopotamia, present day Iraq, is one example of an ancient tower. The Book of Genesis mentions a Tower of Babil in Nimrod’s kingdom in the land of Shinar or Babylon. During the reign of Nimrod in the city of Ur the prophet Abraham lived there with his family. This story is also related in some detail in the Qur’an.  Only the foundations of some of these ancient towers or structures remain and entire cities lie abandoned as ruins.

Today in the Middle East in the city of Dubai the Burj Khalifa exists as the tallest building in the world. This structure dominates the twin Petronas Towers in Malaysia and the Taipei 101 tower in Taiwan. The competition to build higher structures continues from antiquity to present day.

Drawing, 21.5 x 27.9 cm

While working with the original idea I created drawings with different compositions of the jars. The final drawing continues the still life tradition of using symbolism similar to its use in previous times. However, in my drawing the symbols refer to modern technology. I stacked glass jars to represent the tower. The jars are different shapes and sizes and diminish in size as the tower increases in height. This creates the appearance of perspective as would be seen when viewing an actual building. Many modern and contemporary structures are constructed of steel and glass and the tower of glass jars represents this.

Inside the base jar is a light socket with a light bulb and wiring snaking upwards through each jar to the top. The discovery of electricity and the creation of the incandescent light bulb revolutionized technology thus enabling the means to create such large towers. The position of the light bulb at the base of the tower indicates the beginning of this technological revolution but also it is replaced by newer technology. In a sense it has become a relic. Perhaps in time all our modern cities will also become ruins as in ancient times.

The Great Ziggurat, Etemenanki, located in Iraq was rebuilt by Nebuchadanezzar II in the 6th century BC and Alexander the Great later destroyed it only to die before he could have it rebuilt. The destruction of the twin towers of the WTC happened in minutes. A reminder that history is always being repeated.

The Tower of Babel, 2012, drawing

Click on images to view details

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IRAQ

These next images were made after the 911 incidents in the USA and the lead up to the war in Iraq.  The first flag image alters the flag template with the addition of drawings of barbed wire and text.

Iraq March 19, 2003 - present, Mar 6, 2009, pencil on paper, 63.5 x 98.7 cm

Iraq March 19, 2003 – present, Mar 6, 2009, pencil on paper, 63.5 x 98.7

Iraq, detail

Iraq, detail

 

 

 

 

 

 

IRAQ

This drawing is the second flag image and continues the concern with the death and destruction in Iraq by US government armed forces. The names are of some of the dead who have been killed since the war began. The top row represents the names of only a few people killed in March 2003 when the war began and each following row below represents deaths in that month, so row two would be April 2003. Rows three and four are May and June 2004 and continues chronologically to March of 2009.

Names were selected from a published list of those killed, women, men and children and represent a small number from the tens of thousands who have died. They represent a cross section of Iraqi society both Muslim and those from other faiths.

Looking again at Row one the first name is Imran, a male student killed in Mosul on March 22, next is Paul Moran, age 39, male and a cameraman who was killed in Khormal. The last name in this row is Valantina Yonas, aged 2 and was killed in Mosul on March 27.

Iraq, Sept 11, 2010 (detail), pencil on museum board, 57.8 x 101.6 cm

 

 

 

 

 

 

The justification for the carnage and destruction against the Iraqi people, which was  perpetrated by the US government, was based on a lie of weapons of mass destruction stored in Iraq and supposedly connections to Al Qaeda. Rather it was known before the war the agenda was to gain control of the Iraqi oil and continue US presence in the Middle East. The lie has also adversely affected the lives of thousands of Americans. This tragedy was unnecessary and should have never occurred.

Profiteers and opportunists have waged war to obtain huge financial gains creating misery and loss for the Iraqi people. Is the US flag a symbol of liberty, freedom and democracy or has it become a symbol of loss, foreign invasion, death and destruction for the sovereign state of Iraq?

The design of the flag is used as a template to create new symbols and meaning which is relevant to the ongoing war in Iraq and the Middle East. A font based on the traditional Foundational font is used to lend dignity and importance to each name. The initial letter of each name has a colour which continues the practice a seen in sacred illuminated texts. The use of engraving into the surface of the paper board and shading the surface creates a texture to contrast and highlight the names. Each star has a crescent moon, they are also engraved into the surface but they remain white. A cast shadow gives them definition. The stars now have a different identity and meaning. The drawing becomes a reminder and a memorial.

The conventional material for a memorial is stone, marble and bronze. Paper was used to reflect the fragility of life but also it is noted there are more art works on paper in the world and they continue to last for centuries. The will, dignity and strength of the Iraqi people will endure and prevail. Their names will not be forgotten.

Another flag image was created while recovering from surgery for cancer and news of a former student who was killed by an IED explosion while serving with the Canadian armed forces in Afghanistan in Dec 2009. These wars have created opposing perspectives and mixed emotions about our role as a nation in sending armed forces to other countries.

Afghanistan, Dec 12, 2009, Acrylic on paper, 44.4 x 76.2 cm

Afghanistan, Dec 12, 2009, Acrylic on paper, 44.4 x 76.2 cm

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Revelation

The drawing, Revelation is an image showing the contrast between a secular world view, represented by the Roman alphabet and numerals with that of a traditional spiritual one, represented by an Islamic design and a translation of nineteen verses from the Qur’an. The alphabet and numerals are repeated four times and are organized on a linear grid with an orientation to the four cardinal directions of North, South, East and West.

Geographical positions of latitude and longitude are important in the Islamic faith due to the orientation to Mecca for daily prayers.

Detail of drawing

The letters and numerals are placed over a traditional Islamic design that originates from designs seen in tiles, carpets and other objects. The design is based on a mathematical system which often combines the geometric with an organic element.

I have used lettering in many art works since the 1960’s and continue to use it for a variety of reasons. In this drawing Included are the first nineteen verses of chapter two, Surah Baqarah, from the Qur’an in a script style to represent the organic element. The sacred verses written over the Islamic design is contrasted with the alphabet and numerals. The main idea is how the spiritual tradition of Islam contends with the flood of secular ideas and values that continue to occur through out time. The word, Qur’an means to recite thus the verses in the original Arabic would be recited and not just read. For English speakers I chose to use an English translation of the original Arabic to allow for meaning when read.

The drawing techniques include using a stylus to incise into the paper surface to create the grid, sgraffito and hand lettering. The sgraffito technique creates a texture to enliven the surface of the paper and also acts as a contrast to the bolder colours which originate from those used in traditional Islamic designs. The image may appear as an ancient tapestry or writing on a weathered wall. In Muslim countries I have seen thousand year old mosques with glazed tiles beside a market of shops with signs and posters using contemporary lettering and images. The drawing is a juxtaposition of the ancient with the contemporary, the sacred with the profane.

As the verses from the Qur’an have an in depth meaning even with the English translation, there is a commentary of the text one can access at web sites that offer translations and commentary of the Quran for chapter two, verses 1 – 19. (Click on the detail to enlarge).

Revelation, Feb 25, 2010, Pencil drawing on paper, 49.5 x 91.4 cm

Revelation, Feb 25, 2010, Pencil drawing on paper, 49.5 x 91.4 cm

 

 

 

 

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Portraiture

Four self portraits with yardstick, dwg 1971, 33 x 91.4 cm

Four self portraits with beige yardstick, 1971-72, pastel, pencil and collage on paper board, 33 x 91.4 cm

Four Self Portraits with Yardstick, Feb.1972, photo emulsion, acrylic paint, pencil, thread, buttons on canvas, 32 x 48

Four Self Portraits with Yardstick, Feb.1972, photo emulsion, acrylic paint, pencil, thread, buttons on canvas, 50.8 x 106.6 cm

Tom 3 times with 3' fluorescent light, dwg 1973

Tom 3 times with 3′ fluorescent light, 1973, pencil, pastel and collage on paper

Self portrait Richmond St studio, pastel dwg, 1971

Self portrait Richmond St studio, pastel dwg, 1971

Seif Portrait detail - Richmond street studio circa 1973

Detail, Self portrait 1971

Self portrait with green stripe, detail of dwg 1972

Detail, Self portrait with green stripe, 1972, pastel, pencil, letraset and collage on paper

Self Portrait from a mirror, dwg 1980

Self Portrait from a mirror, 1980, pencil on paper

Detail, Self portrait

Detail, Self portrait

Self portrait, Dec 2, 1986, pencil on paper, 21.5 cm x 28 cm

Self portrait, Dec 2, 1986, pencil on paper, 21.5 cm x 28 cm

Self portrait, Oct 28, 1987, pencil and marker on paper, 21.5 cm x 28 cm

Self portrait, Oct 28, 1987, pencil and marker on paper, 21.5 cm x 28 cm

Self porttait with photos, Oct 23, 1988, pencil on paper, 21.2 x 27.9 cm

Self porttait with photos, Oct 23, 1988, pencil on paper, 21.2 x 27.9 cm

Self Portrait, June 24, 2009, pencil on paper, 21.5 cm x 28 cm

Self Portrait, June 24, 2009, pencil on paper, 21.5 cm x 28 cm

Revenant study, Sept 24, 2017, pencil on paper, 21.5 cm x 28 cm

Revenant study, Sept 24, 2017, pencil on paper, 21.5 cm x 28 cm

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Windows

Across Craig St, Evening sunset, Oct 1980, pencil and pastel on paper, 21.5 x 27.9 cm

Across Craig St, Evening sunset, Oct 1980, pencil and pastel on paper, 21.5 x 27.9 cm

Across Talbot St, June 30, 1982, pencil and pastel on paper, 21.5 x 27.9 cm

Across Talbot St, June 30, 1982, pencil and pastel on paper, 21.5 x 27.9 cm

Rear yards off Talbot St, June 6, 1982, pencil on paper, 21.6 cm x 27.8 cm

Rear yards off Talbot St, June 6, 1982, pencil on paper, 21.6 cm x 27.8 cm

Building at Sunset, July 26, 1982, pastel and oil paint on paper, 21.5 x 27.9 cm

Building at Sunset, July 26, 1982, pastel and oil paint on paper, 21.5 x 27.9 cm

Detail, Building at sunset

Detail, Building at sunset

Talbot Street window, 1981, acrylic on masonite

Talbot Street Studio, July 26, 1982, acrylic on masonite,19.5 x 36.2 cm

Fallen Light, Nov 25, 1983, pencil on paper, 21.6 x 28 cm

Fallen Light, Nov 25, 1983, pencil on paper, 21.6 x 28 cm

Talbot St Studio window, Nov 26, 1983, pencil on paper, 21.5 x 27.9 cm

Talbot St Studio window, Nov 26, 1983, pencil on paper, 21.5 x 27.9 cm

Near Hyde Park Road - Apt., Aug 7, 1986, pencil on paper, 21.6 cm x 27.9 cm

Near Hyde Park Road – Apt., Aug 7, 1986, pencil on paper, 21.6 cm x 27.9 cm

Hyde Park Studio, Sept 24, 1986, pencil on paper, 21.5 x 27.9 cm

Hyde Park Studio, Sept 24, 1986, pencil on paper, 21.5 x 27.9 cm

Detail, Geranium, Oct 11, 1986, pencil on paper, 21.5 x 27.9 cm

Detail, Geranium, Oct 11, 1986, pencil on paper, 21.5 x 27.9 cm

Window sill Still life, Oct 20, 1986, pencil on paper, 21.5 x 27.9 cm

Window sill Still life, Oct 20, 1986, pencil on paper, 21.5 x 27.9 cm

Detail, Window Still life

Detail, Window Still life

Detail, Window still life apple

Detail, Window still life apple

Window Still Life Winter, Dec 17, 1986, pencil on paper, 21.5 x 27.9 cm

Window Still Life Winter, Dec 17, 1986, pencil on paper, 21.5 x 27.9 cm

Oranges and tangerines, Dec 20, 1986, pencil on paper, 21.6 cm x 27.9 cm

Oranges and tangerines, Dec 20, 1986, pencil on paper, 21.6 cm x 27.9 cm

Studio windows, Dec 22, 1986, pencil on paper, 27.8 cm x 21.7 cm

Studio windows, Dec 22, 1986, pencil on paper, 27.8 cm x 21.7 cm

 

Shadows after midnight, April 21, 1988, pencil on paper, 21.5 x 27.9 cm

Shadows after midnight, April 21, 1988, pencil on paper, 21.5 x 27.9 cm

Minnecote, Scarborough, Oct 21, 1988, pencil on paper, 21.6 x 28 cm

Minnecote, Scarborough, Oct 21, 1988, pencil on paper, 21.6 x 28 cm

The prophet's comb,Feb 6, 1989, pencil on paper, 21.6 x 27.9 cm

The prophet’s comb,Feb 6, 1989, pencil on paper, 21.6 x 27.9 cm

The Sphinx's spoon, Feb 5, 1989, pencil on paper, 22.6 x 28.9 cm

The Sphinx’s spoon, Feb 5, 1989, pencil on paper, 22.6 x 28.9 cm

Detail, the Sphinx's spoon

Detail, the Sphinx’s spoon, Feb 5, 1989, pencil on paper, 22.6 x 28.9 cm

Venetian plant life - fig, Feb 1, 1990, pencil on paper, 21.5 x 27.9 cm

Venetian plant life – fig, Feb 1, 1990, pencil on paper, 21.5 x 27.9 cm

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Portraits 1

This post contains a series of portraits or faces using pastels and gouache on paper.

 

Yellow Face (1), March 1977, gouache and pastel on blue Ingres paper, 22.8 x 30.4 cm

Yellow Face (1), March 1977, gouache and pastel on blue Ingres paper, 22.8 x 30.4 cm

Warm face smiling (2), March 1977, Oil and chalk pastel on yellow Ingres paper, 22.7 x 30.4 cm

Warm face smiling (2), March 1977, Oil and chalk pastel on yellow Ingres paper, 22.7 x 30.4 cm

Egypt face (3), gouache and pastel on brown Ingres paper, 22.7 x 30.4 cm

Egypt, face (3), gouache and pastel on brown Ingres paper, 22.7 x 30.4 cm

Orange face (4), March 1977, oil pastel, gouache and urethane on light yellow Ingres paper, 22.7 x 30.4 cm

Orange face (4), March 1977, oil pastel, gouache, urethane on light yellow Ingres paper, 22.7 x 30.4 cm

Pink face (5), March 1977, oil pastel, gouache and urethane on brown Ingres paper, 22.7 x 30.4 cm

Pink face (5), March 1977, oil pastel and gouache on brown Ingres paper, 22.7 x 30.4 cm

Green line face (6), April 1977, oil pastel, gouache and varathane on green Ingres paper, 22.7 x 30.4 cm

Green line face (6), April 1977, oil pastel, gouache and urethane on green Ingres paper, 22.7 x 30.4 cm

Yellow purple face (7), April 1977, oil pastel and oil paint on green Ingres paper, 22.7 x 30.4 cm

Yellow purple face (7), April 1977, oil pastel and oil paint on green Ingres paper, 22.7 x 30.4 cm

Two mouth face (8), April 1977, oil pastel, gouache and varathane on grey Ingres paper, 22.7 x 30.4 cm

Two mouthed face (8), April 1977, oil pastel, gouache, urethane on grey Ingres paper, 22.7 x 30.4 cm

Pink grey face (9), March 1977, oil pastel, gouache and varathane on black Ingres paper, 22.7 x 30.4 cm

Pink grey face (9), March 1977, oil pastel, gouache and varathane on black Ingres paper, 22.7 x 30.4 cm

Grey green face (10), March 1977, oil pastel, gouache, wax and varnish on light yellow Ingres paper, 22.7 x 30.4 cm

Grey green face (10), March 1977, oil pastel, gouache, wax and varnish on light yellow Ingres paper, 22.7 x 30.4 cm

Japan, face (11), April 1977, oil pastel, gouache and varathane on pale yellow Ingres paper, 22.7 x 30.4 cm

Japan, face (11), April 1977, oil pastel, gouache, urethane on pale yellow Ingres paper, 22.7 x 30.4 cm

Smoker face (12), April 1977, oil pastel and gouache on light yellow Ingres paper, 22.7 x 30.4 cm

Smoker face (12), April 1977, oil pastel and gouache on light yellow Ingres paper, 22.7 x 30.4 cm

Violet face (13), March 1977, oil pastel and wax on dark green Ingres paper, 22.7 x 30.4 cm

Violet face (13), March 1977, oil pastel and wax on dark green Ingres paper, 22.7 x 30.4 cm

Black prophet face (14), April 1977, oil pastel and gouache on board, 22. x 30.5 cm

Black prophet face (14), April 1977, oil pastel and gouache on board, 22. x 30.5 cm

Ochre face (15), April 1977, oil pastel on board, 22.9 x 30.5 cm

Ochre face (15), April 1977, oil pastel on board, 22.9 x 30.5 cm

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Portraits 2

This series of images are pastel on paper drawings. They were created after the masks and

portraits made earlier in the decade.

Lost (1), Feb 15, 1977, pastel on paper and varathane, 22.8 x 30.4 cm

Lost (1), Feb 15, 1977, pastel and urethane on paper, 22.8 x 30.4 cm

 

Purple green face (2), Feb 15, 1977, 22.8 x 30.4 cm

Purple green face (2), Feb 15, 1977, 22.8 x 30.4 cm

Dreamer (3), Feb 6 & May 1977, pastel on paper, 22.8 x 30.4 cm

Dreamer (3), Feb 6 & May 1977, pastel on paper, 22.8 x 30.4 cm

Blue green face (4), Feb 16, 1978, pastel on paper, 22.8 x 30.4 cm

Blue green face (4), Feb 16, 1978, pastel on paper, 22.8 x 30.4 cm

Head balancing a ball (5), April 4, 1977 & Feb 2, 1978, pastel on paper, 22.8 x 30.4 cm

Head balancing a ball (5), April 4, 1977 & Feb 2, 1978, pastel on paper, 22.8 x 30.4 cm

Purple eye face (6), Feb 20, 1978, pastel on paper, 22.8 x 30.4 cm

Purple eye face (6), Feb 20, 1978, pastel on paper, 22.8 x 30.4 cm

Red eye face (7), Feb 22, 1978, pastel on paper, 22.8 x 30.4 cm

Red eye face (7), Feb 22, 1978, pastel on paper, 22.8 x 30.4 cm

Masked face (8), Feb 22, 1978, pastel on paper, 22.8 x 30.4 cm

Masked face (8), Feb 22, 1978, pastel on paper, 22.8 x 30.4 cm

Night time Face (9), Feb 22, 1978, pastel on paper, 22.8 x 30.4 cm

Night time Face (9), Feb 22, 1978, pastel on paper, 22.8 x 30.4 cm

White face (10), Feb 22, 1978, pastel on paper, 22.8 x 30.4 cm

White face (10), Feb 22, 1978, pastel on paper, 22.8 x 30.4 cm

Yellow face howl (11), Feb 23, 1978, pastel on paper, 22.8 x 30.4 cm

Yellow face howl (11), Feb 23, 1978, pastel on paper, 22.8 x 30.4 cm

Serious face (12), Feb 23, 1978, pastel on paper, 22.8 x 30.4 cm

Serious face (12), Feb 23, 1978, pastel on paper, 22.8 x 30.4 cm

Blue eye face (13), Feb 23, 1978, pastel on paper, 22.8 x 30.4 cm

Blue eye face (13), Feb 23, 1978, pastel on paper, 22.8 x 30.4 cm

Out of control face (14), Feb 24, 1978, pastel on paper with varathane, 22.8 x 30.4 cm

Out of control face (14), Feb 24, 1978, pastel on paper with varathane, 22.8 x 30.4 cm

Orange yellow face (15), Feb 25, 1978, pastel on paper, 22.8 x 30.4 cm

Orange yellow face (15), Feb 25, 1978, pastel on paper, 22.8 x 30.4 cm

Purple face (16), March 10,1978, pastel on paper, 22.8 x 30.4 cm

Purple face (16), March 10,1978, pastel on paper, 22.8 x 30.4 cm

Nobody (17), March 12, 1978, pastel on paper, 22.8 x 30.4 cm

Nobody (17), March 12, 1978, pastel on paper, 22.8 x 30.4 cm

Angry nailer (18), March 12, 1978, pastel on paper, 22.8 x 30.4 cm

Angry nailer (18), March 12, 1978, pastel on paper, 22.8 x 30.4 cm

The ending (19), Apr 1978 & Jan 29, 1980, pastel on paper, 22.8 x 30.4 cm

The ending (19), Apr 1978 & Jan 29, 1980, pastel on paper, 22.8 x 30.4 cm

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