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Description
I keep destroying the new pieces I am trying to complete, so until the gods of ink smile upon me again, I will release another oldie that was crucial to my artistic evolution.

Piece begun in summer 2001, in Rome, completed in Sana'a, Yemen in early winter 2002. On this drawing I began migrating into using larger size rapidograph tips like the 0.3 and the 0.5, combining them with the 0.1; it's funny, but I was so attached to the 0.1 up to that point, that I had to force myself to try out the larger tips. This drawing perhaps reflects the different stages of human existence, symbolized by obvious devices such as the fetus, but also stranger images such as 'flayed' torso; and heraldic insects (death's head moth, and bee) and of course the labyrinth. The black backgrounds and part of the ouroboros are completely textured by rapidograph strokes, in a very laborious but meditative process.

0.1, 0.3, 0.5 rapidgraph, ink, two connected A3 bristol sheets

Description
I keep destroying the new pieces I am trying to complete, so until the gods of ink smile upon me again, I will release another oldie that was crucial to my artistic evolution.

Piece begun in summer 2001, in Rome, completed in Sana'a, Yemen in early winter 2002. On this drawing I began migrating into using larger size rapidograph tips like the 0.3 and the 0.5, combining them with the 0.1; it's funny, but I was so attached to the 0.1 up to that point, that I had to force myself to try out the larger tips. This drawing perhaps reflects the different stages of human existence, symbolized by obvious devices such as the fetus, but also stranger images such as 'flayed' torso; and heraldic insects (death's head moth, and bee) and of course the labyrinth. The black backgrounds and part of the ouroboros are completely textured by rapidograph strokes, in a very laborious but meditative process.

0.1, 0.3, 0.5 rapidgraph, ink, two connected A3 bristol sheets