The Lab
Everything here was built with one eye, a torch, some copper and a lot of orbiting. Two lines under each piece: how it was built, and what had to be worked around.
Impossible objects
Escher shapes that exist. They only work from one spot, and I only have one spot.
The colonnade
Pencil. A temple whose columns land on the wrong floor. Count them twice and they still don't agree.
Drawn from one spot, the way I see everything now. Move your head and it falls apart. Don't move your head.
Belvedere, mine
Pencil. Two floors, one ladder, and the ladder goes inside and outside at the same time. A nod to the man who got me started.
Escher came up when I googled impossible. I knew as a kid how that shape could be built. So I drew it until I believed it.
The corridor
Pencil. A hallway of windows that recedes in two directions at once.
Perspective with one eye is a story you tell yourself. This one tells two.
Cube, turned
Pencil. The impossible cube pulled inside out, with the faces hatched so the fold reads.
The cube is the whole project. This is what it looks like when I stop building it and start bending it.
Triangle clock
Pencil. A Penrose triangle with the hours wrapped around it. Time goes in a loop on this one, which tracks.
Numbers are hard with one eye. I drew the ring first and let the triangle argue with it.
Chess tower
Acrylic on canvas. A board on stilts that can't hold itself up, and does.
First one I painted instead of drew. Paint doesn't let you cheat the corners the way pencil does.
The city, built
Cardboard and glue. The impossible stairs as a thing you can hold, from the one angle it works.
You can walk around it and watch it break. Then stand back where I stand and it fixes itself.
Multi-pencil drawings
Two pencils, then six, then ten. The rigs are copper and they are sized to my hands.
Spheres, six lines deep
Pencil, six at once. Every contour here is six strokes laid down in one move of the hand.
You stop steering the line and steer the whole hand. The drawing is whatever the rig gives you.
Cells
Pencil. Circles inside a rim of teeth, drawn with the rig so the shading stacks on its own.
Four beats across, lift, back. I draw by count because I can't see the right edge while I'm on the left.
Crab and eye
Pencil. A crab holding an eye that's holding you.
Jokes about the one-eye life are allowed. I make most of them.
Tiki, watching TV
Pencil. A barrel tiki with a flat-screen. Draw what's in the room.
Done between lives on TikTok. The room gets in the drawings whether I plan it or not.
Dude in a cap
Pencil. Shades, chains, chain-link background laid in with the rig.
The background took one pass. The face took the week.
Hope
Pencil. A house on a hill, a long road, and a sign that says what it says.
Drawn the month the eye went. It's on the site because it's true, not because it's pretty.
Acrylics
Canvas, when the pencil runs out of room. Loud on purpose.
Canyon tree
Acrylic on canvas. A tree bridging a canyon, blue sky through the gap.
Nevada from the road, more or less. The gap is the point.
Shell
Acrylic. A spiral that's half yin-yang, half nautilus, in black on white.
One continuous curve. Had to turn the canvas, not the hand.
Dragon in the grid
Acrylic. A perspective grid that becomes a dragon the longer you look.
The grid came first. The dragon showed up on day three.
Serpent, eye, net
Acrylic. A coiled serpent around an eye, netted in gold line.
Painted mostly at night. The net is the same line as the pencil work, just louder.
Hourglass
Acrylic. A figure in an hourglass, a city folding in around it.
Time, a room, a person in the middle. Self-portrait, loosely.
Face in the web
Acrylic, black and white. A face pulled through a net of lines.
Same rig idea, bigger brush. The lines still come in sets.
The whole map
Acrylic, long canvas. A map of everywhere, in the way maps lie.
Biggest thing I've painted since the eyes. Took the whole wall.
Fire, copper, wood
The materials I knew from construction, used for something that doesn't need to hold a roof up.
Pyrosculpture
Juniper from the hills, burned with a torch in layers, then brushed back to the grain between passes.
Can't judge the depth of a burn by eye. I go by smell and sound: it crackles differently when it's deep enough.
Copper jewelry
Sheet copper, hammered, folded, pickled and left to find its own color. Rings, cuffs, a few pendants that are tiny impossible cubes.
Small work with one eye means a magnifier on a stand and the lamp six inches from my face. Slow. Slow is fine now.
Carving
Cottonwood from the river, hand tools only. Mostly the stair pieces, sometimes a face that shows up in the grain.
I keep the gouge on the far side of the work so I can see the edge coming. Learned that one the hard way, once.
Digital
Blender and a resin printer. Learning 3D with one eye means no depth perception and a lot of orbiting.
Blender models
The cube and the stairs rebuilt in Blender to test whether they still read on a flat screen before I cut material.
No depth perception, so the viewport lies to me constantly. I orbit the model until it stops lying. That's most of the time spent.
Resin prints
Elegoo resin prints of the cube, palm-sized, washed and cured. Some come out wonky.
Can't spot a lean on the plate until it's done. The wonky ones become drop seconds: same object, cheaper, honestly labeled.
Want one around?
The drops are numbered and small. The Discord is where the next piece gets built in public.