Animals kept crawling in so it was inevitable to incorporate them into these Venus of The Hague series. After the last one I felt I did not exhaust the surrealist theme yet. Besides that, I also thought that abstracting the motif further would not bring me more that I already did. The first animal I saw was a lioness in her thight. Secondly I saw the hares in her buttocs but they took some more time to fold together. Such pareidolia is a guilty pleasure I often endulge in when I am doing these kind of surrealist drawings.They enable me to show more than one single motif. Nothing pleases me more than people telling me they saw a nude at first sight.
The turkey was a lot more difficult to get hold of. I could not make something else of the conical shape of the hairdo than the tail feathers of a turkey. In retrospective it all makes sense but that always happens to artists. I remember Dali once said something similar. In this particular case it was about predators such as lions and tasty prey like rabbits and turkeys. Perhaps the rabbits are hiding themselves for the lion that is on the outlook for a bite to eat. Contrary to the turkey I saw the parrot-like bird and the pigeon quite easily.
Sometimes spectators need an extra push. That is why I put a realistic lion and turkey in the back. This way the viewer will detect the animals in the bodyscape subliminally. It is a trick I pulled before such as in my graphite pencil drawing ‘Nude – 04-10-15’. This drawing proofs we all keep animals deep inside, regardless we are aware of them.
Click here to read about the principle of ambiguous images as explained in my post ‘Gaia – 16-03-16’.
Graphite pencil drawing (Sakura 0.5 mm, 3B) on Winsor & Newton Bristol paper (21 x 29.7 x 0.1 cm) – A4 format)
Artist: Corné Akkers
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