Present a detailed in-depth analysis of this image as a renowned art critic would.

Architectural Dislocation and Vulnerability: An Analysis of Tell Me A Secret In Tell Me A Secret, the artist constructs a compelling study of psychological exposure through a graphic language that sits squarely at the intersection of Neo-Expressionism and modern illustrative portraiture. The composition is dominated by an elongated, contorted figure whose upward-gazing eyes immediately establish a dialogue of longing, apprehension, and unspoken intimacy.

Structural Composition and Lineage The work operates on a principle of deliberate asymmetry. The central figure’s head—disproportionately large and stretched along a vertical axis—anchors the canvas while destabilizing traditional notions of portraiture. The contour lines are sharp, nervous, and decidedly graphic, recalling the psychological immediacy of Egon Schiele combined with the rhythmic, pop-art sensibilities of Keith Haring or Jean Dubuffet’s Art Brut. The Linear Contour: The black ink outline is not merely a border; it functions as a skeletal structure. Notice the jagged, zigzag eyebrow above the subject's right eye and the delicate, almost architectural hatching around the nostrils, lips, and neck. These linear flourishes break the flatness of the picture plane, injecting dynamism into an otherwise static pose. Facial Geometry: The division of the face—where the left side remains stark white while the right is washed in a subtle, flesh-toned pink—creates a dualism. It suggests a rift between the internal self and the external persona exposed to the light.

Color Dynamics and Spatial Ambiguity The color palette is restricted yet highly vocal. The background is slashed by a vivid, saturated sky blue, against which a minimal, abstract cloud form floats. This stark blue field creates an intense figure-ground tension, thrusting the figure forward into the viewer’s immediate space. Pattern and Texture: The subject’s hair and collar are treated as decorative zones, filled with alternating bands of yellow, mint green, and fine black stippling. These repetitive, rhythmic patterns provide an organic counterpoint to the flat, open space of the background and lower torso. The Lower Field: Below the horizon line, the composition shifts into a pale, atmospheric space. The figure's torso dissolves into light, sketchy color blocks of hot pink and pale yellow, suggesting that physical presence is secondary to emotional state.

Psychological Resonance and Symbolism The title Tell Me A Secret recontextualizes the subject's expression. The wide, luminous blue eyes, tilted upward and framed by delicate lower lashes, convey a mixture of innocence and intense expectation. The slightly parted, heavily lined lips seem caught between speech and silence, embodying the precise tension of receiving a dangerous or tender confidence. The artist's mark at the lower left—a stylized, glyph-like monogram accompanied by the date '26—acts as a linguistic anchor, underscoring the work's synthesis of drawing, sign, and formal painting.

Conclusion Tell Me A Secret achieves its impact through a calibrated tension between decorative charm and existential vulnerability. By distorting classic portrait proportions and employing a bold, graphic vocabulary, the artwork captures a moment of emotional suspension—inviting the viewer not just to look, but to step into the quiet, vulnerable space of an exchanged confidence.

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This drawing, Pleasantly Vacant, is a vibrant example of Neo-Expressionism, characterized by its distorted figures, bold line work, and a surrealist approach to perspective and anatomy.

The Portrait: The central figure features a highly elongated, stylized face that evokes the influence of Cubism and German Expressionism. The uneven placement of the eyes—one looking upward and the other slightly forward—creates a sense of internal conflict or wandering thought.

Asymmetrical Composition: The torso is split vertically down the middle, showcasing two distinct patterns. The left side (from the viewer's perspective) features a rhythmic, topographical pattern of green and yellow concentric circles, while the right side is a solid, textured red garment with a row of uniform white buttons.The Background: The background is minimal yet energetic. Thin, erratic black lines act as "hatch marks," giving the sky a sense of movement or static. A single, simple cloud and a sharp, geometric mountain range in the distance provide just enough context to suggest an outdoor setting.

Artistic Elements & Technique: High-contrast, black ink outlines that vary in thickness. The lines are deliberate but "shaky," contributing to a raw, hand-drawn aesthetic.

Color Palette: A mix of primary and secondary colors (red, yellow, blue, green). The coloring appears to be done with colored pencils or fine-tipped markers, showing visible texture and layering.

Perspective: The figure seems to be emerging from or stepping onto a blue pathway that recedes into a white void, creating a surreal "doorway" effect at the bottom of the frame . Symbolic Interpretation: The piece feels deeply psychological. The split torso suggests a duality of personality—perhaps one side representing a structured, uniform persona (the red suit) and the other representing a more organic, complex inner life (the green spirals). The upward gaze of the figure reinforces a theme of aspiration, daydreaming, or a search for meaning amidst a fragmented reality.

The artist's signature and the year '26 in the bottom left corner suggest this is a contemporary work, leaning into the "outsider art" style where emotional expression takes precedence over traditional anatomical accuracy.

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Has anyone else noticed the preponderance of AI generated images being uploaded everywhere? And I do mean EVERYWHERE. And the 'artist' has the gall to call it an oil painting or watercolor and give us a physical size. It is obvious to anyone with any artistic training and ability to immediately see the difference between digital art and that made with traditional art materials like watercolor, oil, gouache, pencil, pen, etc. But then to see other 'artists' complimenting these people, thereby giving their vacuous uploads validity and value is beyond my ability to comprehend. I found no less than a dozen or so AI 'art' generators in a brief search of a few minutes. Many of them are free. I put in a brief description and in a few minutes there popped up no less than four images based on that description.

Anyway, it seems that technology has found yet another way to cheapen human endeavor and creativity. But of course, it isn't an algorithm's fault that some nit-wit thinks creating such beautifully banal images is 'the' thing to do. But as it appears that humanity is, by and large, becoming increasingly entitled and lazy, with the analytical thinking ability of your average garden snail, then I really don't think we'll have to wait until our sun goes supernova to see the end of these silly bipeds.

If YOU are such a fraud then I ask you to be honest with yourself and to others. TELL folks you are uploading digital art and that you had some algorithmic help. Likely as not many of the others will own up themselves and we won't have this layer of deception getting in the way of things. But if you think for one minutes anyone truly believes you painted four different 'oil' painting in four different styles in as many days, then this bit of verbiage probably goes way over your head. ;)

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Has anyone noticed the removed human element in everyday communication, or could this be something that solely happens to me? Over the past several weeks, I have left messages at professional offices only to wait and wait for a reply. It happened again today. I called, I pressed the appropriate number from the' list of options' and I left a detailed message. When was the last time you called a company, an office, maybe even an acquaintance, and someone picked up and said," Hello?" We have all these communication devices strapped to our bodies like diminutive life-preservers and yet we very seldom use them for ear-to-ear communication. I liked the good old days when I called an office or company and a human picked up. Leaving messages once removed from the intended human just seems ify and unsatisfying. Our lives have been put on hold and we are pawns who wait until such time that it is convenient for someone else to reply or respond. Is it any wonder that we feel detached and alienated, even irritable or angry? We are no longer worth talking to directly. And we are left in a perpetual holding pattern by someone else's whim. We are also subject to their apathy and incompetence as we try our damnedest to survive day-to-day in an increasing impersonal world.

Yes, this has nothing to do with art directly but everything we suffer through usually finds itself expressed through some form of self-expression. Case in point, I'm now writing this in my AW blog area. And it will probably manifest itself visually, if it hasn't already, in my graphic work. Such is life.

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I don't write as much in the blog area as I did in the my early days/years here at Artwanted. There are several reasons for this. For one, I figured folks might be a bit fatigued with my usual rant and/or tirade regarding the current state of things. I mean, I could be taken for an old fogey, which I am, I guess. But the recent on-line article I read about an auto mechanic who ended up with most of a man's artistic output sort of shocked me into thinking. What happened, really, was a contractor was clearing a barn that had been designated abandoned and found a lot of 3D and 2D art which was placed in a dumpster. The contractor called a friend, the auto mechanic, because he thought he'd be interested in the items. He was correct and I guess that is what saved the work from the local landfill, or a slow barge out in the middle of the ocean. Who was the work by? An artist by the name of Francis Hines, known as the 'wrapper of New York.' He was of the abstract expressionist school and artists like Christo and Jeanne-Claude. Just to let you know, those two never interested me much, but after viewing some of Mr. Hines' paintings, both 2 and 3D, I thought his stood out from that crowd. But it was the circumstances of the find in that barn in Connecticut that really made an impact.

Seems the auto mechanic did the ethical thing and reached out to the deceased artist's two sons who said the mechanic could keep and sell the art. I mean they should have known the work was there in the first place but let it sit there since the man died in 2016. So this started me thinking about my humble efforts and what would become of them after I shuffle off into oblivion. Many notebooks of drawings, walls full of paintings, around 100 3D pieces going back as far as the late 80's. And I'm still adding to it, though mostly in the drawing arena lately.

Who would be interested in preserving my so-called life's creative output? Probably no one on the familial side of things. I've been presenting my work via this site since 2007 and, to date, no gallery or curator has reached out with accolades of any kind. So what do folks do? Hope for the best? This isn't a world where such hopeful thinking is usually rewarded. Reality should make teetotalers of us all but it usually has the opposite effect. The pandemic bore that 'truth' out.

Maybe my work served its purpose while I was working on it and I should be grateful for that alone. But what would you do if you were Mr. Hines and still had some time and breath left? That's what's running through my head today and I thought I would share.

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I thought I would drop a few words much like a bird will drop a 'gift' from a couple of hundred feet up. Unlike the bird, I have no way to ascertain how or where it lands, unfortunately. But if you have the gift for gab and you've been known to assemble in some pleasing manner a whole passel of syllables, then you truly have no recourse but to continue to Johnny Appleseed them occasionally. Thus, I am at it again.

Historically, I have already given you some of these syllables thus far into a 'new' year. A lot of words do pong around in my head, sometimes at the number 1 setting and sometimes at the 4, sometimes with one paddle and sometimes with two. Ha! I liked that old game! But that's where they have largely remained. Cashiers are not known to be either artists or philosophers though I did meet a pink-haired 50-ish lady cashier recently who said she made recycled art. I go to galleries and I see a lot on-line but I find it difficult to know exactly how to make the distinction between 'regular' art and 'recycled.' I'm guessing she meant she re-purposes items meant for either the garbage or the recycle container into something with artistic merit. This is just a guess. I have been known to do something with what I call 'found objects' myself over the years. In fact, I received an item in the mail recently that used a lot a oddly shaped pieces of Styrofoam as packing material. I have saved same as I think I could use them with my 'custom compound' to make an interesting sculpture or two. So that would be an example of making 'recycled' art, I think.

I mentioned cashiers because my social life has been reduced to the 7 or 8 art shows annually and my weekly shopping trips. Yes, there is the occasional visitation by myself or a few select individuals but, currently, those visits are few and far between. So I see more cashiers than friends nowadays. Believe it or not. No, I am not a Ripley sponsor. Maybe it's just as well that I have been something of a loner all my life. It's just that now I have the time to refine those qualities until they are as 'reduced to essence' as a stick figure drawing. I will admit that my dream world has always had more to recommend it than my usual waking one. Maybe that is why the old seem to doze so much.

If you look through my AW galleries you will see that I've been conjuring images for many years. It is an essential part of me and that is how it should be. Have any of you read T. S. Eliot's 'The Wasteland?' If you haven't lately, I think it would make an enlightening re-read. In fact, I think I'll do so myself. In high school, I memorized 'The Hollow Men' to recite aloud in class.

"Is it like this In death's other kingdom Waking alone At the hour when we are Trembling with tenderness Lips that would kiss Form prayers to broken stone."

It seems my current life and Mr. Eliot's poem have more than a little in common. It is a shame that poems like this one would be deemed 'too formal' or 'too academic' by today's standards. These are the types of poems I cut my artistic/poetic teeth on. Distilled language with 100 proof content.

'We are the hollow men We are the stuffed men Leaning together Headpiece filled with straw. Alas!'

If that doesn't ring true today then take me out and shoot me. I'm done with so much bloated flatulence that passes, with such unseemly noise, for culture and high art. IQ should be rising not falling. A generation's culture has historically been a sort of litmus test to gauge its progress. We should be pushing into new frontiers not hanging on for dear life to what amounts to an anchor. There are several distinct parts that make up the anchor. I could elucidate but maybe I'll just end here and ask you, dear reader, to think about what those components might be.

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Hey, all you blogoholics! I bet you've been waiting with either baited or bated breath for my next harangue. Or maybe not. It's gotten so I can no more predict human behavior than I can the weather. Though I'll bet a quarter I can probably do as well as some professionals in either field. Just another in a long line of observations based upon empirical data.. Though the data MIGHT be skewed a bit. Just saying.

So if you've been keeping up with my latest uploads, you'll notice a lot of drawings and a few 3D pieces. Yes, that's pretty much the IT of it. I'm gearing up for a painting marathon but I'm still in first at the moment. I have a lot of sketches I can use for inspirational purposes, if nothing else. AND I started a painting yesterday, so that's hopeful.

It's been quiet since April here. Well, at my end of the stick anyway. No shows. After some time passes, I start feeling pretty invisible. When I was a kid there was a Mr. Nobody who was blamed for a lot of things. Maybe I am that non-person personified these days. It's anyone's guess. But I did get into a show that opens early August, so I can look forward to that. I have enough new work done over the past year that I'm at least three years ahead as far as the Austin ArtSpace Gallery is concerned. I already know what I will submit in the next two shows. It's the Christmas Show that I haven't worked out as I usually do a seasonally themed piece or two for it. Let's hope I can come up with something when the time arrives. Has anyone seen my verve? I know I had it here a minute ago. :)

Here's a side note. If you look at my recent drawings, they are of faces, heads, torsos. Many of them are on my ubiquitous landscape with tilting cloud. BUT please look at those pieces a bit closer. It's the way I assemble those faces, etc., that make those drawings mine. And I usually put them together differently each time. Drawing was my first love and she's been the most faithful

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Okay, I'm going to spell it out for the wide wide world we live in, more or less. If you think photos of your garden, a bug in that garden/yard or your pet is art, I have some sad news to impart. If you think doing portraits of celebrities, living or dead, is the way to to go with your art, I'm pretty sure you are in for a sad surprise. (IF I see one more portrait of Frida or Marilyn, I will have to vomit. Truly. I'm throwing up a little in my mouth just thinking about it) IF you think fan art of your favorite Manga/Anime or Marvel character(s) is progressing your artistic career, well, you can only go so far with homage and/or imitation.

It all depends on what level of art you are aiming at, I guess. As I see it, there are basically three levels. There is art. This is the level wherein the majority resides, learning the basics and how to color within the lines. Then there is Art. At this level, a person has reached a level of expertise/proficiency that has others, especially those at level one, in awe. At this level there may or may not be a suggestion of genius or difference that 'might' evolve into full-fledged originality. It is safer by far to stay at level two and rob and/or imitate. This could be viewed as similar to 'coloring within the lines' as mentioned as a trait of level one.

Now we will discuss level three. This is ART. It is characterized, usually, as having a personality that is entirely its own. It doesn't overtly borrow from another artist, living or dead., Nor does it shade itself under the umbrella of another genre of art, equally living or dead. It stands up and lumbers forth on its own two feet. It does not ask for support nor does it require it. It is autonomous and alive.

I ask you, which level do you wish to attain in your lifetime? What are your aspirations and, equally important, how deep is your well of inspiration? If you create to impress then sadly you will never reach level three. If your greatest goal is to make money with your art, then you will probably live comfortably at level two. There are exceptions but basically, for the majority, this is true. Only a few make it to level three, after all. It is a winding, rocky trail with briars, thorns and snapping beasts. The demons of doubt and despair will follow you everywhere, even into your dreams. You will risk obscurity and ridicule on this path. There will be false signposts that you will follow and have to back-track from. It takes talent, courage and more than a little stubbornness. And there is no guarantee that you will ever reach the destination you seek. But art, like life itself, is a journey and it's all about what happens along the way.

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Already President's Day and I'm just now stepping up onto the soapbox in 2019. I've been working diligently every day on either 2D or 3D work. The sculptural piece I'm working on right now is going to be hoot, I think. I'm thinking of calling it Reluctant Incubator 2 but that's just a title running through my head presently. It's not finished yet so things are still a bit fluid.

Anyone familiar with my work might gather that I'm not much of a joiner when it comes to the status quo . My guess is that contrary attitude bleeds over into everything I do, including art. I mean where does art originate except in thought, a casual sparking of neurons, a little synaptic fireworks display? And in those thoughts, and there are many always on a low simmer, are many politically incorrect musings. If I wanted to gain notoriety via shock, I think I could do a pretty good job. If my intent as a person and artist (and where exactly does one end and the other begin?) was to entertain the' everyman' or placate those who repeat platitudes like mantras, I could probably do that pretty well. But it would only be succumbing to the rather low standard of this, that and EVERYTHING that pervades our lives at the present time. When life is chock full of trivialities then the art 'of the moment' must, in some way, be just as trivial. Or so say some curators today. For some, art is merely a reflection of that status quo I mentioned earlier. Of course, one should only 'do' this type of work if one is UNAWARE of that dramatic slide into banality. Or maybe if one floats on the surface of life like a wind-surfer, perhaps. If you don't swallow the 'what is' of things easily, if it makes you gag or break out in a rash to see and hear what many other 'artists' are doing, then you are probably not going to reflect the 'what is' of things much. Maybe you'll reflect the 'what should be' or 'what could be' instead? It really depends upon your mind-set as a person and your ability as an artist.

So can a person then exist embedded in this gluten-free rather tasteless aspic without any effect? No person is an island. No one exists in a hermetically sealed bubble, sensory deprived. I think therefore I pick and choose the worth from the worthless, the wheat from the chaff. This is the true definition of 'free will.' Unless something is done on an individual basis, organ by organ, cell by cell, this collective body of humanity will continue its downward march. Maybe there's a virus/catalyst of change looming just beyond today's horizon? As it stands now, I hate to think what we'll be in another 50 years.

When one exists in a world where truth lives in the biggest pocketbook and power is represented by the large guns on the hips of paid protectors, art may be the only realm in which the individual can still make his/her 'free will' visible. It is too bad that the art world has become as corrupt as governments and the biggest most outlandish lie makes the best daily headline and the largest sale at Christie's. So it is up to the contrarians, the 'outsiders,' the non-believers and the fringe-walkers to create for the sheer joy of creating. Every one of their personal truths is like a spark of light, not solar, not exactly cerebral either. Maybe soulful? Let's just hope there's enough light generated over-all to expose some of the lies and illuminate a few minds in the future.

Okay, I'm stepping off the soapbox. Agree or disagree. When I write, I usually just let loose the dogs of my discontent, those pesky back-burner thoughts. By the way, they aren't vicious and have had their shots. :)

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