The Body Machine Series No. 76 - 80

I drew with a more loose direction of line, during the creation of these pieces. There was a period when I searched online for images of black bodybuilders. Since my childhood, there was always this fascination with muscular men. We are introduced to them through cartoons and comics. The superheroes are usually dressed in revealing costumes, that seem to even eroticize their bodies. The muscularly large bodies are no less visible in art history. The exaggerated or emphasis on size is often used as a symbolism of masculinity, power and great strength. All of this can excite a gay boy discovering his own sexuality and fantasies. It does not have to be bodybuilders either. It can be seen in the athletes position during sports and media platforms. Stocky men can display this same appeal, it does not have to be a chiseled appearance. I draw other sizes to contrast with such body types to emphasize the beauty of appreciating variety. The evidence of someone's body being different from your own is what can be so attractive. I was aware of Chris Dickerson as a professional bodybuilder, before discovering him as a gay man. I was extremely proud of the historical value to this. He broke barriers as the first African American bodybuilder to become Mr. America. And his brilliant craft of posing and appearing dignified like a piece of muscular art in motion is phenomenal to me. When I learned he also became an open gay male, during his success and fame it was extremely inspirational for me as a black gay man. I really knew I was onto something with this series, and it was no taboo, to be professionally devoted to the performance of bodybuilding as a gay man. It can be someone's story, and generally is.

1.Body Machine # 76                         

2.Body Machine # 77                     

3.Body Machine # 78                       

4.Body Machine # 79                      

5.Body Machine # 80                       

1. Body Machine # 76, is an experiment with the light of a refrigerator illuminating space, in a dim kitchen area. It is mostly noticeable on the cat Nubia. This is the break before round two of the sexually active pair. I like capturing a domestic feeling in drawings, that involve my figures. The comfort of being at home is very important to me. I try to express that in my drawings, by including beds, sofas and occasional kitchen scenes, when necessary. The washes blended very well, on his body. I was satisfied with this piece. And it the overall display of light and dark turned out successfully. It was one of the earlier attempts at this, and accepting that some areas can be left white for visual effects. I was breaking away from covering everything with wash, in all of my drawings. I strongly disliked leaving areas white, as it appeared negligent and unfinished, to be considered a complete composition. After finishing drawings like this one, and from my lynching series, I learned the significance of doing this. It is especially effective and relevant, with pen and ink.

2. Body Machine # 77, was initially going to be another drawing with text involved. I created a thought cloud near his head. I cannot remember what the thought was going to be exactly. But I decided to get rid of it. Since it could not be erased, I just added layers of dark washes to cover it. The tiny clouds remained, as I did not want to conceal too much of the refrigerator. The angle of the dark wash, adds to the overall piece, causing a dream like affect.

3. Body Machine # 78, is a good edition to this series, involving Nubia being fed. I really love the perspective of this scene. The anatomy of a cat is captured well here. The angle of her head reaching towards the eating bowl, with a kneeling figure pouring food, is a good narrative. I was very pleased with this process and outcome, and again the contrasts of light and dark was effective.

4. Body Machine # 79, was another experiment of excluding my signature ballpoint pen approach. I used a brush to darken the lines with black ink. It was a process that I really wanted to satisfy me aesthetically. I had hoped less was indeed more, regarding materials. I would not need to rely on the pen, and use brushes for the entire drawing. But line is too important for me as an artist, than brush strokes and smooth edges. The lines from the black ink are too overbearing for my style of illustrating a story. The micron pens do not satisfy me either when washes are combined. I did several drawings with the combination before, and just was not pleased. It was the method, I wanted to work for me the most! I wanted to eliminate the inconsistent red line of the ballpoint pen, and achieve a more " blended " look in my drawings. It just appears too flat for my taste, unfortunately. I enjoy micron pens better, without adding washes. This turned out well enough, as another attempt without my ballpoints, but not to a point where I no longer wanted to use them. I am still trying to accept this as my style and approach to drawing. The bold, black brushstrokes, did allow more grays to be added successfully.

5. Body Machine # 80, is another one of my favorites. The drinking, as the cup conceals part of his face, turned out better than I expected. It also is expected that he had to take a sip, while walking back towards the room. The perspective of the hallway, with him walking and handling drinks, without spilling them, just excited me to draw! I was becoming more confident in executing any particular scene that was desired. I probed my imagination for what was being seen at the time, while continuing the story's flow. To draw him walking around naked in the privacy and comfort of his own home, while having " company " is just sexy. The hands holding ice filled drinks, was fun to draw, and I enjoyed the process.