Garden of Eden

“Garden of Eden” is quite unique because it shows the evolution of my artistic style. The colours are not super-accurately applied and they overlap the black outlines in many places. There’s also a dark grey texture applied over the whole artwork.

You see flying geta footwear, a school of fish, a couple of prawns, a teapot and a pair of spectacles. There are also tentacles, pills/capsules, the top half of a crustacean, a piston, a spatula, a jellyfish. A pair of lungs, kidneys and a brain (the brain being an early style of one). For the first time, the heart is depicted having four valves at the top, and there is a ventricle/atrium compartment present. The heart is supporting the security camera. There’s also a weird alien type of being with a single eye.

This was one of my first attempts to group all of these objects together into a single drawing. The objects presented here are not as “connected” as later drawings. But this truly is the beginning of something new for me. There is only one like it.

The composition unfolds as a vibrant tapestry of organic and mechanical imagery, each element delineated in bold strokes of black ink and washed with intense hues of red, green, yellow, and grey. The tangled interplay of forms creates a sense of frenetic energy, inviting the eye to roam across the surface in search of meaning.

In the upper left quadrant, a stylized brain—rendered in a pale cream yellow —hovers above a pair of angular red glasses. Beneath this, a set of sanguine lungs sits above a school of fish. The fish, in turn, swim above a cluster of red & blue pill capsules.

An assortment of implements and other inanimate objects are scattered across the artwork: a spatula, a piston, a teapot. Together, these carefully selected unmistakable single objects suggest the connection between nature and technology.

At the center, a large green-and-yellow biomorphic shape dominated by a vivid blue eye commands attention. Tentacle-like arms, dotted in orange vermilion curl outward, while a nearby gray garpike form leaps through space. These elements evoke the fluid boundary between natural instinct and imaginative projection. How do natural organisms react and adapt to an increasingly synthetic world?

The upper right section introduces a couple of mechanical motifs: a camera-like device painted in an olive grey, the spatula. Flying geta footwear sandals appear immediately beneath this. These hard-edged objects contrast with the softer, curved lines found elsewhere, underscoring a dialogue between inanimate technological products and organic life.

Throughout the background, swaths of muted gray and taupe provide a neutral stage, allowing the saturated foreground forms to pulse with intensity and to coalesce into an ever-shifting mental landscape.

This artwork maps an internal world where thought processes, invention, ingenuity and creative impulses collide. The brain, lungs, and eye symbolize the faculties of mind, breath, and vision, while the mechanical objects speak to the act of both doing and making. The juxtaposition of biological shapes with industrial imagery reflects on how humans harness both intellect and machinery to forge new realities. Ultimately, the piece invites viewers to consider the beauty—and chaos—of invention as it unfolds within the mind’s eye.