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TRADITIONAL STUDIES

Before exploring digital transformations, I developed my eye through traditional hand rendering and observational drawing.

STILL LIFE IN GRAPHITE1_edited.jpg

"Still Life in Graphite" - Graphite on paper.

Together

In a field stitched from shadow and breath, two pears rest side by side. Their forms do not stand apart; they lean, ever so slightly, into the same quiet gravity.

Around them, leaves rise and fall in a living tide—some broad and sheltering, others slender and reaching, all born from the same patient rain of dots. Each tiny point lands like a soft footstep, building vein and curve, light and absence, until the whole meadow seems to exhale at once.

No single mark declares itself. Instead, thousands gather, shoulder to shoulder, the way the pears themselves have gathered—two small, rounded lives held gently inside the larger, breathing body of green.

Here, in the hush between one dot and the next, togetherness is not spoken. It is simply allowed to appear.

EXPRESSIVE LINE DRAWING1_edited.jpg

Drawing: Together (stippling on paper)

Poetic description written with assistance from Grok (xAI)

From Darkness to Light
(Triptych – Shadows of Light | Between Light and Shadow | From Darkness to Light)

We have always lived between two forces: the quiet pull of shadow and the harder, brighter call of light. In Shadows of Light, the figures exist as fragments — lines reaching upward, hands lifting one another, yet faces already beginning to dissolve. Here, darkness does not roar. It consumes slowly, swallowing unfulfilled potential until only suggestions of who we might have been remain.

Between Light and Shadow holds the weight of that quiet devouring. The body grows heavier, more solid, caught between rising and being pulled back down. The face of the one being lifted is nearly gone — not destroyed in violence, but gently erased by the very act of staying too long in the dark. It is easier, after all, to let shadow keep what light might have awakened.

But in From Darkness to Light, something shifts. Warmth returns. Color breaks through the charcoal. A figure is lifted higher than before, no longer alone in the climb. The hands that hold her become anchors against the dark’s slow appetite.

Across these three works, the same truth moves: we were never meant to reach the heavens by ourselves. To rise, we must be willing to be lifted. And sometimes, the light we are searching for is not above us at all — it is the light we become when someone else refuses to let us fall.

Poetic description written with assistance from Grok (xAI).

EXPRESSIVE LINE DRAWING1_edited.jpg

"Shadows of Light" - Graphite on paper.

Between Light and Shadow

In this middle space, the body grows heavy under the shadow’s quiet appetite, its face nearly erased as unfulfilled potential is slowly consumed by the dark it has not yet escaped.

RUBISEL CARRANZA_BETWEEN LIGHT AND SHADOWS_GALLERY SUBMISSION2.jpeg

"Between Light and Shadow" - Graphite on paper.

From Darkness to Light

Here, warmth finally breaks through the dark as one figure is lifted higher, no longer alone, becoming the very light that others helped pull from obscurity.

RUBISEL CARRANZA_FROM OBSCURITY TO LIGHT_GALLERY SUBMISSION3_edited.jpg

"From Darkness to Light" - Pastel & graphite on paper.

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