𝗔𝗻𝗱𝗿𝗲𝘄 𝗦𝘁𝗼𝗻𝗲𝘀

@andrewstones

UK-based multi-disciplinary artist. Recent drawings, micro-poetry. Opinions scattered about. @salmonsongs.com sound/music releases. @mistersalmon.com performative alias. No DMs: reachable via website/s.

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𝗔𝗻𝗱𝗿𝗲𝘄 𝗦𝘁𝗼𝗻𝗲𝘀@andrewstones· 18d

Pickles, the dog that found the World Cup trophy in 1966.

𝗔𝗻𝗱𝗿𝗲𝘄 𝗦𝘁𝗼𝗻𝗲𝘀@andrewstones· 18d

And bums!

𝗔𝗻𝗱𝗿𝗲𝘄 𝗦𝘁𝗼𝗻𝗲𝘀@andrewstones· 19d

'Shield no. 3’ Drawing 2024. W/alt text. #art #artist #drawing #graphicart #contemporaryart #conceptualart #artsky #abstract #minimal

'Shield no. 3'
Andrew Stones 2024.
Drawing, square format; black marks on cream-coloured background.
Details follow.

One of a series of drawings based on the effect of adding distortions or perturbations to a field of hand-drawn parallel horizontal lines.

In 'Shield no. 3' seventeen evenly-spaced, slightly wavy horizontal lines are rendered as black dots, as though dot-screened for low-resolution printing. Distortion is applied within a circular area almost filling the picture field, where the bands of dots are broadened, the dots generally enlarged; and outside this area, the dots gradually reduce in size and fade into the background, all creating the impression of a concavity or convexity.

The drawing is minimal and abstract, whilst the title hints at a representational possibility, in that any circular figure with concavity or convexity could be likened to a circular, arm-held shield.

Title and artist signature are handwritten at bottom left and right corners, respectively.

𝗔𝗻𝗱𝗿𝗲𝘄 𝗦𝘁𝗼𝗻𝗲𝘀@andrewstones· 26d

'Shield no. 2’ Drawing 2024. W/alt text. #art #artist #drawing #graphicart #contemporaryart #conceptualart #artsky #abstract #minimal

'Shield no. 2'
Andrew Stones 2024.
Drawing, square format; black marks on cream-coloured background.
Details follow.

One of a series of drawings based on the effect of adding distortions or perturbations to a field of hand-drawn parallel horizontal lines.

In 'Shield no. 2' sixty-five evenly-spaced, slightly wavy horizontal lines are rendered in simulated pencil. Slight distortion is applied within a circular area almost filling the picture field, where line-doubling creates the impression of a concavity or convexity.

The drawing is minimal and abstract, perhaps resembling an empty musical manuscript page, minus the proper spacing, bar lines or any notation. The title hints at another representational possibility, in that any circular figure with concavity or convexity could be likened to a circular, arm-held shield.

Title and artist signature are handwritten at bottom left and right corners, respectively.

𝗔𝗻𝗱𝗿𝗲𝘄 𝗦𝘁𝗼𝗻𝗲𝘀@andrewstones· Jul 10

'Shield no. 1’ Drawing 2024. W/alt text. #art #artist #drawing #graphicart #contemporaryart #conceptualart #artsky #abstract #minimal

'Shield no. 1'
Andrew Stones 2024.
Drawing, square format; black marks on cream-coloured background.
Details follow.

One of a series of drawings based on the effect of adding distortions or perturbations to a field of hand-drawn parallel horizontal lines.

In 'Shield no. 1' twenty-seven evenly-spaced horizontal lines are rendered in simulated pencil. Slight distortion is applied within a circular area almost filling the picture field, where line-doubling creates the impression of a concavity or convexity.

The drawing is minimal and abstract, perhaps resembling an empty musical manuscript page, minus the proper spacing, bar lines or any notation. The title hints at another representational possibility, in that any circular figure with concavity or convexity could be likened to a circular, arm-held shield.

Title and artist signature are handwritten at bottom left and right corners, respectively.

𝗔𝗻𝗱𝗿𝗲𝘄 𝗦𝘁𝗼𝗻𝗲𝘀@andrewstones· Jul 5

'Bet, Bet, Betty, Bet' Drawing 2025 W/alt text #art #artist #drawing #textart #politics #culturewars #USA #FIFA #England #football

'Bet, Bet, Betty, Bet'
Andrew Stones © 2025

Drawing, square format.
From a series satirising the branding around products, services, and politics, especially those obviously offered in bad faith.

Urgently scrawled handwritten text with a few, sparse graphic devices, on a ground divided into three wonky, horizontal bands: green across the top two-fifths; black below that; white across the bottom fifth. Suggestive of a street crudely rendered street advertisement.

Across the upper, green portion, in pink, block capitals are the words "BET BET BETTY BET" each done in a slightly different style. Across the black portion, handwritten in white capitals, the text: "ALL SPORTS AND SHOWBIZ EVERYTHING IN OUR FAVOUR” punctuated by a couple of cheery, white, line-drawn stars. In the much narrower white band at bottom, the footnote: "NO LIMITS on what you can PAY US"

𝗔𝗻𝗱𝗿𝗲𝘄 𝗦𝘁𝗼𝗻𝗲𝘀@andrewstones· Jun 18

Drawing series, 2026: ‘Beach Holiday… …(Appendager) …(Swimsuit) …(Clown) …(Symmetrical Thing) [missing] …(White Thing)’ W/alt-texts. #art #artist #drawing #graphicart #contemporaryart #conceptualart #artsky #vacation #tourism #beachcomber #environment #plastic #polluterpays #bodyhorror #comedy

'Beach Holiday (Appendager)'
Andrew Stones 2026.
Drawing, square format.
[details follow]

One of a series of graphic works featuring a single object or assemblage with the appearance of coloured, squashed or distressed plastic, on a sandy-coloured, grainy background.

In each example the square picture field has narrow margins to left and right: vertical bands of a slightly lighter or darker variant of the background. The main, drawn figure is presented centrally between the margins, like an item of evidence.

'Beach Holiday (Appendager)' features a bright red central figure, similar in form to a "mermaid's purse" egg casing, but with tube or thread-like appendages extruded from all sides; eight in all. This feature renders the object similar to a flattened blood bag or bodily organ, with tubes in and out, now broken off.

Along the bottom edge of the picture field, in fine-line white handwriting, is the title 'Beach Holiday (Appendager)'. In the right-hand margin is an artist's signature, written vertically.

'Beach Holiday (Swimsuit)'
Andrew Stones 2026.
Drawing, square format.
[details follow]

One of a series of graphic works featuring a single object or assemblage with the appearance of coloured, squashed or distressed plastic, on a sandy-coloured, grainy background.

In each example the square picture field has narrow margins to left and right: vertical bands of a slightly lighter or darker variant of the background. The main, drawn figure is presented centrally between the margins, like an item of evidence.

'Beach Holiday (Swimsuit)' features an ambiguous, composite figure looking somewhat like a tattered one-piece swimsuit spread out flat to dry, or discarded: with a turquoise upper segment, a blue-black lower skirt-part, and two roughly square patches of sea-green joining the top and bottom parts at the waist.

Along the bottom edge of the picture field, in fine-line white handwriting, is the title 'Beach Holiday (Swimsuit)' and an artist's signature.

'Beach Holiday (Clown)'
Andrew Stones 2026.
Drawing, square format.
[details follow]

One of a series of graphic works featuring a single object or assemblage with the appearance of coloured, squashed or distressed plastic, on a sandy-coloured, grainy background.

In each example the square picture field has narrow margins to left and right: vertical bands of a slightly lighter or darker variant of the background. The main, drawn figure is presented centrally between the margins, like an item of evidence.

'Beach Holiday (Clown)' features a single, pink object with a hint of three- dimensionality and an apparently wrinkly surface.

The identity of the object is ambiguous, although it could be a bulbous, child's play-stool with three very short, squat legs, oriented vertically in the picture field. Incongruously, however, the object has two long, soot-black, feathery antennae extending vertically to near the top edge of the picture.

Along the bottom edge of the picture field, in fine-line white handwriting, is the title 'Beach Holiday (Clown)' and an artist's signature.

'Beach Holiday (White Thing)'
Andrew Stones 2026.
Drawing, square format.
[details follow]

One of a series of graphic works featuring a single object or assemblage with the appearance of coloured, squashed or distressed plastic, on a sandy-coloured, grainy background.

In each example the square picture field has narrow margins to left and right: vertical bands of a slightly lighter or darker variant of the background. The main, drawn figure is presented centrally between the margins, like an item of evidence.

'Beach Holiday (White Thing)' features a roughly oblong object, with rounded corners and an apparently wrinkly, blue-white surface. Two short appendages are extruded from its top edge, roughly squared-off at their ends. The identity of the object is ambiguous: it could be a flattened container or bag with a broken handle; or a cushion, or pad, with sheared-off attachment tabs.

Along the bottom edge of the picture field, in fine-line white handwriting, is the title 'Beach Holiday (White Thing)' and an artist's signature.

𝗔𝗻𝗱𝗿𝗲𝘄 𝗦𝘁𝗼𝗻𝗲𝘀@andrewstones· Jun 8

'Godpeople' Haiku/senryu, May 2026. W/alt txt. #haiku #senryu #poetry #textart #micropoetry #poetrysky #nationalism #religion #fundamentalism #statism

'Godpeople'
Haiku/senryu, Andrew Stones 2026.
June 2026 version.

Square format panel. Pale yellow background with dark grey typewriter script, reading:

"Where is the god to
save us from people claiming
to know about god?"

𝗔𝗻𝗱𝗿𝗲𝘄 𝗦𝘁𝗼𝗻𝗲𝘀@andrewstones· May 31

'Vampires' Haiku/senryu, May 2026. W/alt txt. #haiku #senryu #poetry #textart #micropoetry #poetrysky #philosophy #vampires #extraction

'Vampires'
Haiku/senryu, Andrew Stones 2026.
May 2026 version.

Square format panel. Pale yellow background with dark grey typewriter script, reading:

"Not vampires, fellow
chumps, but other foes who drain
us out completely."

𝗔𝗻𝗱𝗿𝗲𝘄 𝗦𝘁𝗼𝗻𝗲𝘀@andrewstones· May 22

'Beach Holiday (Symmetrical Thing)’ Drawing 2026. W/alt text. #art #artist #drawing #graphicart #contemporaryart #conceptualart #artsky #vacation #tourism #beachcomber #environment #plastic #polluterpays

'Beach Holiday (Symmetrical Thing)'
Andrew Stones 2026.
Drawing, square format.
[details follow]

One of a series of graphic works featuring a single object or assemblage with the appearance of coloured, squashed or distressed plastic, on a sandy-coloured, grainy background.

In each example the square picture field has narrow margins to left and right: vertical bands of a slightly lighter or darker variant of the background. The main, drawn figure is presented centrally between the margins, like an item of evidence.

'Beach Holiday (Symmetrical Thing)' features two similar, roughly rectangular, dark green masses, each with rounded corners and an apparently wrinkly, dark green surface. The two are positioned vertically, side-by-side, and from each of their long, facing sides, two short appendages are extruded. These meet roughy at the centre of the picture, creating one figure, its symmetrical halves mirrored on a vertical axis.

The identity of the object is ambiguous, although it could be a split, flattened container or bag, its two halves kept together by the remnants of handles.

Along the bottom edge of the picture field, in fine-line white handwriting, is the title 'Beach Holiday (Symmetrical Thing)' and an artist's signature.

𝗔𝗻𝗱𝗿𝗲𝘄 𝗦𝘁𝗼𝗻𝗲𝘀@andrewstones· May 22

‘White House Quartet’ 2026 Haiku/senryu -‘Talk Later’ -‘POV’ -‘Offended’ -‘Drama’ #haiku #senryu #poetry #textart #micropoetry #poetrysky #philosophy #rhetoric #politics #imperialism #president #presser #xanadu

'Talk Later'
Haiku/senryu, Andrew Stones 2026.
May 2026 version.

Square format panel. Pale yellow background with dark grey typewriter script, reading:

"Listen! Coherence
at the start is no bar
to gibberish later."

'POV'
Haiku/senryu, Andrew Stones 2026.
April 2026 version.

Square format panel. Pale yellow background with dark grey typewriter script, reading:

"From a high white roof
in Xanadu a fool might
think the earth is flat."

'Offended'
Haiku/senryu, Andrew Stones 2026.
April 2026 version.

Square format panel. Pale yellow background with dark grey typewriter script, reading:

"Inclusion of facts
in statement causes statement
to offend itself."

'Drama'
Haiku/senryu, Andrew Stones 2026.
May 2026 version.

Square format panel. Pale yellow background with dark grey typewriter script, reading:

"Private dramas play
as necessary trauma,
cast out far and wide."

𝗔𝗻𝗱𝗿𝗲𝘄 𝗦𝘁𝗼𝗻𝗲𝘀@andrewstones· May 20

'Beach Holiday (White Thing) Drawing 2026. W/alt text. #art #artist #drawing #graphicart #contemporaryart #conceptualart #artsky #vacation #tourism #beachcomber #plastic #polluterpays

𝗔𝗻𝗱𝗿𝗲𝘄 𝗦𝘁𝗼𝗻𝗲𝘀@andrewstones· May 17

'Beards' Haiku/senryu, May 2026. W/alt txt. #haiku #senryu #poetry #textart #micropoetry #poetrysky #philosophy #identity #lifehack #manscaping

'Beards'
Haiku/senryu, Andrew Stones 2026.
May 2026 version.

Square format panel. Pale yellow background with dark grey typewriter script, reading:

"Gentlemen! Only
when expecting rain may beards
be worn in summer!"

𝗔𝗻𝗱𝗿𝗲𝘄 𝗦𝘁𝗼𝗻𝗲𝘀@andrewstones· May 16

Same vibe…

𝗔𝗻𝗱𝗿𝗲𝘄 𝗦𝘁𝗼𝗻𝗲𝘀@andrewstones· May 15

'Pings' Haiku/senryu, May 2026. W/alt txt. #haiku #senryu #poetry #textart #micropoetry #poetrysky #politics #philosophy #onlinelife #internet #identity

'Pings'
Haiku/senryu, Andrew Stones 2026.
April 2026 version.

Square format panel. Pale yellow background with dark grey typewriter script, reading:

"Go at speed, see no
signs, hear no appeals, count the
pings of glancing life."

𝗔𝗻𝗱𝗿𝗲𝘄 𝗦𝘁𝗼𝗻𝗲𝘀@andrewstones· May 12

'Oscar' Haiku/senryu, May 2026. #haiku #senryu #poetry #textart #micropoetry #poetrysky #costofliving #dailylife #oscars

'Oscar'
Haiku/senryu, Andrew Stones 2026.
April 2026 version.

Square format panel. Pale yellow background with dark grey typewriter script, reading:

"Terrible acting,
tired plots, the Oscar goes to
the everyday."

𝗔𝗻𝗱𝗿𝗲𝘄 𝗦𝘁𝗼𝗻𝗲𝘀@andrewstones· May 9

'Feast' Haiku/senryu, May 2026. #haiku #senryu #poetry #textart #micropoetry #poetrysky #politics #philosophy #populism #politics #performance

'Feast'
Haiku/senryu, Andrew Stones 2026.
April 2026 version.

Square format panel. Pale yellow background with dark grey typewriter script, reading:

"All ears at the feast
grow hot: the uninvited
murmuring, outside."

𝗔𝗻𝗱𝗿𝗲𝘄 𝗦𝘁𝗼𝗻𝗲𝘀@andrewstones· May 9

Vanity Mirror Masks, 2026: ‘Best Mask for… …Wartime; …a Royal Headfuck; …the New Crusades; …the Extractive Capitalist‘ (Missing: ‘…the Chromosphere’) W/alt-texts. #art #artist #drawing #conceptualart #artsky #capitalism #imperialism #climateaction #ceo #vanitymirror #badfaithactor #mask

'Best Mask for Wartime'
Andrew Stones 2026.
Drawing, square format.

One of a series of highly stylised, graphic works featuring a shield-shaped object with a hand grip: like a vanity mirror with its back to the viewer, doubling as a hand-held mask. In each case, the large mask is positioned on a central, vertical, axis, like the subject of a traditional portrait. The background is bisected horizontally about one third of the way up, hinting at a landscape, or a room, behind.

Each 'Best Mask...' is based on the same object/background template. Together, they are obviously variants of one design; perhaps a set of elaborate emojis for compromising or insincere self-presentations.

In 'Best Mask for Wartime' the background is predominantly black. The lower third is patterned with parallel, thin, red, horizontal lines; the upper two thirds with similar, vertical red lines. The main plate of the mask, at upper centre, is deep blood-red, shading to much darker red around its edges. Two small black spots surrounded by dark shading are rendered analogously to punched-in eye holes, possibly just large enough to see through. The fluting of the hand-grip, attached to the bottom edge of the mask, is picked out in red.

The title 'Best Mask for Wartime' is a hand-written in bold white script across the bottom of the image. An artist's signature, in smaller, red script, reads vertically upwards, along the upper right-hand edge.

'Best Mask for a Royal Headfuck'
Andrew Stones 2026.
Drawing, square format.

One of a series of highly stylised, graphic works featuring a shield-shaped object with a hand grip: like a vanity mirror with its back to the viewer, doubling as a hand-held mask. In each case, the large mask is positioned on a central, vertical, axis, like the subject of a traditional portrait. The background is bisected horizontally about one third of the way up, hinting at a landscape, or a room, behind.

Each 'Best Mask...' is based on the same object/background template. Together, they are obviously variants of one design; perhaps a set of elaborate emojis for compromising or insincere self-presentations.

In 'Best Mask for a Royal Headfuck' mask and patterned background are rendered in colours reminiscent of Scottish tartans. The lower third of the background is black, with parallel, thin, horizontal lines, like stitching in grey, red and royal blue thread. The upper two thirds is filled with a regular close-set dot-screen pattern of grey dots interspersed with maroon and royal blue.

The main plate of the mask, at upper centre, is turquoise, shading into the dot-screen background pattern around its edges. Two perfect circles of slightly different sizes appear as though incompletely incised into the mask, in locations analogous to eyes. These have a 'burned' appearance, as though cut by acetylene torch. The fluting of the turquoise hand-grip, attached to the bottom edge of the mask, is picked out in lighter turquoise.

Layered in with the mask at top are two large, cartoonish cloud-shapes, royal blue behind the mask, dark grey in front.

The title 'Best Mask for a Royal Headfuck' is a hand-written in bold white script across the bottom of the image. (A 'royal' headfuck could be either a conundrum literally experienced by royalty, or one of a particularly burdensome kind.)

An artist's signature, in smaller, white script, reads vertically upwards, along the upper right-hand edge.

'Best Mask for the New Crusades'
Andrew Stones 2026.
Drawing, square format.

One of a series of highly stylised, graphic works featuring a shield-shaped object with a hand grip: like a vanity mirror with its back to the viewer, doubling as a hand-held mask. In each case, the large mask is positioned on a central, vertical, axis, like the subject of a traditional portrait. The background is bisected horizontally about one third of the way up, hinting at a landscape, or a room, behind.

Each 'Best Mask...' is based on the same object/background template. Together, they are obviously variants of one design; perhaps a set of elaborate emojis for compromising or insincere self-presentations.

'Best Mask for the New Crusades' is rendered in a near-monochrome mix of white, and a dark brown suggestive of tarnished silver. The main plate of the mask, at upper centre, is grainy white, shading into pale brown around its edges. Two symmetrical crosses (like "plus" signs) are rendered in very fine, dark lines, analogously to cross-shaped eye-slits. The fluting of the light brown hand-grip, attached to the bottom edge of the mask, is picked out in dark brown.

The whole picture field (object and background) is covered with evenly-spaced, parallel vertical lines, like stripes in fabric: light brown on dark brown over the background areas; reversed to dark brown on grainy white over the main plate of the mask.

The title 'Best Mask for the New Crusades' is a hand-written in bold white script across the bottom of the image. An artist's signature, in smaller, white script, reads vertically upwards, along the upper right-hand edge.

'Best Mask for the Extractive Capitalist'
Andrew Stones 2026.
Drawing, square format.

One of a series of highly stylised, graphic works featuring a shield-shaped object with a hand grip: like a vanity mirror with its back to the viewer, doubling as a hand-held mask. In each case, the large mask is positioned on a central, vertical, axis, like the subject of a traditional portrait. The background is bisected horizontally about one third of the way up, hinting at a landscape, or a room, behind.

Each 'Best Mask...' is based on the same object/background template. Together, they are obviously variants of one design; perhaps a set of elaborate emojis for compromising or insincere self-presentations.

The whole picture field of 'Best Mask for the Extractive Capitalist' is suffused with organic greens. The lower third of the background is near-black, patterned with fine, parallel horizontal lines of earthy green. The upper two thirds is predominantly light, leaf-green, with the appearance of a thick weave patterned by fine, vertical stripes of bright green.

The main plate of the mask, at upper centre, is dark green, patterned like tightly-woven basketwork, shading into darker green at its edges. Two dent-like blemishes of slightly different sizes are placed analogously to eyes; tokens for eye-holes that, unfinished, can afford no view. Above the left dent is a single black mark suggestive of an eyebrow, performatively compressed to signal concern. Beneath the right is a mark denoting puffy-eyed tiredness, or strain. The fluting of the dark green hand-grip, attached to the bottom edge of the mask, is picked out in fine lines of bright green.

The title 'Best Mask for the Extractive Capitalist' is a hand-written in bold white script across the bottom of the image. An artist's signature, in smaller, white script, reads vertically upwards, along the upper right-hand edge.

𝗔𝗻𝗱𝗿𝗲𝘄 𝗦𝘁𝗼𝗻𝗲𝘀@andrewstones· May 1

‘Best Mask for the Chromosphere’ Drawing, Andrew Stones 2026. W/alt text #art #artist #drawing #graphicart #contemporaryart #conceptualart #artsky #science #astronomy #climate

'Best Mask for the Chromosphere'
Andrew Stones 2026.
Drawing, square format.

One of a series of highly stylised, graphic works featuring a shield-shaped object with a hand grip: like a vanity mirror with its back to the viewer, doubling as a hand-held mask. In each case, the large mask is positioned on a central, vertical, axis, like the subject of a traditional portrait. The background is bisected horizontally about one third of the way up, hinting at a landscape, or a room, behind.

Each 'Best Mask...' is based on the same object/background template. Together, they are obviously variants of one design; perhaps a set of elaborate emojis for compromising or insincere self-presentations.

The whole picture field of 'Best Mask for the Chromosphere' is suffused with hot orange. The lower third of the background is orange-brown, without texture. The upper two thirds is predominantly deep orange, with lumpy, granular texture that has the regularity of a thick weave.

The main plate of the mask, at upper centre, is the colour of hot metal, shading into a lighter version of the background texture at its edges. Two small, highly compressed ellipses, in near-black, are rendered analogously to horizontal eye-slits, with darker, bruise-like shading around them. The fluting of the hot orange hand-grip, attached to the bottom edge of the mask, is picked out in lighter orange.

The title 'Best Mask for the Chromosphere' is a hand-written in bold white script across the bottom of the image. An artist's signature, in smaller, light orange script, reads vertically upwards, along the upper right-hand edge.

𝗔𝗻𝗱𝗿𝗲𝘄 𝗦𝘁𝗼𝗻𝗲𝘀@andrewstones· Apr 30

'Vote "Flag"' Drawing, Andrew Stones 2025 W/alt text. #art #satire #politicalart

'Vote "Flag"'- copyright © Andrew Stones 2025.

Digital drawing, square format.
From a series satirising the branding around products, services, and politics, especially those obviously offered in bad faith.
A flag, black with an indistinct pattern of white dots, is planted in the right of the frame so that it bisects the horizon of a cartoonish landscape: a flat turquoise sky above featureless black land. A text is over-printed on this scene. In large, hand-drawn script, the invocation "Vote "FLAG"" and in a single line of smaller block capitals, in a panel along the bottom: "OUR CONTEMPT FOR YOU IS OUR BOND".

𝗔𝗻𝗱𝗿𝗲𝘄 𝗦𝘁𝗼𝗻𝗲𝘀@andrewstones· Apr 27

'Ploys' Haiku/senryu, April 2026. #haiku #senryu #poetry #textart #micropoetry #poetrysky #politics #philosophy #populism #performance

'Ploys'
Haiku/senryu, Andrew Stones 2026.
April 2026 version.

Square format panel. Pale yellow background with dark grey typewriter script, reading:

"How marvellous my
ploys! Dazzling as a chicken
in a silver hat."

𝗔𝗻𝗱𝗿𝗲𝘄 𝗦𝘁𝗼𝗻𝗲𝘀@andrewstones· Apr 24

‘Best Mask for the New Crusades’ Drawing, Andrew Stones 2026. W/alt text #art #artist #drawing #graphicart #contemporaryart #conceptualart #artsky #war #imperialism #identity #visualculture #contemporarythought

𝗔𝗻𝗱𝗿𝗲𝘄 𝗦𝘁𝗼𝗻𝗲𝘀@andrewstones· Apr 21

‘Best Mask for a Royal Headfuck’ Drawing, Andrew Stones 2026. W/alt text #art #artist #drawing #graphicart #contemporaryart #conceptualart #artsky #war #monarchy #identity #visualculture #contemporarythought

𝗔𝗻𝗱𝗿𝗲𝘄 𝗦𝘁𝗼𝗻𝗲𝘀@andrewstones· Apr 20

‘Sponsored Bloodbath’ From the series ‘Handler’s Dilemma’ 2017 onwards. www.andrewstones.com/artwork/hand... #art #artist #contemporaryart #politicalart #satire

'Sponsored Blood Bath' - copyright © Andrew Stones 2017.
Drawing, from the series 'Handler's Dilemma'.
16:9 format; red, yellow and black on white ground.
Expressionistic drawing style.
White left and right hands dangle limply like gloves into a block of red colour almost covering the leftmost three-quarters of the picture. The rightmost quarter is yellow, with handwritten texts in white, red and black, reading "SPON-SORED BLOOD BATH" and "WE'LL BE ALRIGHT!"

𝗔𝗻𝗱𝗿𝗲𝘄 𝗦𝘁𝗼𝗻𝗲𝘀@andrewstones· Apr 17

‘Best Mask for Wartime’ Drawing, Andrew Stones 2026. W/alt text #art #artist #drawing #graphicart #contemporaryart #conceptualart #artsky #war #stateterror #identity #visualculture

𝗔𝗻𝗱𝗿𝗲𝘄 𝗦𝘁𝗼𝗻𝗲𝘀@andrewstones· Apr 17

‘Euoromap’ Frances Hegarty 2003. Digital Image. W/alt text. franceshegarty.com/art/euromap....

‘Euromap’
Frances Hegarty 2003.
Digital image. Exhibited/published form and size variable.

A monochrome map of Europe including Ireland (furthest west) and ex-Yugoslavia (furthest east). Every country and city name is obscured (redacted) with a black block, every block being smeared along a WSW/ENE axis, the balck marks having the collective appearance of a swarm in motion.

𝗔𝗻𝗱𝗿𝗲𝘄 𝗦𝘁𝗼𝗻𝗲𝘀@andrewstones· Apr 15

‘Counting’ Drawings, 2026 - One Fist [missing] - Two Teeth - Three Ideals - Four Smiles - Five Capsules #art #artist #drawing #graphicart #contemporaryart #conceptualart #artsky #humour #philosophy

'Two Teeth'
Andrew Stones 2026.
Drawing, square format.

One of a series of drawings, imagining physical or conceptual objects as part of a lexicon or vocabulary. In each example the square picture field has narrow margins to left and right: very fine lines containing vertical bands of a slightly lighter or darker variant of the predominant background colour. The main, drawn elements occupy the space between the margins, giving the appearance of a hurriedly-sketched diagram on a square page, making it explicit that these are examples of "drawing-to-think".

In 'Two Teeth' an object like a capital 'M' with sloping outer verticals is rendered in black lines on a grey-white background, as though in a single up-and-down stroke of ink pen on soft paper. In some places the fine line spreads very slightly, in others it spreads much more, like ink into blotting paper.

The large, drawn figure could represent two sharp, triangular teeth, but is ambiguous enough to be suggestive of numerous things.

There is a hand-written title at bottom-left and an artist's signature at bottom right.

'Three Ideals'
Andrew Stones 2026.
Drawing, square format.

One of a series of drawings, imagining physical or conceptual objects as part of a lexicon or vocabulary. In each example the square picture field has narrow margins to left and right: very fine lines containing vertical bands of a slightly lighter or darker variant of the predominant background colour. The main, drawn elements occupy the space between the margins, giving the appearance of a hurriedly-sketched diagram on a square page, making it more explicit that these are examples of "drawing-to-think".

The 'Three Ideals' of the title are represented by five incomplete ellipses: flattened horizontally, "stacked" vertically, and grouped as two groups of two, and a single one, their extremes extending into left and right margins of the grey-white picture field. Each ellipse is drawn as though in a single stroke of dark ink by a plotting machine, with variations arising from unpredictable physics, such as uneven contact with an absorbent substrate, and ink-spread. The hint of repetitive mechanical reproduction, with variables, suggests that the ellipses may be data-plots of some sort: of, say, the orbit paths of an unspecified object.

There is a hand-written title at bottom-left and an artist's signature at bottom right.

'Four Smiles'
Andrew Stones 2026.
Drawing, square format.

One of a series of drawings, imagining physical or conceptual objects as part of a lexicon or vocabulary. In each example the square picture field has narrow margins to left and right: very fine lines containing vertical bands of a slightly lighter or darker variant of the predominant background colour. The main, drawn elements occupy the space between the margins, giving the appearance of a hurriedly-sketched diagram on a square page, making it more explicit that these are examples of "drawing-to-think".

The 'Four Smiles' of this drawing are a collection of four undulating, roughly-horizontal hand-drawn lines in near-black, clustered in a close vertical stack just below the horizontal centre of the picture field. The marks could represent the line between variously-crooked, pressed-together lips. However, no other facial features are present to support this interpretation.

More properly, the drawing offers for comparison, simply, four lines of similar character, each extending into left and right margins of the pale buff-coloured picture field. Each line is drawn as though in a single stroke of ink that is fine in some places, and spreads into the background in others.

There is a hand-written title at bottom-left and an artist's signature at bottom right.

'Five Capsules'
Andrew Stones 2026.
Drawing, square format.

One of a series of drawings, imagining physical or conceptual objects as part of a lexicon or vocabulary. In each example the square picture field has narrow margins to left and right: very fine lines containing vertical bands of a slightly lighter or darker variant of the predominant background colour. The main, drawn elements occupy the space between the margins, giving the appearance of a hurriedly-sketched diagram on a square page, making it explicit that these are examples of "drawing-to-think".

The 'Five Capsules' are objects outlined in near-black, and white hand-drawn lines -fine and sharp in some places, wide and soft in others- arranged on a background of mushroom-greys. The five could be minimal representations of many kinds of squat, ovoid capsule -human-made or naturally occurring- with seam-lines hinting at the potential of being broken open into two or more segments. All are shown closed.

There is a hand-written title at bottom-left and an artist's signature at bottom right.

𝗔𝗻𝗱𝗿𝗲𝘄 𝗦𝘁𝗼𝗻𝗲𝘀@andrewstones· Apr 9

Any mention of beans… 'Your Eyeball for Beans' Drawing, Andrew Stones 2017. [If interested, the series 'Crabbage Means Crabbage!' is online here: www.andrewstones.com/artwork/crab... ]

'Your Eyeball for Beans'
Drawing, Andrew Stones 2017.
From the series 'Crabbage Means Crabbage!', channelling the mantra "Brexit Means Brexit".
https://www.andrewstones.com/artwork/crabbage.html

Satirical drawing. Image shows two yellow "craboids" on a background of blue and white stripes: one has a single eye on a stalk; the other has three beans in place of its eye. Red text above the craboids reads: "SELL YOUR EYEBALL FOR BEANS".

𝗔𝗻𝗱𝗿𝗲𝘄 𝗦𝘁𝗼𝗻𝗲𝘀@andrewstones· Apr 6

Once again, graphic (still) not my own work… Dyson seemingly derives his right to prognosticate from… a catalogue of plasticky, so-breakable, overpriced gadgets, made for the cheapest labour costs poss, for IMPORT into UK! Dyson company strategy long b4 the Lab gov existed, afai recall.

The Dyson ‘Endless Whining’ system.
An apparently genuine schematic showing how an early Dyson vacuum cleaner works, with a satirical text lampooning the public protestations of company founder James Dyson, as follows:
"How Dyson works
Dyson uses a patented 'Endless Whining' system to extract money from the UK to tax-havens across the globe. When blocked, the whining noise increases in newspaper articles and media appearances."

𝗔𝗻𝗱𝗿𝗲𝘄 𝗦𝘁𝗼𝗻𝗲𝘀@andrewstones· Apr 6

Ladies and Gentlemen, next week’s Special… (From an article titled "15 BOLD AMERICAN DISHES EVERY ADVENTUROUS FOODIE SHOULD TRY…")