Josh

@josh.aguayo.ca

2538 Followers 180 Following

I'm an artist living in Calgary. (He/Him) Author of 'Cybernetic Mages': A cyberpunk/fantasy adventure novel about depression, drugs and fighting mega-corporations. Available at: https://tinyurl.com/CyberneticM

Mountain landscape painting featuring snow-capped peaks rising above a tranquil lake, with misty atmosphere in blue and gray tones, evergreen forest in the middle ground, and flowering shrubs with yellow blooms in the foreground; two birds fly in the upper right sky.
"Winterhome" 40x30, Oil over Alkyd on Cotton Canvas. Oil painting of a misty mountain landscape with snow-capped jagged peaks, a prominent dark summit emitting smoke under a blue cloudy sky, and a green valley in the foreground.
A minimalist oil painting depicts a simplified blue figure striding confidently against a pale yellow-green background. The figure, rendered in varying shades of turquoise and teal, features an elongated ovoid head, thin limbs, and an expressively upturned posture suggesting purposeful movement from left to right across the canvas. The brushwork is loose and gestural, with visible strokes creating texture throughout the composition. A subtle shadow beneath the figure grounds it spatially. The painting demonstrates economy of form through its reduction of recognizable character features to essential geometric shapes while maintaining dynamic energy through asymmetrical positioning and forward-leaning momentum. The artist's signature appears in white in the lower left corner.
Pen and ink architectural sketch showing a three-story residential building viewed from a neighboring rooftop. The foreground features a peaked roof with horizontal siding and vertical wooden fence panels. A street lamp rises between the structures. The background building has a textured, stippled facade suggesting brick or stucco, with multiple windows on each floor and vegetation growing at ground level. A tall, smooth-sided high-rise building appears partially on the right edge. The drawing uses line work and cross-hatching to create depth and texture in an urban residential setting.
“Insufficient taming skill” On this watercolor painting, a thrumbo stands on a plain near a distant treeline while a shuttle descends across the Jugust sky. In the lower right, the severed middle third of a colonist in normal cloth pants lie in a spreading pool of blood. The thrumbo placidly looks upwards. This image relates to Jay attempting to tame a wild thrumbo outside the colony of Blue Cat Den on the 6th of Jugust, 5503. The beast turned manhunter; Jay was separated from most of his limbs. The style is watery and impressionistic, and the composition forms a triangle between the legs, the thrumbo, and the shuttle. If you squint, the cloud resembles a sleeping muffalo.
“Insufficient taming skill” On this piece, a colossal thrumbo stands on a flat plain near a distant treeline while a burning ship chunk streaks across the Jugust sky. In the lower right, the severed legs of a colonist in linen cloth pants lie in a spreading pool of blood. The thrumbo looks away, triumphant. This image relates to Jay attempting to tame a wild thrumbo outside the colony of Blue Cat Den on the 6th of Jugust, 5503. The beast turned manhunter; Hu turned into two problems. The style is watery and impressionistic, and the composition forms a triangle between the legs, the thrumbo, and the falling debris. If you squint, the cloud resembles a sleeping muffalo.
Oil painting of a fluffy white calico cat, a Persian with tan and gray patches and a pink collar, lit by cool blue light and staring forward with a stern expression. Her name is Pu his. She stands on a brown floor against a very dark blue-black background; a rich purple curtain hangs on the right, leaving most of the scene in shadow.
Oil painting of a nocturnal scene. A blue-violet rabbit at lower left gazes toward a small tree near center whose trunk glows warm gold with a horrified grimace, casting a pale halo on the ground. The canopy is teal-blue with scattered pink fruits, while the surrounding sky and landscape recede into deep indigo, creating a quiet, magical atmosphere with soft, painterly brushstrokes.
Screen capture of a table: A breakdown of use cases pulled from OpenAI's recent paper on 'How people use ChatGPT'. Of note, Fiction writing is 1.6% of cases, image generation is 4.2%. It is as if the drama around these specific topics were a guerrilla marketing scheme meant to over-hype products so that venture capital investors will put down more money.
Acrylic painting of the Pokémon Gengar emerging from a dark, moonlit night. The purple, spiky ghost grins with sharp red-orange eyes, one arm flinging out a small pink ghostly flame. A pale lilac oval of light pools on the green ground beneath, with misty shadows and a thin crescent moon in the upper-right corner.
An oil painting depicting the Pokémon Umbreon in a nocturnal setting. The creature is shown in profile, its dark, sleek body rendered with visible, energetic brushstrokes in shades of black and deep blue. Stark contrast is created by the character's signature features: bright yellow rings on its forehead, ears, legs, and tail, and two piercing red eyes. The ground is a lighter, cool-toned surface, and the overall style is expressive and textured, emphasizing mood and form over fine detail.
Fluffy persian cat in front of a window and a curtain.
Charcoal sketch of a fluffy persian cat, in front of a window.
Charcoal sketch of a front‑facing, fluffy persian cat with a bow tie and long curled whiskers, seated on floorboards; diagonal hatched background and a tall curtain-like shape at right.
This oil painting depicts a two-story suburban house rendered in a style with visible brushstrokes and simplified forms. The composition features a cream or beige-colored house with a dark gray roof set against a vibrant blue sky. The building includes multiple blue-framed windows arranged vertically on the main facade. The architectural structure demonstrates a mixed composition, incorporating both the main two-story section and a smaller single-story addition or porch area with its own triangular roof element on the right side. The foreground presents a green ground plane suggesting lawn or landscaping, while the background maintains the consistent blue tonality of the sky. The color palette remains limited, utilizing primarily blues, earth tones, and greens to create a cohesive domestic scene. Did you know some projective tests ask you to draw a house as a means to gain additional information about your personality? Contrary to popular belief. These projective tests are actually validated just like regular objective testing: by comparing the results to other batteries of objective tests that measure the same thing. After numberless iterations you can confirm or deny of they are measuring the same thing or not, and therefore validate a test!
A small polychromatic sculpture of the Virgen de Quito positioned on a work surface surrounded by art supplies. The figure depicts a winged Virgin Mary with large spread wings, wearing blue and red robes, standing atop a crescent moon base. Beneath her feet lies a defeated serpent or demon figure with chains. The Virgin has a serene facial expression and wears a radiating crown or halo. The sculpture shows signs of paint application or restoration work, with visible color variations and textures throughout the piece. This representation exemplifies the religious syncretism of colonial Ecuador, where indigenous Andean cosmology merged with Spanish Catholic theology. The prominent wings reference both the apocalyptic woman of Revelation 12 and the Andean condor, which serves as a celestial messenger connecting earthly and divine realms. The defeated serpent beneath represents the biblical triumph over evil while potentially incorporating indigenous concepts of Pachamama and the Incan underworld. The crescent moon base symbolizes Marian purity within Catholic tradition while acknowledging the central role of lunar cycles in pre-Columbian Andean agricultural and religious practices. The blue and red garments follow traditional Marian color symbolism while echoing pre-Columbian textile traditions. This iconography emerged from the Quito School of colonial art, where indigenous and mestizo craftsmen developed techniques allowing subtle incorporation of native symbolic systems within Catholic imagery, creating devotional art that functioned as a bridge between spiritual traditions.
A panoramic landscape view showing a multi-layered urban-to-rural transition under a dramatic evening sky. In the foreground, residential houses with varied architectural styles are nestled among dense green trees and foliage. The middle portion features an expansive forest canopy extending across rolling hills. On the distant horizon, several high-rise apartment or office buildings emerge from the treeline, creating a stark contrast between natural and urban environments. Above, a spectacular cloud formation dominates the pale blue sky, with cumulus clouds illuminated in soft pink and orange hues, suggesting golden hour lighting. The composition emphasizes the relationship between residential, natural, and urban spaces within what appears to be a metropolitan area's suburban fringe.
A realistic oil painting depicts a glass jar of water sitting on a dark surface against a soft, light blue-gray background. Three green leaves that join to form a single stem, a cutting, emerge from the jar, their forms slightly drooping. The jar is rendered with transparent and reflective qualities, showing subtle highlights and distortions from the water inside. The leaves display gentle shading and vein details, while the entire composition is calm and minimalistic, with visible brushstrokes and a soft, diffused light.
There are fossils in the wall.
An oil painting portrait of a person with short, tousled hair wearing large, dark sunglasses and a dark jacket over a high-collared shirt. The entire painting is executed in shades of red, with the background, face, and clothing all blending together through expressive, textured brushstrokes. The sunglasses and hair are rendered in deeper, almost blackish reds, while the face is lighter but still predominantly red. The figure’s features are suggested more than precisely defined, giving the painting a bold, stylized, and somewhat abstract quality. The brushwork is loose and energetic, especially in the hair and clothing, while the background is a flat, solid red.
A rectangular oil painting features a vivid, textured red background that fills the entire canvas. At the center, a roughly human figure emerges, rendered in smeared whites, grays, and blacks, with distinct horizontal brush strokes and areas of scraped paint. The figure appears to be raising one arm above its head and extending the other outward. The figure’s edges are blurred and indistinct, blending into the red background, creating a ghostly, almost ethereal effect. The painting’s surface shows visible brush marks and variations in the thickness of the paint, emphasizing the tactile quality of the medium.
An oil painting depicts a single candle in a glass holder, its flame softly glowing at the center of the composition. Loose, expressive brushstrokes in muted yellows, greens, and ochres suggest the flickering light and the gentle illumination of its surroundings. The background is dark, rendered in layered strokes of deep grey and black, contrasting with the candle’s pale, creamy tones. Hints of yellow and pink near the flame evoke the warmth and movement of candlelight.
This oil painting depicts a solitary tree with thick, textured yellow-green foliage standing on the edge of a rocky cliff. The brushstrokes are expressive and impasto, particularly in the leaves, giving a sense of movement and depth. The background is rendered in soft, muted earth tones with a hazy, pastel sky that transitions from light pink near the horizon to grayish-green above. The cliff descends steeply toward a pale, setting Sun.
Oil painting depicting a dramatic, dark cavern scene. On the left, a massive, serpentine snake with mottled green-grey scales and a striking green eye looms, its head lowered menacingly toward the foreground. Its tongue flicks out in the direction of a small, hooded human figure on the right, who holds a bright torch that casts a warm, golden glow against the snake’s face and the surrounding shadows. The background is murky and indistinct, evoking a sense of depth and foreboding within the cave. A smaller snake can be seen moving towards a glowing pool of water in the background. The brushwork is expressive, with visible texture adding to the atmosphere of tension and mystery.
A dirt path curves gently to the right through a wooded area. Dense deciduous trees with bright green foliage line both sides of the trail, creating a natural canopy overhead. Tall grass grows along the path edges. The sky is clear blue with minimal clouds visible through gaps in the tree cover. Dappled sunlight creates shadows across the unpaved trail surface.
Charcoal sketch of a gigant snake inside a cave, illuminated the torch of an explorer that we see only as a dark silhouette.
This oil painting depicts a dramatic mountainous landscape rendered in a cool blue and white palette with subtle warm accents. The composition centers on a prominent snow-covered mountain peak that dominates the left portion of the canvas, its craggy surfaces defined through bold brushstrokes that capture both the mass and texture of the rocky terrain beneath the snow. The background transitions from the cooler blue tones of the mountain into a luminous sky that shifts toward warmer hues near the horizon. This atmospheric perspective creates depth and suggests either dawn or dusk lighting conditions, with golden and peachy tones emerging in the middle distance where sky meets the implied landscape below. The brushwork in the sky area appears more fluid and gestural, contrasting with the more structural treatment of the mountain forms. A small dark element, a backlit dragon, appears in the upper right portion of the composition, adding a sense of scale and movement to the otherwise static landscape. The overall technique demonstrates confident handling of oil paint, with visible brushstrokes that contribute to the painting's expressive quality while maintaining the representational clarity of the alpine subject matter. The color harmony between the cool blues and warm atmospheric tones creates a compelling sense of natural lighting and environmental mood typical of high-altitude mountain scenery.
This oil painting depicts a dramatic mountainous landscape rendered predominantly in various shades of blue, creating a monochromatic composition that evokes either twilight or moonlit conditions. The artist has employed bold, visible brushstrokes throughout the work, giving the piece a textured, expressive quality characteristic of post-impressionist or expressionist techniques. The composition features multiple mountain peaks of varying heights arranged across the canvas, with the most prominent peak positioned toward the right side of the image. These mountains display steep, angular faces that catch and reflect light, creating areas of lighter blue and white highlighting against the deeper blue shadows. The brushwork follows the natural contours and geological formations of the mountainous terrain, with directional strokes that emphasize the vertical thrust of the peaks and the flowing lines of the ridges. Above the mountain range, the night sky is painted in deep ultramarine blue with visible texture from the paint application. A distinctive element appears in the upper left portion of the sky—a bright streak or celestial object that could represent a comet: rendered in lighter tones that stand out against the dark firmament. The overall atmospheric quality of the painting suggests either the blue hour of twilight or a moonlit nocturnal scene, with the monochromatic blue palette unifying the entire composition while creating depth through tonal variations. The artist's signature appears to be visible in the lower left corner of the canvas.
The sketch depicts a figure in a dynamic pose with one leg extended forward and arms raised. The character wears form-fitting clothing in of a harlequin and it's head displays a mask covering a mass of blackness. The figure is rendered in charcoal or graphite using cross-hatching techniques. The drawing is framed by heavy diagonal shading that creates an enclosed space around the central figure. Line work varies from bold strokes for the main form to lighter marks for details and texture. The composition emphasizes movement through the figure's animated posture and gestural drawing style.
This oil painting depicts a dramatic canadian winter scene rendered in monochromatic tones of gray, black, and white. The composition features snow-covered mountain peaks that dominate the middle and right portions of the canvas, their jagged forms created with bold, expressive brushstrokes that emphasize the raw power of the mountainous terrain. The sky occupies the upper portion of the painting and appears heavy with storm clouds, painted with vertical brushwork that suggests falling snow or rain. Two gigant humanoid shadows can be seen in silhouette against a reddish sky. In the foreground at the bottom of the composition, several tiny dark figures are visible against the snow-covered ground, appearing as mere specks that emphasize the vast scale of the mountain landscape. These travelers, are rendered with just a few dark brushstrokes but effectively communicate the human presence within this imposing natural environment. The snow-covered ground is painted with horizontal brushstrokes in varying shades of gray and white, suggesting the undulating terrain of the mountain base. The painting's texture is particularly notable, with visible brushstrokes throughout that create a sense of movement and energy. The artist's technique emphasizes the harsh, unforgiving nature of the mountainous environment while maintaining an ethereal quality through the interplay of light and humanoid shadows beyond the snow-covered peaks.
(1) Here I'm using heavily diluted Burnt Umber and a purple mix of Ultramarine Blue and Alizarin Crimson to block in the major areas of the painting. I'm using a lot of pure odorless mineral spirits as medium at this point and my main goal is to cover the canvas in paint using the directional strokes to represent the hair and add volume. You can also see I'm still deciding on the last details around composition and colors.
This pencil sketch on white canvas depicts an American Bully dog in portrait orientation, showing the head and upper chest area. The drawing features visible construction lines and geometric guidelines forming a grid pattern across the canvas, indicating this is a work in progress using structured drawing techniques. The dog's face shows characteristic American Bully features including a broad head, pronounced facial muscles, and alert eyes looking directly at the viewer. The dog appears to be wearing a collar. The sketch is rendered in graphite pencil with various levels of shading and cross-hatching to create dimension and form. The canvas appears to be secured at the top with tape or a clip.
A blue-green fox spirit sits in the center of the canvas against a dark, nearly black background. The fox is painted with loose, expressive brushstrokes, giving it a ghostly, ethereal quality. Its most striking features are its bright orange-yellow eyes that avoid the viewer and look back behind it. Behind the fox's head is a pale blue circle that contains a hazy miniature of a distant land. It is a portal. The fox's body shows hints of warmer tones mixed into the predominantly cool blue-gray fur. The painting style is loose and gestural, with visible brushstrokes and some areas where paint appears to drip down the canvas. The overall mood is mysterious and nocturnal, with the pale fox figure emerging from the deep, dark background.
Oil painting of a hazy vision. Formless silhouettes fill the view. On the foreground, a couple bound by red chains on their neck. In the background there is a portal inside a distant gate, a hazy silhouette going through.
This oil painting portrays Vegeta, Prince of the Saiyan, from the Dragon Ball Z universe, captured in a vertically oriented rectangular frame. The composition focuses on his upper torso, emphasizing his confident demeanor through a sly smirk that plays across his lips. His hair rises in jagged, jet-black spikes, each tipped with bright white highlights that mimic the effect of light catching sharp edges, creating a tactile sense of rigidity and energy. Narrow, piercing eyes convey intensity, suggesting their strategic mind and unyielding pride. He wears a fitted purple battle garment, its fabric rendered with deep folds and shadowed creases that suggest movement and dimension. The collar sweeps upward around his neck, adding regality to his stance. Behind him, the background swirls with teals and cool grays, to the left oh his head an energy ball trails into the background, in collision trajectory with a z-fighter seen flying far away in the distance. Krillin, about to die. The paintint employs thick, textured layers of oil paint, visible in the raised brushstrokes that give the work a three-dimensional quality, from the sharp contours of Vegeta’s hair to the smoother gradients of his skin and armor. The overall effect balances dynamism and control, mirroring the character’s dual nature as both a fierce combatant and a calculating leader.
A screenshot of the credits roll for the indie(?) video-game Rimworld, colony survival simulator. The game ends (in this case) when you finish building a Starship and fly to the stars. The screenshot reads: "Your machine persona will now try to guide the ship to a safe place. It might find a prosperous planet in this system. Or it may undertake a centuries-long journey to a another star. It might even decide to hide under the ice on an asteroid field for a few thousand years, waiting for someone to build a new Glitterworld here. You'll find out when you wake up." This is the second ending I've every achieved (of 4) and it was way harder than the first one I got (Royalty, becoming a space noble). If you're curious, I finished the game with an 22ish person colony, definitely not a cult, led by a vampire and their chorus of (cannibal) power-armor knights in Cataphract armor. The colony was wiped twice before it got established, both times leaving only the (deathless) vampire in an involuntary catatonic state. He was eventually woken up from his deathrest by a traveller, touched by the maddening voices of distant god-machines, that took shelter in the abandoned base. Said traveller made it all the way to the end of the game by unnaturally extending his life with dark rituals and bionic augmentations, but died defending the spaceship before it launched. o7
There are two containers in this picture. One is a white ceramic, stained by use with different paint materials. The one to the right is a recycled jar container, with something that looks like a scraped candle inside. There is a brush connecting the two containers and a painting about ot be treated in the background.
Painting of the silhouette man standing stop a ridge, looking at the expanse in front of him, sword on hip. Below, a sea of fog extends as far as the eye can see, mountains dwarfed by the clouds, veiled by the atmosphere in the distance. It looks a bit more blue in real life; I always struggle with photographing paintings in way that closely mirrors the experience of seeing them in person. The original by Friedrich is relevant because it marks the change into a new era of western aesthetics: Romanticism. To me, it reminds me of post-nut clarity tbh. Hehe.
Oil painting in pink and purple. In the foreground: the remains of a decapitated lighthouse, with a human figure sitting on a chair on top of the broken building. Ships are crashing and sinking under the trashing sea. In the distance a red eye raises from the sea, dwarfing everything else I'm the frame.
Screenshot of the translated poem, it reads: Living Beyond Myself A translation of "Vivo sin vivir en mí" by Santa Teresa de Ávila I live without dwelling in myself, Aspiring toward such celestial height, I die because I cannot die. Outside myself I now reside, Since surrendering to love's sweet death, For I abide within my Lord, Who claimed me as His own; When I offered Him my heart, He etched within this sacred verse: "I die because I cannot die." This divine communion, And the love by which I breathe, Makes my God my willing captive While my soul soars unbound; Such profound yearning overcomes me Seeing my Creator thus ensnared, I die because I cannot die. Oh, how endless is this earthly journey! How severe this exile's plight, These prison walls and binding chains Where dwells my captive soul! Merely awaiting my release Inflicts such exquisite torment, I die because I cannot die. Relinquish your hold at last, Life, cease your wearisome grasp; For in death, what remains but this: True living and eternal bliss? Withhold not your tender mercy, Death, for this I ardently implore: I die because I cannot die.
Photograph of a spring sunset over Calgary's southern suburbs.
Monochrome portrait of an aging man in a formal Victorian suit. He is balding and has a padlock-style beard. He looks sternly and disappointedly at the viewer. This is supposed to be Sigmund Freud.
A charcoal and colored pencil drawing of a woman in a simple black top and of messy hair. On her left hand she holds a knife with a punctured cartoon heart and on the left she has a meat fork with a severed arm impaled on it. The woman smiles with her bloody mouth full. It is Ashley, from the indie horror videogame "The coffin of Andy and Leyley".
Charoal sketch of a "cucurucho" miniature. It is a hooded penitent, traditionally seen parading during Holy Week celebrations in Ecuador. They are sinners who show their devotion and penitence by taking on this role once a year. The miniature is inside a rectangular box.
A charcoal monochrome sketch of man. He has messy straight hair, heavy bags under his eyes, a small earring on his left ear and is wearing a hoodie. I was taking Lewis of the Yogscast as a reference, but I deviated a bit as I was sketching him.
Charcoal sketch of an androgynous person in roughed-up formal clothing. They are looking ever so slightly left of the viewer.
Black and white charcoal sketch of a woman looking upwards above the viewer. She wears a scarf around her neck.
Black and white sketch in pen of Neuro-sama, an AI VTuber created by the human Vedal.
Screen capture of the books cover, it reads: Title: "Healer's Handbook" Subtitle: "Transforming Discord into Community Mental Health "A mutual aid mental health training handbook by Joshua P. Aguayo"
A picture of a Calgary's skyline in the last days of winter. From background to foreground you have: The city's skyline against a a clear blue sky. Then the dormant brown and dark green trees of the suburbs, and finally the dry grass of a park, from where the picture is taken.
Charcoal monochrome sketch of the artist's skull, a metaphor for his internal mental state.
An empty page, nothing on it.
Sunrise over the Bow river. Most of the water is frozen and heavy snow covers every inch of ground.
Colored pencils drawing of VTuber Ectoplasm rat. A rat monster-girl, made of mixed rat parts, stitches are visible across her face and around her neck.
Photography of a misty river morning. The ground is covered in snow and the sky is completely clear. In the forefront, a green sign reads "Bow River Pathway". Below it, in a second sign, two symbols command: No cycling and no skating.
Coloured sketch of a Gyarados coming out of the water. On the shore, a Magikarp struggles next to an abandoned fishing rod, pokeball and backpack.