Description
Anteater, 1977Lithograph 2 chops LEE Little Egypt Enterprises
Signed Staley/Camblin
22 x 30 in. (image)
32.5 x 40.5 x 2 in. (frame)
original, includes certificate of authenticity from ArtTrust
The lithograph “Anteater” is from the series Bestiary, a drypoint from Little Egypt Studios. At first glance, this intricate black-and-white drawing of an anteater stands out with its highly detailed texture. The artist’s technique involves filling the anteater’s form with elaborate patterns and organic shapes, reminiscent of foliage, decayed matter, and skeletal forms. The drawing simultaneously embodies both life and death, as it evokes the organic textures of a living forest and the decay of detritus.
In Zen philosophy, nature is seen as a reflection of the mind’s condition. The anteater’s textured surface could symbolize the interconnectedness of all things—each detail representing aspects of nature and life. The chaotic pattern may suggest the mind’s struggle to see the “big picture” amidst the clutter of individual thoughts. The anteater, as a creature that methodically sifts through its environment in search of sustenance, becomes a metaphor for mindfulness, inviting us to “eat” away at distractions to uncover the simplicity and emptiness that Zen seeks.
The I Ching, or “Book of Changes,” deals with the flow and transformation inherent in all things. This anteater can be interpreted as representing the hexagram Fu (Return), which symbolizes the natural cycle of life and death, decay and renewal. The anteater, a creature grounded to the earth and adapted to its environment, embodies the principle of returning to simplicity and embracing transformation as part of nature’s inevitable course.
Together, the Zen and I Ching perspectives suggest a harmony between form and formlessness. The anteater’s body serves as a canvas for the passage of time and the interconnectedness of natural elements. Its skin is more than mere representation—it becomes an allegory of the ongoing cycles of existence, where every experience is imprinted, layered, and eventually reclaimed by nature.
The style of this piece can be seen as belonging to the tradition of surrealist illustration, particularly in its meticulous line work and surreal merging of textures and forms. There is a nod to Dadaist collage in the way different visual elements seem to converge in the anteater’s form, recalling artists like Max Ernst, who incorporated nature and decay into his compositions. Additionally, this piece draws upon themes of memento mori in art history, reminding the viewer of life’s transience through its skeletal and decomposing motifs.
Altogether, this work is an exploration of interconnectedness and the seamless blending of life and death, evoking deep contemplation of the cycles that shape our existence.
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From the series Bestiary, a drypoint on Twinrocker handmade paper
1 bob a tirer, 25 artist’s proofs, 1 printer’s proof, 3 LEE proofs, 35 edition
“Anteater” was featured in his Yes Retrospective and in Sandra Jensen Rowland’s monograph, Bob Bilyeu Camblin – An Iconoclast in Houston’s Emerging Art Scene.
Reproductions of this drawing are available in multiple sizes!
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This artwork is available with a non-fungible token to ensure traceability and transparency of provenance.
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