the trio, bat taxidermy

taxidermied bats

Three taxidermy bats- two indonesian bats (chemically preserved) and one northwest bat, humanely collected, preserved with salt, disinfectant materials, and time, (completely mummified and sanitary) and mounted on a birch plaque with mouse and vole bones and preserved hawkmoths and cicada shells. All have been sanitized and dried completely, handled with care.

I adore bats. I think they’re amazing, beautiful creatures, and I have been donating to a few projects meant to combat white-nose fungus, which has been killing off bats across the Americas for a while now. It’s really sad because bats keep all insects in check, plus they are ADORABLE.

Ships nestled carefully in protective packaging, to the US only. $200 includes shipping, handling, tracking, and insurance (USPS)

Plaque is approximately 6×15″. Bats are mummified completely, all bones are sealed and odorless.

new works and a snake and fish in progress!

I’ve been painting the last few days. It’s so hot that I only go outside if  absolutely have to..
I’ve been adding things to my square shop slowly but surely too.

Here’s some of the new stuff that’s finished:

 

And here’s a snake I’m working on:

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EPSON MFP image

AND a fish from start to finish.

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new works, and some things I've been up to in Seattle

 

new prints and shirts ^^^

and some random stuff…vvv

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new works, and some things I’ve been up to in Seattle

 

new prints and shirts ^^^

and some random stuff…vvv

cardfront1 10536549_10203260424763644_29020461_n orchids_by_resonanteye-d4cety3

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four essential aftercare tips for fresh tattoos.

398191_10151137265617712_1686171381_nTattoos, just like a fur or a pair of old favorite boots, require some care to stand the test of time.

Tattoos done before about 1990 have little hope of staying clear and unsullied by sun and weather and wear. The inks used before that time had many pigment ingredients which could react to sun exposure, and to the wearer’s own body fluids. These days, most tattoo inks used by professional artists are inert and hypo-allergenic, and at the very least should not react to the skin itself. They can still be faded and worn if not cared for properly. (Some people might still be allergic to certain inks, but it’s very rare.)

A tattoo is ink that is permanently set just under the translucent top layer of skin. This top layer is like an elastic window that you look through to see the ink. If the top layer is damaged or thickened or darkened, it becomes a dirty window. Age, sun exposure, and scars can all obscure a gorgeous tattoo and turn it into indecipherable mud. Also, the darker your skin, the more “tint” that window has.

  • First and most destructive on the list of tattoo-destroyers is the sun. Just as a photograph left in the sun will fade over time, the pigments in a tattoo will fade. The pigmentation of skin is a poor defense, and putting sunblock on your tattoo will keep it looking fresh over the years. If you tan, try using a high SPF lip balm, and apply it just to the tattooed area. If you use a stick lip balm you can use it like a crayon and color in just the tattoo, letting the skin right up to it tan. This makes the tattoo look even newer next to the tanned area. If you will be out in the sun use a high SPF sunblock, even if your tattoo was done last year. The pigments can be faded even after the tattoo is long healed. Don’t start with sunblock until the tattoo is at least two weeks old.
  • Second, wrinkles will obscure your tattoo, and may even distort it. Over the years, the cells in skin shift a bit and change relative position. As any dermatologist will tell you, avoiding sun exposure and staying hydrated keep wrinkles away. This will help your tattoo, also. Once the tattoo is applied it becomes part of your largest organ- your skin. What is good for your skin is good for your tattoo, too, so drink enough water. Moisturizing the tattooed area helps. Even years after the procedure, the area that was tattooed remembers the abrasion, and can get dehydrated more quickly than the rest of your skin. So be sure to continue moisturizing occasionally, even after the tattoo heals.
  • Third, accidents happen. Scars that destroy tattoos are almost never intentional. The good news is that most scars can be tattooed over. Unless the scar is raised more than 1/4 inch from the surface, or is heavily textured, there are many tattoo artists that are willing to repair or retouch scars. If you’re planning on repairing a tattoo that’s been scarred over, try to allow at least six months for the scar tissue to “settle”. Use some light vitamin E oil or Emu oil on it from time to time and massage against the grain of the scar. This can sometimes help reduce the texture of the scar, and makes the tissue softer and easier to tattoo over.
  • Last but not least, if your artist offers a free touch-up, take advantage of it within a few months. The best time to get tattooed is in the winter, when your new art won’t get exposed to the sun. But no matter when you get worked on, wait until after the summer sun has done its damage before you go back to get a touch-up. This way, the artist gets the satisfaction of a second look at your work, and you get to repair any damage the vacation did to your new ink.

When your artist gives you care instructions, follow them to the letter. Every artist uses different techniques to apply a

all healed up!

all healed up!

tattoo, and usually they know which healing procedure will work best in conjunction with it. Artists use such a variety of needle, ink, and bandaging material- as well as the variatons in YOUR body’s healing ability- that it’s impossible to give out one universal set of aftercare directions.

Don’t listen to your friends, other artists, or people you meet out and about. If you don’t trust the artist to know best, you should buy your tattoo from someone you DO trust. Pick an artist who you trust, and listen to them. They know how to help you heal your new work.

It’s OUR job to put the tattoo in just the right layer of your skin, just right. It’s YOUR job to do the other half- to heal your tattoo properly. Keep your tattoos clean while healing, and wash your hands before touching a fresh tattoo. Don’t wear tight things that will rub against or irritate your tattoo. Don’t swim or surf for the first few weeks. And most of all, let your tattoo get air.

A well-healed tattoo will make you happy for decades. Taking a few weeks to care for it properly is COMPLETELY worth it.

(written by me, originally published here)

How you can help me. and other medical nonsense!

If you follow my site or know me personally, you know I have been through some medical hell the past ten months or so.

TMI after the break.

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why does everything have those three lines and/or dots in it?

I always use three lines/three dots on anything I do. Sometimes they’re front and center, the focal point of the art, and Sometimes they’re obscured- hidden in the backdrop or repeated in a pattern so as to be less noticeable.

I began doing this because of the greek character Ξ, Xi. There’s a few layers of meaning there, and all of them combined made me interested in the symbol/shape, and that interest led to me using it as a part of my signature for a while. After that it migrated, getting further detached from my initials, and becoming more a part of the artwork. And from there it just sort of infiltrated every piece I make.

Back in the 80s-90s I was really interested in mindhacks and psychedelics and pTv and related art and music.

I did some work with sigils. I’m not a believer, not even agnostic, but I do know that our subconscious is a strong force, and that affecting it, changing it, tinkering in there, can bring some odd results. Working with visual symbols is one of my ongoing experiments- using an eye as the main focal point in a painting that is smaller and might be stolen from a gallery (even the most abstract eye affects the behavior of the people around it- see this study for details) or using hands, in various gestures, to suggest action to the viewer.

So while I have an abiding interest in all these things I am not any kind of believer. I do entertain the idea that Jung may have had a good point about how symbols and visual cues lead us, and have an impact on our lives, so it’s always been my effort to find ways to incorporate these things, at least subtly, into my work. The three lines/dots is a personal symbol, though, which I use in my art to influence MYSELF. So in the sense of it meaning something to the viewer, maybe- it’s done intentionally as a prompt to myself while working, though.

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brainpan

10354092_10152260725527712_8901077227845494865_nBased on some Tibetan gore art I looked over recently.brains

All watercolor, brush and ink. 22×30″ on 300# kilimanjaro coldpress.

Yeah it’s warped (drying) in these images.

not for sale, made as a gift for a friend.

might make prints before I give it away, I haven’t decided yet.

PRINTS AVAILABLE HERE!

click through for more process shots and a full view of the finished piece.

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Creating your own photo reference

Originally published on 06/14/2008

PHOTOGRAPHYWe all know how boring it can get to see the same few poses, faces, or roses tattooed again and again. It’s a strange ethical question in some ways- is a still from a film, a figure model on the internet, or a flower you find on google, stolen property if you trace/redraw slightly, and tattoo it?

You can start fixing this by beginning to create your own photo reference library. If you have a relatively decent camera, whether or not it’s digital (although digital is easier, and what I’ll be discussing here) you can acquire a lot of reference that nobody else has access to.

Photograph everything. Get a big memory card- it’s a write-off- and start taking pictures of the flowers in your garden, ask your friends to pose for you. Have them stand and sit in different positions and make different faces, different emotions and moods. Just be sure to organize your pictures by sunject, not by date! That way you can always find “red rose bud” in the mass of pictures you will end up with.

This brings originality to your work, while allowing you to stay fairly true to life. If you plan to specialize in photorealistic or “color zombie portrait head” style work, you’d better start shooting now, because if I see another devil’s rejects stillframe #13892 again I will scream.

painting as work and play/the dichotomy of the studio

Originally published on 12/23/2008.

20062641819191On painting…

You must have music which is entirely familiar to you playing. Any new thoughts or sounds may intrude upon your own particular vision, worming their way in, showing themselves. You want to have something so familiar that even the unconcsious ignores it. Something with beat that you can waggle the brush to. Something that makes you dance at your work.

You must have no unfamiliar or new scents in the studio. Only the familiar, the comfortable, the usual. Turpentine, coffee, tea. The things that your mind sees as backdrop, not as important, nothing that your mind must process or worry over. Nothing to bring up memories, which will also invade the vision. The mind as blank screen. No alarm bells, either for good or bad.

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