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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skulls, bones, dead things, and where they come from.

Originally published on 11/16/2013

raccoon skull mount taxidermyI want to talk a little bit about my materials. Mainly because I read a lot of forums and craft and art blogs, and tend to see the same comments over and over about artists that work with taxidermy or animal remains.

Nature isn’t cruel or kind; it’s just hungry. 

I get a lot of questions about various things I use- mostly about bones and skulls, but a lot of people have asked about other things too- plants, rocks. Usually people are just being dense- “did you kill all those raccoons?” or “who do you have buried in the crawlspace?” or, even better, “ewwww it’s dead!” A lot of people saying this also eat fast food, buy meat at the grocery store, and let their cats roam outdoors…

I work humanely- in a sense. I don’t kill anything to make my art but yes, they are real bones and skulls. I get them from a lot of different sources. Most of the game animal bones and skulls I get from hunters- I have friends who hunt for food, and who will give me remains to work with. Most of the deer, elk, and turkey skulls and bones I use come from these sources. I also get bones from family farms- chicken, pig, and goose or turkey bones, even a few ostrich and cow remains. Most of these animals are also killed for food.

I don’t use anything from factory farms, just farms where the animals are treated well. I know this is enough to upset some people but since I also eat meat I don’t feel bad about it- I WOULD feel awful using factory-farmed items. However if I came across some, or had a source, I might use them; that piece would probably be pretty damned dark though. I tend to work with the feelings the animal’s remains give me, to make a piece that expresses the creature’s life.

I know a lot of artists who work with animal remains are a bit more humorous than I am, or more light-hearted about it in general. I do see the remains as a medium but at the same time I don’t feel good making jokes at the animal’s expense. Very rarely I get a skull or part which is light, and happy- I will sometimes make a brighter piece with those. Usually though animals live difficult lives, and their bones speak to me about this, so I don’t work very light very often.

I get questioned partly I think because of artists that do slaughter animals in the context of their work. While I don’t do this, I don’t find these artists offensive at all, it’s just not my own way of working. I don’t think it’s horrible. I have hunted for food myself, and been present for slaughtering at farms. Again- I don’t think it’s awful if you eat at KFC, either. I just personally don’t.

Some of my pieces come from road strikes. I have been working steadily on a series of photographs and an extended essay about roadside nature and roadkill, about human safety and how highways affect the animals that live near them. As a consequence of this work I have come across a LOT of roadside remains. I did get a license to collect roadkill in several states (not all states need one, but some do) and have spent a great deal of time working with these remains. A lot of these wild animals are obvious survivors of repeated injuries (fractures and old healed injuries in their skeletons attest to this) and the way they interact with the road fascinates me.

skunk skullNo, I have not used anything I myself ran over.

Most of my feathers come from friend’s farms. Almost all of my plant matter comes from my own place- I live on the edge of the Siuslaw, and not only the yard/forest of my house but the clearcuts nearby furnish most of my lichens, moss, and wood. I do a lot of beach collecting too. I live in Oregon, and it is legal to collect many things here, since all beaches are public. I do refrain from collecting in park areas, since those are restricted. I also don’t collect or mess with the remains of pinnipeds, or vertebrate fossils- just invertebrate fossils, collected in nonrestricted areas.

I have a few skulls and things which I have purchased. A few mink, fox, and beaver skulls which I am certain are fur trade castoffs- these items have a very dark feeling to them, and so the pieces built with them reflect that. I also have used vervet monkey skulls- the importation of these was a pain in the neck, and they are killed as a nuisance animal- so they too have a very dark feeling. Like I said, the horrors of life, death, the hard times most animals go through, are the reason my work is not light-hearted and silly. I don’t use anything illegal, and I avoid using items which may violate CITES or the MBA. (More information on the legality of animal remains is available here, if you are interested.)

I don’t work much with animals that are domestic pets, but I occasionally get some materials this way. Usually these are used for commissions for the previous owner. Some of these are more light and happy. I’ve worked with a very battered stray-dog skull, just making that piece was very upsetting. It wasn’t a joke to me.

zpg, anti-breeding artI’ve worked with human bones too. This is where people tend to be most alarmed- although in reality it is easier to buy human bone than many animals! I get most of my human bone specimens from places which sell vintage anatomical displays, or from places such as necromance (among others) which sell oddities. Yes, these bones are legal. No, I didn’t kill anyone to get them. And YES, they are expensive for a reason. Again- most of these works are dark. I don’t get silly feelings from death.

I’ve sold work and done commissions for vegans- for people who are animal and conservation activists. My work is intended to speak about the way people are oblivious to the natural world. Nature is full of drama, death, struggle, and strangeness. I try to use the materials I have to portray that. Reminders of mortality are not for everyone. Horrific art is not for everyone. There are people who cannot sit through a horror movie and people who cannot listen to a description of how their hamburger was made. My work is not for these people, really- although knowing that my work may have given them pause or made them think about these things, about the darker side of life, is kind of the point.

Originally Published on: Apr 19, 2012

the struggle to decide; prints or not? downloads or not?

(originally published Published on: Sep 5, 2013)

I always struggle with the question of whether to make downloads of my work available, or prints. In one way, I hate doing it, because I like the idea of something I made with my own hands going to your hands, as it is, with no other stuff there. Then I realize some things.

  • If I was a musician, I’d sell records, not just perform live.
  • I can only make so many original things, in so much time.
  • I’d like to be able to earn enough from my art to make it worth the time and energy (see footnote)
  • I have to eat.
  • Many people want to be able to enjoy my work but couldn’t afford the cost of an original.
  • I can’t manage shipping and storefronts online and promotion for all of that, and STILL HAVE TIME FOR MAKING THINGS.

I will take these point-by-point.

shirtsIf I was a musician, I’d sell records. I’d want more people to enjoy my work than I could perform for in person. I’d want people to be able to take me anywhere with them. If I was a writer, I’d print books of my work. I wouldn’t expect people to only access my work through attending readings, or by buying the hand-written manuscript. I’d want my work to be accessible, something people could enjoy.  I also would maybe still sell the manuscript, or some signed first editions…but the books would be published, out there, even on a kindle.

I have two hands. If I work the equivalent of fulltime hours, I can make maybe four things, of substandard quality, in a week. I can make maybe one or two things of good quality in a week. I can make one great thing a month. Now…how much is minimum wage? Should I set all the art aside and get a job at McDonald’s? Because if I can only sell a piece of art one time, mcdonald’s will pay better, and maybe I should set this art stuff aside permanently and get a real job…I can only make so much stuff with my own two hands. But if I sell prints and let people download the works, I can post it – set it and forget it. I can sell those while I am busy making other new things, and can continue to make money from a piece for years sometimes, long after the original is sold or destroyed.

I love making art. I spend all my time making things. I do have to eat. So therefore I have to charge money and sell my work- my choice is, work a job which takes all my time, and rarely make anything, or sell my work at a reasonable price and live off that money. I love making art. The process of actually making things, well, I will do that no matter what. I’ve had my Kafka years, working fulltime then coming home and putting in another eight hours painting. But my work wasn’t as good. And I had no time to show it to anyone. I need the time to show my work- to scan it, photograph it, share it, post it. If I don’t make any money from a piece, I’ll still MAKE the piece- but I will not spend the time posting it and discussing it and sharing it with you, or with anyone. If I was lucky enough to have inherited wealth maybe I’d have that kind of luxury, but I don’t. I wish I did, really.

EPSON MFP imageAnd yeah- YOU GUYS are broke too! I mean everyone is hurting. Being poor shouldn’t mean you can’t enjoy or own art! I want to make things accessible to everyone as much as possible. So- digital downloads. Most people have a printer- or access to a library with a printer in it- and can pay me a few dollars for a file, take it there, pay a buck or two to print it, and hang it up. Prints are next in line- the quality will be better, professional grade, the print will last longer, years even. Limited run? Why? It seems like a waste of time, of energy. I put my initials and a number on them and they’re magically worth more somehow? No. I do handpainted prints though- the next higher price things- and those are fun. I can take an hour and embellish a painting I already did- make new details on it, play around. The buyer gets something unique, like an original, and I get to play…

I spend maybe an hour or two a day online writing copy for my work, explaining it, discussing it, sharing technical stuff, writing, posting, and keeping track of what has sold. I spend another hour or so every day taking photos, scanning, fixing the damn scanner. And another hour every other day packaging stuff to mail out, trying to keep track of what goes where. I am not good at any of these things. They are REAL WORK, hard work I don’t enjoy very much. I’d rather be actually making things. So this work- I need to streamline it, make it as handsfree as possible. Selling originals is difficult. I have to post it everywhere, and hope the right person sees it, and then once it’s sold, do it again, the entire process, from documenting the work to explaining it to answering questions and pricing it and packing it and shipping it. All that work has to be done completely from scratch, every time I sell an original.

A print? I scan it, touch it up, post it, and it’s done. I can leave it there, just like that, for years. People can buy it a year later, without any additional work from me. It’s what they call a secondary income stream, and as an artist working alone I NEED that to happen as much as possible. It frees up my hands for making more better things. The digital downloads are the same- even easier, in fact. There’s no parameters to set, no material-checking, no worrying about quality control. It’s set and forget.

EPSON MFP imageSo, in order to be able to make more and better art, and in order to live, I sell originals, downloads, AND prints of most things. I charge people a tiny bit extra if they buy an original and only want me to do a limited run of prints. I charge A LOT extra if someone buys something and wants me to make no prints at all…for example, A painting I make- the original is a hundred bucks. I will probably (if it’s a good painting) make another two hundred off of prints and downloads of it over the course of a year. For me to sell ONLY THE ORIGINAL and still pay my rent, I have to charge three hundred for that original, now.

Should I do that? Sometimes I want to. Because I love the idea of something I made with my own hands, being in YOUR hands, with nothing in between us. Also because I like originals myself. But I can’t manage to, or figure out how to, promote myself well enough to always sell my originals, let alone for three times what I have them priced at now. So unless a magical fairy of promotion comes and makes me famous or rich, without charging me anything or requiring more of my time to work it…I will keep selling prints and downloads, of nearly everything I make.

I love you guys. Those of you with two bucks, and those of you with a million. You’re all people I like, and I want you all to be able to touch and enjoy my work.

Dismissal
smalldismissal

Dismissal

an 8×24″ oil on canvas I did. Finally listed it, scanned it for prints.

Prints are here, original for sale here.

 

I’ll be scanning some more oil paintings today- I’ll update this post later if I get a chance.

 

also added “Spider Kiss”, another oil on canvas. Print, Original.

smallspiderkiss

portfolio page built.
PRETTY, HUH?

PRETTY, HUH?

purely for organizational and submission purposes, an actual portfolio site.

http://anjimarth.com/

Still need to add a bio and an artist’s statement; that will have to happen tonight when I finish up this drawing.

I’ve been collecting photos of clients wearing/enjoying my work lately- there should be a big post up of all those pictures soon!

I don’t like magenta.

image

Right now I’m working on two things. One is a series of for paintings, each a hare. Each in a different season. The other thing is this dahlia in an antique jar next to a window.
Whenever I work with colors i don’t like, i end up working very slowly. I can’t sit there with them for very long. For example, the teapot i painted recently was all in subdued grey and reddish brown, and black. I love those colors so i finished that painting very quickly.

I don’t like magenta and it’s usually not in my palette and so this flower which should be very simple and already done has taken me extra days.

Knowing how I am about this, i can predict on advance that the winter and autumn hare will get painted first and quickly, and I’ll have a great time, then the spring hare will come next and be fun, but take a little bit longer, and the summer hare may feel like a neverending task, all that green! And take as long as the other three put together.

But it’s important that they all are done the way I’m imagining them, as a set, or i won’t be satisfied with them.

At least it won’t be a magenta hare.

6 reasons to post your art online (even if you’re nervous)

shy owlI know, you’re shy! It’s ok, so am I.

Posting your art online can feel very exposing, much like a gallery show. Posting it to social media or other sites can feel scary; and a lot of the time the fear of negative response keeps people from presenting their work online. You don’t have to be afraid, though. Yes, you may get negative responses to your work. You may get criticisms, or even personal jabs at you. But there are benefits to posting online  that definitely outweigh the emotional turmoil these things can cause.

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“Heiliges Rochus”, canid skull mount with quilling, wings, and gilded frame

grey fox skull with wings
Originally Published on: Mar 19, 2012

St. Roch is the patron saint of dogs.

He is also a preventer of the plague.

he remained behind during the plague to treat people; he himself became ill. he went into the forest to die, but a dog (who is not named in any story) brought him bread and licked his wounds, saving him.

This is made from a grey fox skull, sea urchins, rockdove wings, and quilling done with paper I made myself. the tattered roses are preserved in glycerin and poly so they will stay just as they are. All mounted in a gilded frame.
I’ve got another quilling project in the works, I’ll post some progress shots this week.

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all sweetness and light.
just another negative asshole on the internet

just another negative asshole on the internet

I was reading someone’s site earlier, an artist someone pointed me to for ‘ideas about selling more art’.  The artist makes good stuff, illustrative art made from collage, very design-y, very positive and girly. It’s good art. Their art is on all kinds of stuff.

So I started reading their posts, and reading through their archives, and looking at the stuff they’re doing. And holy hell, talk about happy positivity and sugar smiles. Not a single negative thought, or statement. Not a droplet of anger, or unhappiness. I mean this girl is sweet as pie. Her life is made of rainbows and cupcakes. She’s never posted about being poor, or being sick, or being lonely. Not once. She’s pretty, she’s only a bit younger than me, she’s always encouraging, she has not a single personality flaw. And she’s nice about it too. She has her stuff licensed for home decor things, and has other companies wholesaling it or retailing it, and sells only originals here and there if the whim comes.

Listen, you guys. I see people like this, and I start to feel so shitty on myself. Like- I watch horror movies, and I curse, and I get negative. I’m often poor and sometimes sick and always a little off-kilter. I have done things wrong in my life and will likely continue to be fucked up in new and surprising ways on a regular basis. Sometimes I get in arguments, or drunk, or say things that are crass or offensive. I’m extremely imperfect and not always a good person.

And so, if I am not sweetness and light, how the fuck can I ever succeed? Success seems to require this…this peachy keen persona, this happy-up vibe and I just cannot do it, can’t fake it. Even if I could there’s decades of evidence for all my failures and bad behaviors! I mean…I don’t even know how one lives without troubles and fuckups and bad times. I couldn’t even write this post without cursing. I don’t even know if that can be real. But apparently it is real, and there are people like that, and they make GOBS of money on their works, without even doing much actual work. 
28308_1344575736648_1298901221_30981550_4061441_nCupcakes-and-sunshine people discourage me. I don’t know what to do now. This should be an inspiring post, but the more I read there the more I realized I will NEVER have that kind of following, that kind of draw. I’ll NEVER be a nice happy positive person that nice old ladies want to chat about at some frilly gift shop, it will just NOT happen. There are no major contracts for wholesaling in my future, there will be no fluffy bunny pillows at your local department store with my name on them, you can exit through the gift shop but my work isn’t for sale there.

I can try as hard as I want, encourage others to try, but in the long run, I’m still a negative asshole, and I still get depressed, go broke, have toothaches, and offend people. I love what I do but I also love to read true crime, look at gross and gory pictures, watch shitty horror movies and make fun of stuff. Do we have to be perfect to succeed? Do we have to grovel?

This life, how do people live it?

So then I go look elsewhere for something else to read. I hit on an article talking about Van Gogh and how great it is that his work has so much recognition, how high the prices are at auction. Man, he’s dead. He died broke and miserable.  And wasn’t some of his work “cultural appropriation”? All those japanese masks and flowers… also, dude was negative, unhappy, self-destructive, and all the rest.

Since reading and thinking about art didn’t cheer me up any, I’m going to watch Body Bags- and maybe a couple other shitty horror movies- and snuggle the dog.

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