animal totem series, update.

lolololThis series is ongoing; it may never end. You can find prints of most of these here, I’ll add more as I go along.

When I was a kid, I had the complete set of Wildlife Treasury animal cards. Complete set. I would spend hours looking at them, and reading about every animal. I memorized them, I stuffed my brain with trivial facts about each creature. I wished there were more animals, so that I could have more cards.

I think this series is my attempt, as an adult, to recapture that interest. To reconnect to the details of every animal and how they live. I’d love to do this series as a card set eventually, and maybe, when I get up to about fifty animals, I will start planning that. For now this series continues as I add animals I particularly like or connect with.

The geometry behind each animal is meant to represent the place they live, or their personality, or both. For example, the walrus lives in a place where meat is the only food, pretty much- hence the red backdrop. I felt that walrusses are very much a bloody animal- I mean, when they warm up, as they exit the icy waters, their bodies become pink from the flush of blood to their skins. This influenced my choice of color. Their personality, their spirit, seems very radiant to me, very warm- despite the cold climate they prefer. The shapes behind them are meant to convey this warmth and radiance.

Each of these animals has a backdrop which symbolizes some aspect of their lives; each may also have minor added detail to show other things which affect them, like the white bird on the hippo’s head, or the bubbles around the octopus.

I used handmade paper for these, very well-smoothed, then tinted with watercolor and ink. Then I drew the animal in colored pencil. The geometric shapes were planned with the assistance of a kaleidoscope, a spirograph, several french curves and just plain old eyeballing the shapes for clarity. None are precisely symmetrical or perfect- but living things never are, are they?

Some of the originals are still available as well, email me for more information (resonanteye at gmail dot com)

brynoooowl hippolisting listingpic


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humming along. also, a contest!

Octopus-AnjiMarth-pencilI’ve been working on these animals for quite a while now!

they’re listed here as handpainted prints.

I am doing a giveaway/contest on tumblr, with this post: http://resonanteye.tumblr.com/post/66528409701/tumblr-only-giveaway

If you reblog it on tumblr you have a chance to win three prints PLUS  another print, of an animal YOU CHOOSE for me to draw. You have to be on tumblr to enter! Contest ends when post reaches 1,000 notes  and winner will be chosen at random from the people who reblogged it.

I’ve got three or four new animals getting added later this week too, which is why I’m doing this now. I will repost this to tumblr every day(but not here), to remind you. If you’re not following me there, go ahead and follow now! I promise, you’ll enjoy it. And I plan to do a contest here, as well as reddit, later this month.

just out of the oven.

CAM02745[1]I’m baking all the clay I have been working on, today. And I am finishing up an e-pipe from some of it.

I’ve also put up a slew of new prints, too. And a few downloadables. I’ll have a handful more next week, too, I think.

I’ve been working on making some ivory-look clay, I think I want to try to make a pipe that looks like ivory. I’m carving out another skull too. I think I may start messing with shapes, since the clay can be any shape at all I can make an epipe look like anything really.

Messing with some iridescent power pigments too.

I am also thinking of making a few drip tips- long crazy ones, not churchwarden style but long like that, maybe a twisty one. If I seal the mouthpiece part (or use a tiny bit of silicon to cover it) it will be safe to put in your mouth, at that end.

This is today’s project. I started sanding and carving the Meat Pipe too but I don’t have process photos ready yet.

Here’s some of the new prints and downloads in the meantime.

flat,140x140,075,t.u1 (7) flat,140x140,075,t.u1 (6) flat,140x140,075,t.u1 (5) flat,140x140,075,t.u1 (4) flat,140x140,075,t.u1 (3) flat,140x140,075,t.u1 (2) flat,140x140,075,t.u1 (1) flat,140x140,075,t.u1il_170x135.498528713_37av il_170x135.439961484_lf3s il_170x135.490900072_eo2y il_170x135.496864927_qfl4 il_170x135.496814182_bs30

migrating to square!

il_570xN.437343921_g7bjso squareup finally has internet shopping available.

FINALLY.

This weekend is going to be a lot of work, but you guys are going to like the end result.

you can watch the progress here, if you like. 

So far, the logic dictates that prints and shirts come from redbubble, originals go through square, and my digital downloads and a few weird things will stay at etsy.

I will be rebuilding some things here, too, I’ll make a post letting you know how to use and find the new stuff probably on monday or tuesday.

Update at noon PST: I am getting there. The current progress is at this page, http://resonanteye.net/buyit/everything-in-one-place/ and I’ll be separating things out into categories and organizing once I get everything up and listed properly.

 

Update this morning: I’ve been building some categories; and doing some writing. tattoo stuff, ladies, totem animals, and the serial killers and portraits…so far. got about that many more to go, plus a ton of scanning to do too. I also have some new pictures of commissions to post later, stuff that’s already finished and shipped- as well as a post about vaping. Busy weekend~!

process, sketches for a large oil.

529148_10151419583077712_123877253_n I’m in the planning stages of a larger oil painting so I thought I’d share the process from the start. These are my thumbnails, ideas, and notes for “storming the castle”, a painting which will not include a castle.

I’ve been reading about neanderthal and sasquatch (as usual) and thinking a lot about the medieval myth of the wildman. I have been reading a bit about the iconography and symbolism of wild people and had a dream last night about a shesquatch with a classic old-tyme unicorn. There’s a lot of other things going into this as well but that, so far, is my base idea.

I did some additional research today and reading and took notes. I’ve also got a few pages from my sketchpad showing both the notes I took today and the sketches I did last night. I took the time to go back through and find another few pages of notes and sketches (stuff like sasquatch fur, symbols of purity and of untamed nature, like that) and cherrypicked them into this page of rough notes and sketches. (The deer-man face among those.) As I read more about sasquatch encounters and then about wildman images in the medieval era, I realized that the war there seems both metaphorical (oh, taming nature, the invention of the printing press, you know- whatever happened in the olden times) and very real. The illustrations don’t look like the ones of anomalies and “monsters” but more like the everyday scenes of people that are realistic.

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In other words, I’ve decided that there is a secret history of war between us and our near-relatives, the hidden species of hominid that used to be far more common. Like wolves or bears, I think they were wiped out in most of Europe back in those days. The images of battles and ‘hunting down the wildman’ are pretty brutal and detailed. I’d call it a genocide, maybe?

At any rate, these thoughts, along my underlying mood of slight nostalgia for my younger mayhem and chaos, are starting to turn into something. These pages are the beginning of it. And this is how a really big painting always begins, for me.

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I always have enjoyed drawing more than finishing, but lately since I have been doing so many commissions and smaller pieces, I’ve started to get better at time management.

I take a lot of notes early on and do a lot of small compositional sketches. I think I’m addicted to the thumbnail, as far as the part of the process I enjoy most. But at the same time I get such a good lift from seeing a big work finished, there’s really nothing to compare to that feeling, especially when I don’t feel the piece failed.

I also got a bit of progress in on this jellyfish lady today.

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making art, making life.

The world is a very grey and dismal place at times. There are deaths, horrors. We are all alone in these little bodies, floating around, disconnected most of the time- from each other and from the ground we stand on. Most people DO live quietly, desperately, working and thinking and amassing a thousand new worries each day.

Most people walk around afraid, nervous. Or angry. Or just focused on the task at hand, which for more people all the time involves merely surviving the vicissitudes of economy and thrift, of bad jobs or no work. Of struggle. Life is mostly struggle and concern for most people on earth, and for the rest it can be even worse.

It’s our job, as artists, to show people that there is more. I am not a religious person, nor even a spiritual one. I do not believe that there is a sky-man or any kind of conscious entity watching over us carefully, or interested in our problems. I do not believe. BUT- I do believe that the world itself is a being of grace, and by truly seeing it, and being within it, we can lighten our weight. This entails details.

When one is in a chain gang, there will be a beautiful weed sprouting in the ditch. When one has lost hope and is starving, there will be the smell of dry morning air, and the sunrise. When the worries about the future become too much, there is still the present.

I know this doesn’t make up for any of it. I also know that there are times for all of us when we realize our solitude, when we are alone and in pain, in the dark. Cold and possibly hopeless. In those times it is art’s job to expose the alternatives, to bring the world into us and that way bring us out of ourselves.

Art doesn’t have to be “good” or skilled or perfect or even beautiful to do this. It will be a different view for each artist and a different piece that speaks to each viewer. Sometimes the crude and the ugly do this much more effectively than the pretty and the sweet- actually for me, when I am alone and in pain in the dark, it is the reminder that others have been there as well that helps. And art that speaks this way is often NOT beautiful to look at.

nude watercolor painting, naked smileI need to sell art to live- to pay rent. To eat. If I could give it away and not be homeless I would. But the necessities of the world insist that my work must be valued at a number. I know that for some the value of their work is low and their hours are long and hard; that they must do work which is difficult, upsetting, dangerous. I am lucky to be an artist, I am privileged in ways not many are. I love my work. That alone is a stroke of fortune.

People who hate their work but must do it deserve my best efforts, because I know that at times my work, seeing my work and interacting with it, is their release and their reminder. Artists have an obligation to try their damnedest to do that, and to do it as best they can every time.

yay!

image

one of my most adorable clients is sitting half across the room in front of me, listening to the band. “tonight’s about Anji Marth, that’s her decadent decay on the walls! it gives me a hardon, does it give you one?!” the singer on stage yells.

my cute, perky, completely normal client turns around beaming, and in the silent pause shouts in a wee, happy voice- “I LOVE TO FUCK DEAD PEOPLE!”

at an earlier moment in the evening, a jolly young man with absolutely no warning fell flat from his chair onto his back, cracking his head flatly, and lying completely unresponsive in the center of the table area. “is he dead?” someone asked. people gathered around, cradling his head, talking at him. someone has died at my art opening! visions of infamy danced wildly before my eyes until he arose, bleary. he was led to a safer chair and left with friends shortly afterward, crushing my daydreams.

I had a conversation with electro hippies in fluorescent green fur hats about craft fairs, moderation in party times, and mentoring the young in a scene. I spoke with a woman who has done the Saturday market for 34 years running and who enjoyed the contrast between my work and the landscape artist next door. I also spoke intently to a man with a fear of spiders, a man who was in love with “galore” (the boar head mount) and a woman who was fascinated and repelled but wanted to know all about bone processing.

I had a great night. I also saw some old friends long missing from my real life, spent a bit of time with a good old friend I miss every day. and of course, enjoyed the gentlemanly presence and aplomb of Hawkins.

all in all, except for my crankiness from fatigue, an excellent night.

my work will be on display all month at the speakeasy. I’ll be back there on the 9th to bring a few more prints and listen to the excellent Mendozza … thanks everyone who helped make tonight happen and everyone who came out to support or buy my work.

feather and tar

human bones, on the other hand, are just fine. as long as you didn’t collect them yourself.

The most recent revisions to the migratory bird act can be found online; my favorite part, and the most useful, is the list of species NOT covered by the act. These are the birds I find, use, and adore (along with game birds, and pets). If you decide to scroll to the bottom (or actually read the notes, I don’t know what kind of sicko you are, after all) you will find quite an extensive list, many of which you will also find represented in my artworks.

I collect a lot at wildlife facilities, and the feathers and bone I collect there are from birds that do not inhabit north america or the US.

As for bones, skulls, and incidentals of mammals and reptiles/amphibians- I don’t use anything on the CITES list, I either purchase or obtain my pieces legally; sometimes through roadkill salvage where that’s permitted, by finding natural remains, or by beach combing.

It’s not hard to find beautiful natural objects. Simply taking a walk away from other people is often enough. I use plant materials, as well, and collect those in the same way. There’s something deeply fulfilling about walking, looking, and finding. I will use anything I find in some way, just about- whether for my private collection or for artwork.

I do have an artist’s statement hanging wherever these sorts of works are shown. If you’re at the gallery it’ll be right by the first piece you see when you walk in. I will probably post it up here this time too.

art opening

Had a great time at the Unfine Art’s 8th anniversary.

I had a piece hanging in the show—

I enjoyed Honey Vizer’s reading of the manifesto to Shawn’s awesome sax madness—

The Ninkasi and some of the food was delicious—

And I even had an attractive date to bring with me, who was willing to help re-build a bucky ball, and discuss the PNW-china connection with some strangers.

All in all a successful evening.

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momentum, hair growing, tires spinning

snakeRoseburg is fun. Also sometimes, like this, I schedule a post to autmoagicaly post itself like a robot. I’m writing this in the night time, but tomorrow it will post itself like I just wrote it!

I do this pretty often. It’s because I have a few hours here and there to write, but I want you guys to have something new to read every day. So I pre-schedule posts.

I guess this means if I die in a fiery crash, it will still look like I am writing even after I’m dead, for a day or two! MOMENTUM, inertia, all that.

I ain’t no physkisist but i knows what matters.

At any rate here’s a snake sketch…I want to do this on a forearm or on an inner calf. If you’re interested drop me an email @ resonanteye at gmail.com…

Full color of course.

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