Sarina Brewer is an experienced naturalist that has over the course of her later years started to craft unique taxidermy specimens. Her portrait is more resemblance of a Victorian sorceress and her philosophy is to “let nothing from nature go to waste, and use all of an animal even after death”. Her finished are but different from the rest of the taxidermy circles in a morbid, but beautifully interesting way. She fuses different parts of animals together. Some are mammals combined with birds, or the flying type with horned creatures, nocturnal animals with those who occupy the waters, etc. She first started sculpting and painting with the animal remains, creating some eerie visual canvasses that would probably not be accepted by most galleries. Her mediums were oil, and found products. Gradually this evolved into what is her immense skill and collection today. She volunteers her time as a biologist (fuck yea!), and participates in conservation of the fauna and flora or wildlife rescue on the side. None of the animals she uses were killed by humans, they either died from other predators, disease, age, etc. Her appreciation of death is quite close to mine and recognizing how different cultures honor the dead and connect with them in unorthodox ways. I would love to do something similar by building skeletons for a museum or cleaning found bones and dead animals for preservation and study. Animals are beautiful in death and life! Unlike human are rarely either of these. This is her homage to the animals by giving them artistic meaning in postmortem.
Sarina ““I call it art, you can call it whatever you want.”
Read about some of the processes and look through a portion of the gallery here
Such formulations of shading, blackness, obscurity and detail on paper have rarely been so disturbing and fascinating to me. I am writing this not to impress or say anything which does not seem fitting. After “discovering” Maxime Taccardi’s art, I initiated several funeral doom and depressive black metal albums and stared at these for a solid 2 hours. I wanted to study each manipulative detail and it’s textures, the metaphorical meanings behind the subversive imagery, and then make an inquisition to herr Taccardi about what I couldn’t find out myself. This is kind of art I lust to make when the time feels right, and if I can fit myself into this niche would love create such ugly drawings like these. I received some select words of 6 of his works, where a decent array of mediums have been preserved in these two dimensional masterpieces. It reads in his photoalbums that ‘crayon’ was used, he’s French, and I assume this to mean pencil crayon but perhaps the eyes deceive.
^^mr. taccardi after someone told him they didn’t like his drawings
“The child who was dreaming he was a tree”, it’s old, i did it in 2006, i wanted to express the tree of knowledge. When you taste the forbidden tree, the futility of existence appears like a straight vision: Death, the silent cry of a deathborn. Like the circle of ouroboros…
Enter here for more, the end is embedded in the beginning… READ MORE…
Dreams Were Made for Mortals III opened it’s doors at St. Vitus Bar in Brookyln for one night last weekend, and CVLT Nation is stoked to have had a special part of it. DWMFM III featured work by renowned artists and photographers like Vincent Como, Seldon Hunt, Samantha Marble, Kirsten Flaherty, Jeremy Hush, Kat Crosgrove, Justina Villanueva and more – including the curator herself, Karlynn Holland. For the third installment of her exhibit, Holland commissioned a dark, furious, cacophony of music from CVLT Nation, and we delivered. Below you can stream the CVLT Nation DWMFM III Nightmares Mix, an acidic blend of Black Metal and Blackened Crust that will burn into your ears until your brain is a charred mess. After the jump, check out photos of the opening as well as selected works by some of the artists who showed, and also to download the CVLT Nation DWMFM III Mix…
Stream CVLT Nation DWMFM III Nightmare Mix:
Almost everyone I know has a tattoo somewhere, and most of them are tattooed almost everywhere. I have watched tattoos go from outcast to mainstream, from home jobs to tattoo salon to home jobs again, and I can frankly say I don’t know how I feel about them. Sometimes I love them, sometimes I loathe them, and I am apathetic about my own. Skin, a film/documentary by Ryan Hope, has added another layer to my loathing of/confusion about the phenomenon that tattoos have become. It describes itself as “a dark, stylish examination of tattoo culture as high art, and a film that tests the boundaries of art and the human body,” but I think there is another, more insidious message in it, one that I can’t tell whether the filmmaker meant to include or not. The first half an hour, while it features artists I have the utmost respect for – Raymond Pettibon, Jeff Koons and Damien Hirst – is an amalgamation of all the things I avoid Hollywood for: swooshy ironic hairdos, flat butts in booty shorts, camel toe, Calvin Klein abs and unwarrented pretention. Perhaps this is also an accurate portrayal of the aforementioned “high art” scene? Interspersed with the stories of the young people being tattooed with original artworks by their idols, the gentlemen from Christie’s auction house discuss how art acquires its value – namely, they decide what it’s worth when they auction it off to rich people. And then it gets really creepy, and to the reason that I am reviewing this highfalutin film: one of the guys from Christie’s discusses Wim Delvoye, aka the pig tattooer (see video after the jump), and his latest project – tattooing humans, and then skinning them after their death for “his” artwork, which will then be tanned and stretched on a canvas. He talks about how much Delvoye’s pig skins go for (£100,000), and the potential for the sale of human skin. I think part of the deal here is that Christie’s now owns these people’s skins and will someday auction the Ray Pettibon arm skin tattoo for £1,000,000 to the guy from Facebook. The last character to receive a tattoo in this film makes an astute observation about the film (in the midst of a slow-mo Brooklyn backyard party scene that made me want to burn their eyes out with their cool fucking cigarettes) – that this documentary is “a desire to spotlight an artform that previously resisted being intellectualized and pigeonholed into the fine arts scene.” Good point, but you might say that it’s an obvious one. What I really think this documentary is about is The Time Machine come to life; the rich people are now literally planning on making money off of the poor people’s backs. These unsuspecting, unbearably hip motherfuckers are going to be reaped one day by the suits at Christie’s, so that their skins can hang on the wall of some Upper East Side condo, between an original Ryan McGinley print and Terence Koh’s gold-dipped shit. Watch out 99%…this is the first step towards you becoming some financier’s dinner. After the jump, check out Skin and a special tattooed pig treat!
Greetings, i am writing now in a semi sane state after bearing witness to the most abhorrent life forms imaginable. It is with severe relief that I have been told these are only replica of creatures from long dead aeons, and no longer dwell on this planet. But gawd! who knows what is out there!!!
I fear my mind has been peered into by these fleshy, amorphous and gibbering masses and such biological revelations were not intended to be studied by the eyes of mere man! I now see them in my dreams, and in my diurnal hours as well. The normal serpent becomes studded with a crustacean exoskeleton, bats have dragon-like heads, and even the fish started to walk on all fours with their gaping horrendous mouths sharing the sight of dripping sickly teeth. Their limbs do not obey the simple laws of physics, and such adaptations do not make logical sense. In what atmosphere would this broken leather winged creature needs so much damage to its wings, or the fish with an exposed ribcage. I care not to think about it. And these fossils, did they originate from after the Cambrian? or is evolution a misconception, these look a lot older, perhaps before the prehistoric era even.I have a feeling the Japanese had something do this with this, I have found photographed specimens of the entire obscure kingdom open to the public! What they do not know they are doing if these reach the eyes of others!
It pleases me highly when I discover something truly impeccable like this, that has been lingering silently around in other forms. I have been listening to many of the acts that these group of satanic artists have been making for awhile now. I take no credit for these, and only attempting to spread this luciferian craft to all those to desire to see it. 407 has been sharpening their teeth for long, and given vent to such deep pits of maniacal expression, which resulted in the following pieces. They stand for the undenying darkness that lies in man and very rarely brought out for the audience. Few black metal bands truly invoke anything in me anymore, but all of these presented are aesthetically the pure nature of black metal. Belowe are various album covers, flyer, tattoo designs, graphite and ink drawings. Throw your inner creative spirit into the cauldron and feast upon its products.
See the full gallery in here
I have wrote before of the dark photography of Erik Truchinski for his Autumn Wind project. This time I am projecting another side of him to represent his recently created distro, dedicated to harsh noise recordings, obscurity and collages of women in bondage. All pieces were handmade by him, portraying the darker and more experimental sides of sexuality, that I personally think lie in EVERYONE, whether it is realized or not. We were biologically crafted to have these unpure desires, and of course what you do with them is your own augmentation and personal choice. These are not something to be hidden away like a sickness, but instead using this form of pleasure for personal fulfillment. There is a fine line of course between the extremity and subversive practices of BDSM and many real acts of violence that lie outside of consensual desires. This art reflects the former, no matter how obscure or different it may seem. http://bondagecultdistro.com/
A few selective words about Erik’s own thoughts on his works, it is true these speak for themselves mostly, but his personal attachment to them is as follows.
“”Stepping into the dreams of the perverse, wretched and beautifully filthy…consuming my mind and infecting yours. I’m trying to portray the images within my mind, scattered together and balled up into one fantasy and nightmare after another…speaking to your hidden desires, splattered with lust and disgust. Show me your tongue…see how filthy you can be…”
I suggest if you are not mature enough as to observe this form of art without being offended to do some research of your own on the culture or not bother looking at them.
Enter through here and take a glance at your inner lusts!
In the stone age, cave men used to brand and paint on themselves for status reasons using their hunting weapons. They were a symbol of accomplishments, traits, and performed in rituals. The essence of their markings had huge meaning at the time, yet they didn’t have near the same conception of art, if at all. Now unfortunately, the mainstream tattoo culture is more of a business, lacking in substance, there always remains the spirit of real appreciation for the art. For some it is a cleansing, or a rite of passage. With it comes entwined meaning, history, and visual appeal. Have a gander below at some fine works demonstrating many different style of tattoos inspired by Chris Moyen art, some painful branding and pagan depictions shot by Metalographer and some by Norwegian artist Trine Grimm, with more here. www.trinegrimm.com
Check out the gallery here
Szymon Siech treats the art form of collage seriously, and it shows in his mind-bending creations. I know him best for the Low Places Spiritual Treatment album cover, that trascendental eye fuck that recounts the low points of American history. Touching on militant culture, the hateful anti-women, anti-human actions of a powerful few and blindly obedient masses, his concoction of imagery seethes with the turmoil of society. He is a master of this theme, interweaving found images and imbuing them with a palpable visual texture. Siech’s illustration parallels these textures, and is equally fascinating. He captures movement and emotion vividly, a different take on our dark cultural illness. He has done graphics for the album sleeves, flyers and t-shirts of many notable bands, including Magrudergrind, Oathbreaker, Amenra, Gehenna and many more. You need to check out his tumblr, it features some beautifully shot photos of the final products. After the jump, take a peek into your demise…
Occupying the woods of Oklahoma, Anthony Roberts fuses some nightmarish, eclectic, and dreamscape images sending the human psyche on overload. Not one to truly settle on one inspirational source, yet still retaining a traditional style. Appearing out of the aether, and influence by esoterics, psychoactive afflictions, the dark ages, paradoxical visions, and other obscure doses. Some of it downright looking as if it fell out of his pen during an opium overdose. Various finished pieces are made for special concerts, such as the live ritual in Bergen or Koln. He has done copious amounts of work with the clochard Urfaust! I have methodically selected my favorites with all hapen to be devoid of color. What is lost in intimate detail is made for in mysterious renditions from seemingly another planet. This is right up Cvlt Nations alley, and I’m sure will be devoured by many. There are some different styles in here http://www.blackmindseye.org/
Gallery after the jump!