Last month I had the thrilling privilege of interviewing artist, songstress and seeker, shaman, healer, Karyn Crisis, for Haute Macabre. I’ve been fascinated with her many-layered presence in this world ever since I began posting her eldritch imagery on my tumblr blog, and I was beyond pleased to share her stories and insights and wonderful energy with everyone.
Archive of ‘interviews’ category
Truth be told, I’ve been dying to get an interview with this incredible, avant-garde designer since around this time last year, so I cannot tell you how thrilled I am to share that I recently had the genuine pleasure of catching up on the splendid creations and extraordinary adventures of the eternally hustling & bustling Ashley Rose for a feature today at Haute Macabre!
And, as a special peek for Haute Macabre readers, Ashley Rose has shared a generous glimpse of imagery from the forthcoming show, “My Dearest Dust”(which I will be attending! Eeeeek!)
(originally published on the Coilhouse blog, June 30th, 2011)
“I paint my demons. I paint nightmares. To get rid of them. I paint my fears. I paint my sorrow. To deal with them.” – Mia Mäkilä
Mia Mäkilä, a self-taught artist who lives and works in Sweden, describes her art as “horror pop surrealism” or “dark lowbrow” and further illustrates: “Picture Pippi Longstocking and Swedish movie director Ingmar Bergman having a love child. That’s me.”
Her work consists of digital paintings and vintage photographs manipulated and distorted to produce nightmarish mixed media portraits. The creations borne of Mäkilä’s artistic process are both uncomfortably horrific and unaccountably humorous– demonic entities lurk in the form of gash-mouthed, leering Victorian families staring from within a tintype void. Fire-breathing/ennui-stricken and dandified gentlemen ejaculate from the precarious heights of a Parisian rooftop. All manner of flaming Boschian hells overflow with cavorting fish and flamingos and God knows what else.
Can all the world’s fears and sorrows, splashed and splattered in fiendish form on canvas, truly be this ghastly, this wretched, this… funny? Equally terrifying to contemplate: what malignant spirits might we coax to the surface, were we to make art conjured from similar soul-sourcing? Coilhouse’s recent interview with Mäkilä yields candid anecdotes about her own process; by examining the evidence of her painted demons, perhaps we can discern how to have a little fun exorcising our own.
You describe your art as “dark lowbrow” and refer to a “dark lowbrow movement”. Please tell us about that.
Mia Mäkilä: I think I’ve gone from horror art and more of a gothic style, to a more pinkish lowbrow style with cuteness/horror rather than the gothic elements, and I feel more at home with the lowbrow artists than the gothic ones. I don’t listen to Marilyn Manson or slice my wrists when I feel bad, and I certainly do not paint my lips with black lipstick. I love life and I celebrate it everyday, so my mind isn’t as dark as my paintings. I enjoy music from the ’80s, classical music and don’t watch any splatter horror movies; I love Ingmar Bergman, Hitchcock, David Lynch, John Waters and cute romantic comedies from the ’80s, like “The Breakfast Club”, so I’m not that dark minded after all.
But I love that mix of dark and cute, sad and happy, and the juxtaposition of the ugly and the beautiful. I am darker than a “regular” artist might be, but I am too light for the horror genre, so I am in between – just between a toyish and light style of lowbrow (pop-surrealism) and dark horror/gothic style.
You mention that the horror in your art is your way of processing difficult themes such as “fear, angst, madness, rage and sorrow “, and you list Ingmar Bergman, David Lynch, Tim Burton as influences for their dark drama and symbolic inner worlds. But you’ve also said that you use a lot of humor to do this, and seem to enjoy making “… demons [have] fun on the canvas”. I am curious to hear about your inspirations and influences in this vein. What makes you laugh, what are your amusements– and how does that translate into the exquisite grotesqueries you create?
I am very amused by the unexpected. It could be funny pictures I’ve found on the Internet of a very fat naked woman with a bottle stuffed in her ass . I mean, who takes such pictures, who’s that woman, what was the actual situation like and how on earth did it get on the Internet? That’s very funny, I think. I collect such pictures, and I post them on my blog as well, just to show people how funny reality can be.
An at the same time, it’s disgusting and sad. I mean, a bottle in a fat lady’s ass is quite disgusting and sad but still very funny. I like that mix of emotions. I don’t like funny pictures that are staged or faked, I like the coincidental humor, when you have no control over the situation and it just accidentally becomes funny– like a joke made by the cosmos. I use stuff like that in my collages; my paper cutouts become jokes of scary and disgusting combinations, just like the strange images I find on the Internet.
I read somewhere that you said – “I don’t believe in artist as moneymakers, but as magicians.” Do you mean magicians as in purveyors of trickery and illusions? Or perhaps in a more occult, esoteric sense? Both? Neither? I’d love to hear additional thoughts on that.
What I meant by that was, I don’t believe you can pinpoint what “art” really is, it’s when the artist has made an illusion that people can be fooled by. Just like a movie is an illusion of something real, art can be an illusion of something real or unreal. It’s very interesting, really. Art doesn’t need to feel real, but when you have made a really good piece of work, you give it life and it becomes this real and authentic world of it’s own.
Upcoming projects? Collaborations? Shows?
I’m working right now on a new collection of both paintings and digital collages and I have some projects and future show that I’m keeping a secret for now…
A floating cloud softly obscures the face of a cloaked woman whose dark mantle gives away to grey vapors. A soft, pale hand loosely grasps a rose while a both a butterfly perches on a fingertip and a snake slithers in the spaces between. Delicate vines of ivy mark the pages of a book that has opened to an illustration of an ominous figure emerging from its darkened interior. It is easy to become lost in these bittersweet contrasts of lightness and glooms, blooming, fluttering life and the stillness of death, and furtive dread juxtaposed against a serene sense of tranquility.
This is the imagery that comprises the work of enigmatic collage artist Hidden Velvet, whose somber, dreamy work enchanted me the very first time I laid eyes upon it. Last month I had the pleasure of interviewing Hidden Velvet for Haute Macabre, but worry not–I have not given away all of her secrets, and there are many mysteries in her art to swoon over still.
Last month I had the privilege of interviewing Sarah Faith Gottesdiener, a designer, art director, and artist whose artwork and design is based in the spiritual, feminist, and mystical. Sarah is the creative force behind Modern Women, an intersectional feminist gear company, combining the different elements of designing, art-making, publishing, editing, and collaborating under the unifying umbrella of Feminist and Queer philosophy. We spoke specifically about one of her wonderful offerings, The Many Moons workbook, and how the moon and its magic influences her creative practices.
If you missed it when it initially went live on Haute Macabre, I highly encourage you to give our interview a read now–Sarah is a brilliantly inspiring luminary and no doubt this workbook, which imagines a world where witches, women, femmes, & weirdos make their dreams come true, is relevant to all of your interests! You know, all two of you who read this blog.
Back in 2010, on a complete whim, I got a horoscope package wherein I was told I should get ready for some big changes and be prepared to cut some ties and mourn some losses, but to keep my heart open and willing to look at most of these things as necessary and good. Two days later I was horribly dumped, my car sputtered to a stop forever, and my beloved cat died. Being left by that abusive, toxic person was actually the best thing that could have happened for me though I could not immediately see it; I found a newer, better, and totally affordable car with the help from some friends, and I made plans to leave New Jersey forever and come back to Florida, which is probably the best and most important decision I have ever made. I still mourn the loss of my beautiful Inkers, but I know that she was very sick and the decision I made to end her suffering was, in fact, necessary.
In any event, the astrologer who put those insanely accurate predictions and corresponding advice together for me was Mystic Medusa, and I was recently thrilled to conduct an interview with her, which is live at Haute Macabre today.
(Originally published on the Coilhouse Magazine blog, September 3, 2011)
Sveta Dorosheva‘s fantastical art could be to a brilliant dream collaboration among noted artists, for whom the goal is a visionary book of enchanted tales. Imagine an artistic hybrid comprised of the intricately-lined illustrations of Harry Clarke or Aubrey Beardsley, the luxurious art deco magnificence of Romain de Tirtoff (Erté) fashion plates, and the beautiful-on-the-verge-of-grotesque visages drawn by the enigmatic Alastair .
But! In this imaginary scenario, the artists realize there is something… some je ne sais quois… missing from their efforts. They entice illustrator Sveta Dorosheva to join their endeavors: she flits in, and with a mischievous smile and a gleam of amusement in her eye, announces “yes, yes, this is all very beautiful… but let’s make it FUN!” Although comparisons to the above-mentioned artists may be obvious upon first glance, the sense of enchantment, whimsy, and joyful wit present in Dorosheva’s work ensures that one not only appreciates they are gazing upon something technically pleasing or beautifully rendered; one also genuinely delights –and even emotionally invests– in the engaging imagery as well.
Though born in Ukraine, Sveta Dorosheva currently resides in Israel with her husband and two sons. She has worked as as an interpreter, copywriter, designer (be certain to peek at her Incredible Hats or Fashionista portfolios!), art director and creative director in advertising, and is currently pursuing her lifelong dream of academic training in art. Dorosheva recently spoke with us about her lifelong love of fairy tales, and her inspired, imaginative new project, The Nenuphar Book, which will be published in Russia this autumn. See below for her illuminating ruminations and a gallery selection of her extraordinary illustrations.
Your work is clearly heavily influenced by fairy tales, fables, folklore, mythology – what are some of your favorites in this vein? Certainly you have some beloved stories from your childhood and I would love to hear about that… but I imagine in researches for illustrations and so forth you have developed a fondness for some more obscure or interesting new tales along the way?
Sveta Dorosheva: You are right. I AM heavily influenced by fairy tales and mythology. Even in adulthood I am most fascinated with things magical, mysterious and fantastic: medieval emblemata and bestiaries, weird and kooky sciences, antique circus, eccentric personalities, odd books and creatures, etc.
When a child I had very weak health and spent a lot of time in bed covered with mustard leaves or cupping-glasses. Dad read me a lot of fairy tales. As an immediate result, I was the best storyteller in the yard and kinder garden. Nannies loved me. They would put me in front of other kids to retell scary fairy tales (I loved them scary, the didactic tales I would just forget – they were ‘nuisance wisdom’) and attend to their own business for a couple of hours.
Those were mostly Russian fairy tales, but later in life I read all there were to read (before the Internet was available where I come from) and even my thesis research was dedicated to world fairy tales and mythology (I studied languages and world literature).
I feel lost when trying to pick specific tales as my favorites (you know, thesis and all that knowledge…), I wish I knew less of and about them, so that the choice wouldn’t be so distressing. But actually fairy tales of all nations have both a magical, wonderful and a scary, uncanny side. Sometimes monstrous – well, before civilized societies started to adapt them for children (which I personally regret). Before television and such, fairy tales were an entertainment for both kids and adults. They are just captivating stories about things eternal, with plots polished to perfection by centuries and centuries or story-telling. Most successful modern Hollywood blockbusters like “fifth element” and such have the structure of a classic fairy tale, only valorous knight is substituted with no less valorous bruce willis, evil dragon – with evil mr. shadow, beautiful princess with beautiful leeloo, etc…
I guess Russian fairy tales are the strongest influence from childhood, but I don’t mean that in the ‘sarafan&kokoshnik’ sense:) I mean they were full of wonderful and scary things, events and creatures, and that influenced my picture of the world for life. I remember that when a kid I took all of it for granted – evil stepmothers that wanted to eat their stepsons’ hearts and brains because he who eats them, would become king and spit golden coins…talking wolves and fire birds, immortal skeletons, frogs and birds throwing their skins and feathers off and turning into beautiful ladies, dead water that puts the pieces of a hero chopped by treacherous brothers together, and live water that then makes this frankenstein body come to life, witches with poison pins that turn people to stones… none of them were ‘terrible’ or ‘wonderful’ – they were just part of a fascinating plot. I guess childish perception is different from adult – it does not divide things into monstrous and beautiful. It just absorbs it all without labels, taking it all for granted.
I remember my three-year-old son seeing a dead bird in the street once in December. He insisted that we go and see its metamorphoses every day. I felt rather ill at ease, but he was INTERESTED, because he did not KNOW it was ‘disgusting’… To him bird-turning-to-a-skeleton or frog-turning-to-a-prince is the same type of natural metamorphosis that makes the world tick and such an interesting place to observe, there’s no good or bad, there’s just infinite variety and wonder. And that’s the thing about fairy tales. They booster imagination through metaphor when one is still open-minded, with no moral or social blinkers on (very useful, very reasonable blinkers, but still limiting).
Your book to be published this fall- ‘The Nenuphar Book’ – is described as “… a book about people and human world, as seen through the eyes of fairy-tale creatures. They don’t generally believe in people, but some have traveled to our world and have collected evidence and observations about people in this book.” Can you tell us more about this upcoming work and the observations contained within?
The Nenuphar book is a compilation of drawings, letters, stories, diaries and other stuff about people, written and drawn by fairies, elves, gnomes and other fairy personalities. Generally, fairy creatures do not believe in people – they just scare their small ones by humans (‘If you don’t eat well, a MAN will come and grab you!”) But some of them have traveled to the human world in various mysterious ways and this book is supposed to 1) prove to other gnomes, fairies, elves, giants, witches etc that people do exist; and 2) collect observations and impressions about human nature and world.
In short, the Nenuphar Book is about people and human world as seen through the eyes of fairy tale creatures. Their observations may be perplexing, funny and sometimes absurd, but they all present a surprised look at the things that we, people, take for granted. Draft excerpts can be seen here – http://www.behance.net/gallery/The-Nenuphar-Book/970281
Imagine looking at our world through the eyes of an alien from outer space – it’s the same thing. How do you explain money? love? language? work? dance? music? cities? people’s everyday behavior? poetry? clothes? anatomy? books? Imagine someone who does not know anything about this world. How do you explain people talking to small boxes at their ears and then seriously stating they have talked to someone they know and informed them of something? They are talking to spirits! How do you explain a box on the wall in every home, that shows little animated copies of people fighting, crying, laughing, singing, throwing cakes and bombs around… and most importantly – how do you explain the people watching those little devils all the time and even making them do what they want by pressing a small rectangular amulet in their hand? Why do people say things like “my heart is singing” when they seriously think their heart is made of flesh and blood and some strange tubes of something? Well, people are strange.
Or, where do people come from? It is quite shocking, but it turns out that big people come from small people. In other words, all people were once 20 time smaller and completely different both in appearance, manner, character and world outlook! People are shape-shifters, that is obvious. That is why they have ‘passports’ – it’s a special little book with pictures of various creatures that a man has turned into, so that he can remember that that smooth elf-like long-haired and wide-eyed creature and this big bold grumpy ogre are the same person… Okay, big people come from small people through a series of metamorphoses. But where do small people come from? Evidently they cannot come from sex, as people themselves state, because this is plain stupid. In the first place, none of the fairy creatures have seen this sex (well, it could be that people are hiding, but then they extol sex as the highest pleasure and crown of love, so why hide something so remarkable? no sense whatsoever, must be a lie.). And in the second, well this is really absurd – let’s say, two people are bumping each other with their stomachs and moaning, shouting and otherwise going crazy because of that, okay… When exactly does a small person appear during this performance? Does he just jump from under the bed or something?
To fairy creatures people are great magicians – they make gnome metals fly in the sky and move on the ground with a magical potion called ‘fuel’. They create personal suns on the ceilings of their homes and make them shine with a tap on the wall in a special place. They call it electricity, but no one can really explain how this ‘electricity’ works without consulting a magic grimoire “Physics, Grade 7”.
But it’s not all funny. Some pieces of the book are poetic and serious, depends on the author (each chapter is written by a different creature). For example, there is a chapter about poets in the ‘Language’ section of the book. Fact is, the world is written in many languages: hidden and obvious messages are everywhere – encoded on flower petals, fish scales and feather patterns, in cloud forms in the sky, on wings of beetles and dragonflies, in the heart of a cut strawberry, everywhere… Fairies communicate in the language of flowers, perfume and dance; gnomes – in the language of stones and gems, etc. People use the language of words and mostly neglect all other languages the world is written in. And this gets them into a lot of trouble, because despite all those myriads words people have invented, they still fail to understand each other very often. But there are exclusions. For example, people have interpreters from other languages, who translate the beauty of the world into words: poets.
Or, say, people in love are another exclusion – they are very bad in the language of words. To them words are bewitched. They talk in awkward silences, incidental touches, turned away glances – they talk with their mouth shut with beckoning secrets.
What an absolutely fascinating concept! How did you dream this idea up and what sort of ideals and philosophies were you hoping to leave the reader with? This certainly seems an engaging and charming way to tackle the complexities of us human creatures, with all of our amazing qualities as well as our not-always-very lovely behaviors and actions.
I was hoping to entertain them in the first place. A different angle is always amusing. If lucky, I want to leave them with the feeling of ‘what a surprising world we are living in, it’s full of wonder’. Isn’t it?
As for how I came up with the idea… Initially I worked on a completely different book – a book of fairies. It was intended as an activity book for kids – one fairy per day all year round. Today ‘the dandelion fairy’, tomorrow ‘fairy of freckles’, etc. And it was turning out quite lovely, but I was beginning to run out of ideas for fairies and activities and the project slowed down. Some time passed and I decided to pick up with it. I leafed back through my scrapbook with quick ideas and drawings and found a year-old line saying “maybe this fairy should keep a journal of her observations about people’s world”. And it suddenly struck me as a completely independent and very promising idea. I couldn’t believe I wrote it down a year ago and never noticed it’s huge… So, to my regret, I upset my publisher and quit that activity fairy book and wrote a new one in a couple weeks.
It went smooth and fast and overflowing with more and more ideas for everyday things, that would look surprising to a ‘newcomer’. Well, writing was smooth. Illustrating it took three years. It’s HEAVILY illustrated. I still can ‘t leave it alone. I hope the book finally gets published this fall and we part as friends:)
(Originally published on the Coilhouse Magazine blog, May 5, 2011. If Carisa’s name sounds familiar to you ’round these parts, then you have an excellent memory, friend! I have previously written about Carisa and her Wormwood & Rue creations here and here. )
Carisa Swenson of Goblinfruit Studio creates curious critters who seem to have wandered quietly out of a child’s fable of forest creatures, gleaming-eyed and grinning from beneath be-fanged overbites. Yet for all their grimacing, there is no sense of malice, no reason to fear this peculiar lot; look closer and you will find something profoundly endearing, familiar, and gentle about this oddball cast of creatures. Though they are semi-feral fairytale beasties from a dark wood, one gets the feeling from their earnest, even kindly expressions that they, just like anyone, are yearning for a happily ever after.
From the artist’s site:
Carisa Swenson’s passion for creating curious creatures springs from many sources—a love of Greek mythology and Ray Harryhausen’s creations when she was a child, an appreciative eye for Henson Workshop in her teens, to the weird and wonderful films of Jan Svankmajer and The Brothers Quay in her twenties. But when Carisa studied with world-renowned doll artist Wendy Froud, the final die was cast: posable dolls would forever own her soul and trouble her nights, stirring her with a fervor that could only be quelled by stitching and sculpting her dreams into reality.
“Since 2006 Carisa’s work has been featured in several exhibitions and publications, including the Melbourne Fringe Festival, NYU’s acclaimed annual “Small Works Show”, Art Doll Quarterly, and Spectrum 17.
We recently caught up with Carisa for a bit of a Q&A; see below the cut for more concerning the Curious Creatures and Aberrant Animals of Goblinfruit Studio.
In your bio, you mention that you’ve been creating dolls since 2006, after taking a stop motion animation class – had you always been interested in dolls and posable creatures, and this led you to taking that fateful class, or was this a fortunate fluke from which a consuming passion was born? Further, I understand that you’ve studied with artist Wendy Froud, which sounds amazing… can you tell us about that?
My fascination with stop-motion, automatons, and fantastical creatures took root when I first set eyes upon Ray Harryhausen’s work in Clash of the Titans, and even more importantly, the Sinbad series (the statue of Kali awakening and wielding six swords will forever stay with me). Action figures had always been a huge part of my playtime as a child, but I had little interest in dolls (with the exception of a much-loved Holly Hobbie rag doll) and a tendency to gravitate towards stuffed animals. Oddly enough, my desire to learn more about stop-motion ended up sparking a desire to create dolls. Before then, I concentrated on illustrating, mostly for fantasy card games and children’s books, but sculpted tiny creatures on the side as a hobby.
Several years ago, when I finally decided to take a stop-motion class, I had that “aha!” moment while working on a model for class. Sculpting and creating a posable model enchanted me and I found it much more engaging than my past experience with illustration. The idea of being able to hold a piece of art in your hands and essentially breathe life in it through touch and interaction appealed to me. Once of the best reactions I witnessed to one of my dolls was at a gallery show—when a young child and her mother went to leave, the girl insisted on saying goodbye to it.
Studying with Wendy Froud was truly wonderful. One of the movies she worked on, The Dark Crystal, was a substantial influence on my work so I was fortunate enough to not only meet her, but learn from her as well. Passionate about her art, Wendy’s desire to teach others is an inspiration in itself.
Your creations not only have an uncanny whimsy to them, a grotesque charm, but when viewing these creations, one gets a sense that they each have a fantastical story, a unique tale to tell. How do you go about imbuing these moppets with such life and character? Is there any particular story about any one of them that you can share?
Like many children, I was fascinated by animals, and spent many hours scribbling out both creatures natural and fantastical. Our four-legged and feathered brethren inspire me in ways sculpting or drawing humans cannot, and allow me to effortlessly imbue my dolls with depth and feelings. My process of sculpting starts with a vague notion of what a doll will look like, or sometimes what their personality will be. However, the dolls often suggest to me what they want to be as I sculpt— often switching gender, species or disposition halfway through their creation. As somewhat of an introvert, my attraction to the trickster mythos seeps into many of my characters.
Generally, my dolls have snippets of a back-story…the rest is up to the viewer. For instance, there’s George…who is somewhat temperamental and destructive, ripping the heads off his playthings; or Edgar, whose peculiar shape was the result of his rabbit mother having a sordid one-night affair with a bonobo. Tara carries around her semi-absorbed twin brother on the back of her head, and Alphonse and Otto Snerk are part of the troupe of pernicious goblins who sought to entrance the sisters of Christina Rossetti’s poem with their tempting goblin fruit.
Much of my inspiration comes directly from nature itself. My fascination with the natural world and its beauty provides a constant source of wonder and solace. Birds and creatures of the forest all work their way into my creations, in addition to the influence of fairytales and classical mythology. Empty, decaying buildings, rooms and houses stir my imagination with their dusty pasts or potential futures.
Beyond the natural world, other influences for my art stem from the likes of independent video games, which, besides the initial desired interactivity, are a rich source of art and music. (Some of my favorites include Machinarium by Amanita Design, The Path by Tale of Tales, and more recently, Superbrothers’ Sword and Sorcery.)
Some other sources that provide continual inspiration for me are horror movies of the sixties and seventies, stop-motion masters The Brothers Quay, Kihachiro Kawamoto and contemporary doll artists such as Virginie Ropars and Anita Collins. Movies like Del Toro’s Pan’s Labyrinth, The Cell (Eiko Ishioka’s breathtaking costumes are truly awe-inspiring), Fantastic Planet (which I discovered through The Cell), and Jeunet and Caro’s The City of Lost Children and Delicatessen have also served as artistic inspiration in the past.
Of course, music plays an important role while I’m working in my studio, helping me conjure that space in which to begin creating. Movie and video game soundtracks, ambient and pagan/spook folk albums have been getting quite a bit of airtime as of late, but I have my moments when I need to listen to some Prodigy, Ministry or Metallica.
Tell us about ARS SOMNIUM, your project with King Unicorn (Eric Steiner). I understand this is a collaboration built upon a concept dredged from the “most fertile playground for artists” – dreams and nightmares. Sharing dreams for artistic translation sounds like an intimate endeavor in which comfort zones are bound to be breached! [Edit: EC Steiner now creates under the moniker Casketglass]
When Eric approached me last year about a possible collaboration, I agreed without hesitation— our style couldn’t be more different, and it would be a compelling experiment to see where this would take our unique artistic vision. Concepts were passed back and forth until we hit upon the idea of sharing descriptions of the numerous denizens that wander, shuffle and glide through our dreamscapes. Once we pass off descriptions, we then actualize each other’s dream inhabitants in our own individual style. Given the subject matter, it could potentially be discomforting…but this has not proven to be the case. Seeing one’s dream (or nightmare) being through another person’s eyes is fascinating and unexpected. The energy within this project is fantastic, and I’m looking forward to working with Eric on more dolls in the near future.
What future projects are you planning?
Ars Somnium is an ongoing collaboration, so you can expect to see another creation for the project this year, with the next piece straying far from what usually emerges from my studio.
Currently I’m creating several dolls for upcoming gallery shows, but the one self-indulgent project in the works, which I’ve just begun, is a 52-card deck featuring my rabbit dolls. Eighteen new dolls will be created with the suits reflecting the various personalities within my creations. This will most likely take up a good part of my time throughout the rest of 2011 and early 2012.
It was my supreme pleasure to have caught up with the extraordinary Pam Grossman for our recent interview, which was up at Haute Macabre last week. We discuss her thoughts on witchcraft and the occult as it relates to art, activism, and anger, and what it means to be a woman with power.
If you haven’t had a chance to take a peek at it yet, I highly suggest you do so now–Pam shares so much of herself and you’ll be certain to come away from it richer in spirit (but perhaps poorer in pocket, because she has *so* many good recommendations as it relates to books, movies, and music!)
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