As I prepared for this interview about Naomi Sangreal’s Little Hidden Doors, I found myself drifting through the landscapes of my own recurring dreams. They arrive unbidden, like persistent visitors who know where I keep the spare key: there I am at Checkers, my first job at fifteen, somehow still on the schedule thirty years later with unclaimed paychecks waiting for me; or I’m at the health food store I worked at while I was living in New Jersey, eternally trying to close up as customers mysteriously materialize through locked doors and darkened spaces. Sometimes I’m struck with the heart-stopping realization that I’ve forgotten about a phantom apartment somewhere, with ghostly cats waiting to be fed. But perhaps most luminous among these visitations was a single dream about my beloved tuxedo cat, Inkers, who appeared to me on a childhood path after her death, leading me through an impossible doorway in her own throat – a dream that spoke to the ineffable nature of loss and the labyrinthine corridors of grief. These dreams, persistent and precious, seem to embody what Jung called “little hidden doors in the innermost and most secret recesses of the soul.” They’re exactly the kind of ethereal material that our interview subject suggests we should embrace, rather than dismiss as mere midnight wanderings.
Little Hidden Doors: A Guided Journal for Deep Dreamers by Naomi Sangreal is an enchanted threshold into the mysteries of our sleeping minds – a luminous sanctuary where dreamers can unfold the origami of their unconscious thoughts. My own copy is heavily annotated, its margins filled with midnight revelations and sunrise insights, and it has become one of my most frequently recommended books, as well.
Through an alchemical blend of psychological wisdom and soul-stirring creative prompts, Sangreal becomes our gentle guide through the labyrinth of dream interpretation, translating complex Jungian concepts into whispered revelations that feel like secrets shared in twilight. In our meandering conversation, we wander through shadowed corridors and sunlit chambers of dream exploration: from the quiet rebellion of honoring our nocturnal visions in a world that prizes constant wakefulness, to the shimmering potential of lucid dreaming as a practice ground for transformation. We pause to examine nightmares not as terrors to be fled from, but as dark messengers bearing gifts of insight, and explore how the gossamer threads of dreamwork weave themselves into the tapestry of our waking lives. Sangreal’s voice – both as psychotherapist and intuitive wayfinder – illuminates our path as she shares her own dream-touched stories, including a pivotal vision that beckoned her toward her calling as a counselor, while offering gentle lanterns of wisdom to those just beginning to map their own dreamscapes.
Unquiet Things: Your book title, “Little Hidden Doors,” evokes a sense of mystery and discovery. Can you elaborate on what these “doors” represent in our dream life and psyche?
Naomi Sangreal: The title comes from one of Carl Jung’s renowned quotes, “The dream is a little hidden door in the innermost and most secret recesses of the soul, opening into that cosmic night which was psyche long before there was any ego-consciousness, and which will remain psyche no matter how far our ego-consciousness extends.”
Jung describes how our ego consciousness remains small and separate, whereas through the dream we have access to this multidimensional and timeless experience of primordial wholeness. I see these doors as opportunities and inklings, ushering us as we might follow our curiosity through the corridors of an abandoned mansion; we choose which rooms we enter and the deeper we go the more treasures we may find. Dreams are incredible intrapsychic doors into our deep psyche.
You mention that paying attention to our dreams is revolutionary. How can this practice of dream engagement serve as a form of rebellion against what you call “wake-centricity” in modern society?
Revolutionary in the sense that dreams show us what we don’t want to know or see, what is disavowed and unallowed. They are raw, unfiltered and untouched by the social norms, rules and regulations of morality and waking consciousness and by interacting with them we can make contact with truer aspects of ourselves that may not be accessible or embraced by our waking external circumstances or environment. Dreams can offer us transformative experiences and life-changing ideas that we may not have access to in daily life. They share problem-solving wisdom and new insights that we can bring into our lives and our communities to create change.
You discuss the concept of the anima in your work. For those unfamiliar with Jungian psychology, could you explain what the anima is and why reconnecting with it is important in our current societal context?
In Jungian psychology, the anima archetype speaks to the inner feminine principle and the animus to the inner masculine soul that is not yet made manifest. According to Jung, the anima and animus are the contrasexual archetypes of the psyche. They are built from feminine and masculine archetypes from the individual experience as well as experiences with parents and collective, social, and cultural images. These inner figures seek to balance out our otherwise possibly one-sided experience of gender energy or personality expression and call us toward expressing our deep soulful wholeness. We are all both, but sometimes express varying levels of one or the other outwardly at different times. Our inner experience compensates to ensure the balance of our nature, which often is completely unconscious.
Marion Woodman states, “The tragedy and the danger of a patriarchal society is that too often it suffers the terrible consequences of leaving the feminine soul in both men and women in a repressed and abandoned state. Wherever this happens, the ego, unrefined and undeveloped by intercourse with the inner feminine, functions at a brutal, barbaric level, measuring its strength paradoxically by its power to destroy in the name of an inhuman ideal.” Perfectionism is a patriarchal plague. In inviting the anima into consciousness, we can harness her creative potential and enliven the Eros within, calling us toward the rebalancing of feminine power.
You introduce an intriguing perspective on nightmares, suggesting we invite these scary elements into our space. Can you walk us through this process and its potential benefits?
Our shadow can appear in nightmares as perils, gargoyles, tricksters, unsightly beings, or maybe just someone we don’t like. These figures are often helpful guide-look posts at a crossroads showing us exactly which way we need to go. When we can address and face these rejected parts of our psyche; we can further integrate our wholeness and take back our personal power.
Nightmares are not necessarily an indication that something is wrong. They are often more effective messengers. We often remember nightmares more than we do other types of dreams because they are so visually and emotionally impactful. This is for a number of reasons, one being that nightmares are specifically formulated to get your attention. A nightmare figure may have something important to communicate to you or be an aspect of your psyche or shadow that is starved for nourishment and attention. I offer a full guided experience and journaling prompts in my permanent online class through Ritualcravt, as well as detailed in the book!
You mention the concept of “flow state” in your book. I’ve heard this term before, but I am still not entirely sure I understand its meaning. How does this relate to dreamwork, and can engaging with our dreams help us access flow states more easily in our waking lives?
Flow theory was initiated by psychologist Mihaly Csikszentmihalyi in 1975 and held that creative activity can actually influence emotional affect by eliciting the experience of flow. Flow is defined as “an automatic, effortless, yet highly focused state of consciousness” and has been conceptualized as a particular type of optimal experience associated with vital engagement, which is a deep involvement in activities that are significant to the self and that promote feelings of aliveness and vitality. Flow causes deactivation in the brain, and the brain begins to switch from conscious processing, which is extremely slow and energy expensive, to subconscious processing, which is quick and energy efficient. We see this have negative impacts when our brain starts tuning out positive and helpful stimulus and focusing only on survival and threat, but in the experience of flow it has a positive impact in that we get completely absorbed in our creative activity and the brain reduces our anxiety and actually has an opportunity to heal.
The idea of “changing the world from the inside out” through dreamwork is fascinating. How do you envision this internal work manifesting in external reality?
All inner work manifests in the world around us. It changes us and therefore changes our choices and our relationships. If dreamwork is the primary way in which we can face our unconscious directly, it is a prime opportunity for some of the most challenging and liberating self work that we have access to. I have both personally experienced this level of change and watched dreamwork transform my patients lives.
You describe dreams as “vivid visual gifts.” How can people who don’t typically remember their dreams or don’t consider themselves visually oriented benefit from dreamwork?
Dreams are not just visual, they are often highly emotional. Even paying attention to the emotional arch of a dream and the embodied memory of interactions or sensations gives us clues to what is living in the unconscious. There are many styles of dreamwork and ways to work with dreams, they can be felt, acted out, spoken, written, made into poems, plays or songs. Whatever creative venue feels most intuitive to you is ripe for your dreams to emerge, working on and through you. I am partial to visual expressions in part because my dreams are vivid and I am a visual artist.
Have you noticed any shifts in how people relate to their dreams since you began your work in this field? If so, what changes have you observed?
Yes! Overall dreams seem to be taking off collectively in a huge way! When I first sought out dream work in therapy there was only ONE therapist in all of Portland whom I could find (who wasn’t friends with my mom lol) to see who worked with dreams. Now tons more folx are working with dreams, offering classes and writing about dreams online. The dreaming community continues to grow and it is amazing.
In your book, you discuss using lucid dreaming as a practice ground for real-life skills like public speaking. (I’d probably use it for highway driving, which terrifies me!) Could you elaborate on this idea? How can people harness their lucid dreams to improve their waking life abilities, and what other skills might benefit from this dream practice?
Lucid dreaming has been used all over the world to practice difficult tasks, learn new instruments and languages, even face general fears like public speaking. Dreamwork is not only creative and spiritual, it is incredibly useful and practical. For example, when a person is lucid dreaming, they have access to literally any tools that might help them grow. They can practice diving, summon instruments or books, and engage in sports or other physical activities without limitation. Once a dreamer becomes experienced in inducing lucidity, they can use their ability to develop skills that are beneficial in waking life. A person is able to use the dream space to practice skills that have a direct impact on their physical muscle memory and prime their cognitive functions.
In your experience as a psychotherapist and intuitive guide, what’s the most surprising or profound insight you’ve gained about the human psyche through working with dreams?
Dreams never cease to surprise me. They show me over and over again that people have access to deep truths and spiritual images that can change the color of their mind and experience forever. Just one big dream can transform a person.
Your book combines various practices like writing, collage, and meditation. How did you develop this multifaceted approach to dreamwork, and why do you think it’s effective?
These practices are all well-known and documented across traditions both therapeutic and spiritual. I was definitely influenced by my mother, who is a prolific visual journalist, dream worker, SoulcollageTM facilitator, and psychotherapist. For me, bringing them together feels intuitive, engaging different senses; visual, mental, kinesthetic – word, image and imagination allows for greater access to unconsciousness and that is where we are trying to get to and to connect with through dreams.
Can you share a personal anecdote of how engaging with your dreams has led to a significant change or realization in your waking life?
As I mentioned briefly and vaguely in the book, a dream I worked in therapy told me to go to school for counseling. I don’t mind sharing it here; I dreamed I am on the steps of a building with 4 perpendicular sides. It looks gothic or church-like and on each side there are many steps leading up to a door. I ascend the steps and go inside. Somehow I know I need to go upstairs. I go up several flights and find my way into a big event room. There is some kind of conference or celebration happening. The room is full of all different types of people milling about and talking. I take a seat in a chair toward the back of the room near a window. I am introverted, so I tend to wallflower and observe in these types of situations. I sit quietly and listen, gently rocking (autistics will know lol). I am able to hear everyone’s conversations loudly, even private whispered exchanges close to one another’s ears.
I hear people complaining. “I am a professor and I hate my job.”
“Oh really?”
“I am a medical doctor and it’s awful, I’m so unfulfilled.”
I quickly realize that all of these successful and professional people hate their jobs and have no idea who they are or what they want to do. I start rocking harder in my chair and I yell loudly “I know exactly what I want to do!” Everyone stops talking and looks at me. They all say collectively, “Well then why don’t you go do it?” I run out of the room and down the stairs. The next morning I applied to college.
For someone new to intentional dreamwork, what’s one simple practice you’d recommend they start with tonight?
Just set the intention before you go to sleep, “when I wake up, I will remember my dreams” and try to gently recall your dreams as soon as you wake up. Practice, practice, practice.
As someone fascinated by the power of routine and ritual, I’m curious about your personal practices. Would you mind sharing your nighttime routine? What rituals or habits have you found most effective for nurturing quality sleep and rich dream experiences?”
I discuss some sleep hygiene suggestions in the book, but a few personal supports I left out are the manta sleep mask – it’s absolutely incredible – and a grounding sheet. I sleep in a cold room, read before bed, minimize artificial lighting and no screen time. Baths and meditation are also a huge help for me in winding down. I am actually not a night person, I usually go to sleep around 8:30 pm – most of my rituals are morning rituals, which included recording my dreams.
As both a creative soul and an adept navigator of dreamscapes, I’m curious about how you perceive the relationship between dreams and various art forms. Beyond visual art, how do you think other mediums like music, literature, or even scent art like perfumery might intersect with or be influenced by our dream experiences? Have you explored any of these connections in your own practice or research?”
Scent! The olfactory sense is rare in dreams but not completely absent. Just this week I dreamed of an ex’s bad breath lol – smell is, as you know, deeply connected to emotion and memory. Good smells and perfumes can be used to invite sweet spirits and influence our dreams in positive ways! I would be curious if anyone has made a perfume for dreaming? Possibly including some of the well-known oneiric plants or flowers? I know cologne, sprays, and perfumes are used in folk magic practices, and I wouldn’t be surprised if there were specific ones for dreams and dreaming. [Author Edit: here are some of my favorite sleeping and dreaming scents!]
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When I was curating images for my book The Art of Fantasy: A Visual Sourcebook Of All That Is Unreal, I found myself drawn to the peculiar charm of Max Frey’s undersea tableau not because it featured an obviously fantastical creature like a dragon or unicorn, but because it captured something equally magical: the strange poetry of a human figure astride a sea slug, as casual as if riding a horse through city streets.
Frey’s fascination with undersea subjects emerged during a time when the natural world was capturing the imagination of both scientists and artists alike. The late 19th and early 20th centuries saw an explosion of interest in marine biology, with publications like Ernst Haeckel’s “Art Forms in Nature” bringing the strange beauty of sea creatures to the public eye. This was an era when the depths of the ocean still held countless mysteries, and every new scientific expedition might reveal creatures that seemed as fantastical as any medieval bestiary.
Frey wasn’t alone in finding artistic potential in marine life. Odilon Redon transformed deep-sea creatures into mystical floating eyes and otherworldly blossoms. Jean Painlevé’s early underwater photography and films of seahorses and octopi revealed an underwater ballet so strange it influenced the Surrealists.
What sets Frey’s approach apart is how he places humans in direct interaction with these creatures. His figure atop the sea slug brings to mind the way Symbolist artist Arnold Böcklin placed classical figures among realistic Mediterranean landscapes. But where Böcklin’s work often leans into myth and melancholy, Frey’s sea slug rider maintains a wonderfully deadpan quality. The subject’s imperious expression suggests they see nothing unusual about their choice of vehicle – it’s everyone else who’s making it weird.
This wasn’t a one-off flight of fancy for Frey. His work reveals a whole series of these marine mounts, each more fantastic than the last. Some glide through the water with sleek, silvery bodies that wouldn’t look out of place on a pulp magazine cover. Others sport mohawk-like manes or crown-like fins atop their heads. Yet their riders maintain that same air of perfect nonchalance, as if commuting to some underwater office on their sea-slug steeds.
In ‘”Das Prinzesslein” (The Little Princess), Frey gives us a humanless scene – though perhaps not entirely. The central creature’s expression suggests a strange mix of concern, bewilderment, and haughty bearing as she surveys her underwater domain of muddy anemones and eels. A gross, leering, crab-like beast lurks nearby, barnacles and tentacles sprouting from it like some strange mutation. One can’t help but suspect we’re witnessing the aftermath of a curse, the little princess transformed but still maintaining her royal demeanor among these unsettling depths.
In “Das Wunder” (The Wonder), Frey takes us deeper still, into a dim underwater grotto where a serpentine creature – or possibly two creatures, it’s difficult to tell if we’re seeing a two-headed being or a pair – gawps at what appears to be a human figure encased in a glowing egg. The murky illumination from this strange cocoon creates the kind of scene you might expect in a deep-sea expedition’s fever dream.
Finally emerging onto land, we find “Tier und Mensch” (Animal and Human), where a hybrid of giraffe, llama, and dinosaur appears with pinky-beige hide and doleful expression, its wiggly ears and sad face giving it an almost apologetic air. A figure kneels beside this bizarre beast in an enigmatic vision that raises more questions than it answers. Like his undersea riders, Frey presents this unlikely encounter as if it were the most natural thing in the world, leaving us to puzzle over whether it’s the scene that’s strange, or merely our perception of it.
While New Objectivity and Symbolism appear frequently in descriptions of Frey’s work, these pieces suggest an artist operating in a territory entirely his own, where grand sea wyrms serve as commuter transport and sad-eyed hybrid beasts receive mysterious visitors. Each piece is presented with the calm assurance of someone who has witnessed something deeply weird and is simply waiting for the rest of us to catch up.
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In times of deep shadow, humanity has always reached for two torch flames: magic and art. Often, they burn as one – each a way of touching the invisible, of shaping reality from the raw stuff of imagination and will.
Each an attempt to make sense of a world that sometimes seems senseless, our fingers stretching toward that distant spark of understanding.
Art’s power lies not in offering escape, but in its unflinching ability to witness, to record, to create. It reflects our full humanity – our grief and our joy, our rage and our hope. Through this honest reflection, we find our strength. Our imaginations aren’t exits from reality – they’re tools for seeing it more clearly, for envisioning what could be.
Creation is an act of power – a reaching inward to find something stronger than our circumstances, a way of claiming space in a world that sometimes seems intent on shrinking us. We raise our hands to shape, to shield, to shatter what needs breaking.
Right now, many feel a profound weariness. But across time and space, across every circumstance, humans have made art. Like moths drawn to flame, we spiral ever toward the light of creation. It’s not just how we resist – it’s how we exist.
Art speaks what cannot be said plainly. Through it, we express the inexpressible, share what feels unshareable. These creations may come from any time, any place, any hand – but they speak to something universal in the human spirit.
Every brushstroke, every sculpted line, every carefully chosen word is a thread connecting us to everyone who has ever faced uncertainty and chosen to create anyway. It builds bridges between hearts, between centuries.
This is why we cannot stop making, cannot stop imagining better worlds into being. Art isn’t a luxury to set aside until better days. It’s how we live through all our days – through grief, through rage, through moments that feel impossible to bear. It’s how we express our truths, how we find each other when the weight feels crushing, our hearts, our voices, our visions blazing with possibility.
So create like your heart is on fire. Create like the world depends on it.
Because it does.
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I don’t recall when I first stumbled upon the artwork of Iris Compiet, but I can find evidence that I shared some of it over on my Tumblr way back in 2015, in the form of an elegant cat lady with two equally elegant skull-faced Sphinx felines cozied up on her lap. Yet, despite being able to pinpoint this specific encounter, I feel as if I have always known her work. Compiet’s creatures inhabit a corner of my mind that feels as ancient and familiar as childhood memories, as if they’ve been whispering their secrets to me all my life.
There’s a timeless quality to her art that transcends the moment of discovery. Her faeries, spirits, and otherworldly beings seem to exist in a realm just adjacent to our own, one that we’ve always known about but somehow forgot. It’s as though Compiet’s brush doesn’t create these entities so much as reveal them, pulling back the veil on a world that’s been there all along, patiently waiting for us to remember how to see it.
I am always thrilled to spot a familiar name in the artist’s credits for a Magic: The Gathering card, but when Iris Compiet’s name appeared on a handful of cards in a recent expansion, my heart performed a gleeful, flooping little pirouette. In the mystical realm of Valley, where fur and feathers pulse with arcane energy, Compiet’s brush evokes a world where the extraordinary and the endearing intertwine. Her Valley Flood Caller, an otter wizard resplendent in ceremonial garb wielding a staff of eldritch light, captures the whimsical gravitas of this imperiled animal kingdom. For those of us who’ve whiled away countless hours reverently sleeving our precious cardboard spells, Compiet’s art feels like stumbling upon a homecoming in a place we’ve only visited in dreams.
MtG entered my life in my 36th year, a gift from my then-new paramour, Yvan (13 years later, now my spouse!) It became our shared language, a perfect conduit for two introverts to connect. While I may never have fully grasped the game’s intricacies, I fell deeply in love – with the art, the worlds, and the person who introduced me to them. Many years later, my recent hair color is actually a Golgarian/Witherbloom ode! Seeing Iris Compiet’s art grace these cards feels like a beautiful convergence of passions, both old and new.
But to pigeonhole Compiet as merely a collectible trading card game illustrator would be to do a grave disservice to the extraordinary realms she explores and documents. For in truth, Iris Compiet isn’t just an artist – she’s a dreamer of the extraordinary, a chronicler of beings that exist in the misty realms between knowing and believing.
In Compiet’s ethereal renderings, fantastical entities materialize like visions from a waking dream. Her work invites us to become unwitting travelers in realms beyond our own, stumbling upon magical creatures and forgotten spirits with the wide-eyed wonder of an accidental explorer. The beings she portrays possess a gossamer quality that embraces their impossible nature. Each creation, whether fae, a forest spirit, or something entirely unclassifiable, is imbued with a haunting beauty and an air of mystery; you can almost see the mists of imagination swirling around them. This ability to capture the elusive, dreamlike quality of myth and legend is the hallmark of Compiet’s art. She creates beings that resonate with ancient whispers while feeling as fleeting and intangible as morning mist, as if they might fade back into the realm of dreams at any moment.
It is in her magnum opus, Faeries of the Faultlines, that Compiet’s dreamy visions find their fullest expression. This book is not merely a collection of artwork; it’s an explorer’s journal, a naturalist’s field guide to a world that exists in the periphery of our vision, in the spaces between heartbeats. The Faultlines, as Compiet reveals, are the gossamer-thin boundaries where our mundane world whispers secrets to realms unknown. These are the spaces where the veil between the human world and the fairy realm wears thin, allowing us to step into a reality that is at once familiar and utterly alien.
Through her paintings, sketches, and narrative notions, Compiet invites us to peer through rainbow-hued droplets, to trust that prickle at the back of our necks when we feel unseen eyes upon us. The veil, she assures us, is omnipresent – above, below, around, and even within us. We need only learn to look, to regain our Sight – that innate ability we all possessed as children to perceive the magical world that exists alongside our own.
Compiet’s faeries challenge conventional expectations, embodying nature’s capricious magic – as diverse, complex, and sometimes unsettling as the natural world itself. They can be eerily alluring, mischievous, melancholic, or utterly alien – but never predictable, never trite. These are not the sanitized sprites of Victorian fancy, but complex beings as varied as nature itself. They belong to neither the Seelie nor Unseelie courts exclusively, instead embodying a state of All – an encompassing existence that transcends our limited notions of good and evil. These are creatures of raw, wild magic, beautiful and dangerous in equal measure, their morality as alien to us as their forms are wondrous.
As we venture deeper into the Faultlines, Compiet introduces us to a mesmerizing menagerie of otherworldly beings. Here, we encounter the rooty, bulbous mandrake faeries, often mistaken for mere ugly tubers but possessing a blissful hallucinogenic magic of startling potency. We marvel at the magnificent green men, those benevolent forest guardians tasked with tending to all that grows, their bark-like skin a testament to their deep connection with the natural world. In murky bogs, swamps, and near thundering waterfalls, we glimpse creatures that seem born of water and shadow, while overhead, feathered beings of surpassing beauty soar on silent wings.
Shapeshifting witches flit at the edges of our vision, keepers of a precarious balance, their power to bestow dreams, nightmares, and health – whether boon or bane – a reminder of the capricious nature of fairy gifts. The many species of flesh-eating trolls lumber through this magical landscape, their presence a thrilling hint of danger. And everywhere, darting between roots and stones, we spot the countless varieties of small, hairy, mischievous gnomes, brownies, and hobgoblins, their antics a constant source of both delight and exasperation to their fairy kin.
In Compiet’s hands, each of these beings comes alive with a vivid specificity that makes them feel less like flights of fancy and more like subjects of an esoteric field guide, creatures as real and varied as any found in our own natural world. As we leaf through the pages of Faeries of the Faultlines, we’re invited to abandon our preconceptions and linear thinking, to flit from one fairy to another, immersing ourselves fully in this world that exists just beyond the corner of our eye. Compiet’s art becomes a key, unlocking the dormant ability within us to See – truly See – the magic that has always surrounded us, waiting patiently for us to remember how to look.
I feel immensely privileged to feature Compiet’s work in my book, The Art of Fantasy: A Visual Sourcebook Of All That Is Unreal. Her contribution offers readers a mesmerizing glimpse into the artistry that has made her a renowned figure in the world of fantastical imagery. The piece we included, a striking rendition of the Morrigan, perfectly encapsulates Compiet’s unique vision and skill.
In this powerful portrayal of the fearsome Celtic goddess of war, death, and fate, Compiet’s mastery is on full display. The deity’s face bears a grim yet wry expression, a subtle nod to the complexities of her nature. Shadowy, crow-like elements hint at the Morrigan’s shapeshifting abilities, adding layers of depth to the portrayal. With sober brilliance, Compiet captures the essence of this mythical being, creating an image that resonates with ancient power while feeling startlingly immediate.
This single work embodies the raw, untamed magic that courses through all of Compiet’s art. Drawing deep from the wells of European folklore, dark fairy tales, and spectral stories, Compiet’s creation gives form to half-remembered dreams and whispered myths, conjuring creatures and beings that feel as if they’ve drifted in from the edges of our consciousness. The Morrigan, as rendered by Compiet, is at once beautiful and terrible, alluring and intimidating – a being who defies easy categorization or moral simplification. Through this masterful illustration, we’re invited to confront the beautiful and terrible complexity of the otherworldly, to embrace a more primal sense of wonder that acknowledges both the allure and the danger of these liminal realms.
Compiet’s talent for bringing fantastical creatures to vivid life extends far beyond the Faultlines. Her artistic explorations have led her to document the denizens of other beloved magical realms as well. In The Dark Crystal Bestiary: The Definitive Guide to the Creatures of Thra, Compiet’s masterful renderings breathe new life into the rich world of Thra. Her interpretation of Aughra, in particular, is nothing short of magnificent, capturing the ancient sage’s wisdom, power, and otherworldly nature with stunning clarity. This work stands as a testament to Compiet’s ability to honor and enhance even the most iconic fantasy creations. Similarly, in Jim Henson’s Labyrinth: Bestiary: A Definitive Guide to the Creatures of the Goblin King’s Realm, Compiet’s brush infuses the weird and wonderful inhabitants of this cult classic world with her own ethereal style. Her explorations extend even to a galaxy far, far away in Star Wars Bestiary, Vol. 1: Creatures of the Galaxy, where her unique perspective transforms the exotic into the hauntingly familiar, making alien beings feel like half-remembered dreams from our own world. In each of these works, Compiet proves herself not just an artist, but a visual storyteller and worldbuilder, capable of enriching and expanding even the most well-established fantastical universes with her unique vision.
When she’s not chronicling the ways of the fae or breathing life into beloved fantasy realms, Compiet invites kindred spirits to join her on Patreon, where she shares secret glimpses of a world beyond our own. There, fellow dreamers might just find the key to unlocking their own Sight, allowing them to peer a little deeper into the misty realms that exist just beyond the corner of our eye.
And I will close out this blog post with a few secrets that Iris recently whispered to me, shared here with her blessing. The enchanted realms of the Faultlines are expanding their borders and are soon to be released in Germany, inviting a whole new audience to peer through the veil. For those already enchanted by the Faultlines, there’s more magic on the horizon. Iris is currently working on the next installment of Faeries of the Faultlines, and it promises to be something truly special – an oracle deck! Imagine holding the wisdom of the fae in your hands, each card a portal to hidden truths and ancient mysteries. Lastly, for readers familiar with my olfactory obsessions, you might be delighted to know that Iris and I share a fondness for enigmatic scents. When asked about her favorite fragrances, she revealed herself to be a big fan of the mysterious indie perfumers For Strange Women. These little glimpses into Iris’s world and work only deepen the mystery and allure of her art, leaving us eager for whatever magic she conjures next.
If you enjoy posts like these or if you have ever enjoyed or been inspired by something I have written, and you would like to support this blog, consider buying the author a coffee?
A mysterious rider leans forward on a horse seemingly formed of living shadow, their posture speaking of urgency and a mission that cannot wait. Hair streams behind them, merging with the horse’s mane like a mesmerizing Rorschach test in motion, challenging us to decipher where intention ends and instinct begins. This breathtaking scene unfolds against a backdrop of lurid red – perhaps velvet curtains, a blood-tinged sunset, or the very gates of hell yawning open.
Conjured forth by contemporary artist Tristan Elwell in the cover art for Ashling by Isobelle Carmody, it encapsulates the spirit of high fantasy with an undercurrent of delicious menace. It speaks of quests undertaken in realms where the natural and supernatural coexist, evoking a world where untamed spirits race against looming shadows.
Fantastical, brooding imagery leaps from the covers of countless tomes, beckoning readers into realms of fantasy, young adult adventures, and thought-provoking editorials. Elwell’s darkly whimsical visions serve as portals, each image a visual distillation of complex narratives into single, compelling moments frozen in time. His art is like a tarot deck for the modern age, each image a card that tells a story of possible futures and hidden truths.
Beyond book covers, this artistic vision spills onto Magic: The Gathering cards; whether you’re cycling with Merfolk Looter or summoning a horde with Elvish Piper, Elwell’s contributions to this beloved bastion of nerdery transforms players’ hands into galleries of miniature masterpieces amidst their fantastical battles.
In this evocative scene featured in my book The Art of Fantasy: A Visual Sourcebook Of All That Is Unreal, we spy a levitating witch-like character slyly peeking over her shoulder to catch us in the act of observing her. Her wild grey hair billows in an unseen ethereal current, adding to her mystical allure. Below, a cat cleverly bats at an unseen ‘mouse,’ while a circle of arcane symbols swirls on the floor. An incongruous on/off button in the foreground adds a surprising modern touch to this magical scene. The image is bathed in the warm glow of a trio of pillar candles held aloft by wrought iron stands, illuminating this instance of the arcane and the contemporary.
A visual paradox where ancient sorcery and modern technology coexist in a single, mesmerizing moment, it’s an intriguing fusion that invites viewers to ponder the intersection of mystical arts and technological advancement, each complex in its own right. The image bears a whimsical resemblance to a somewhat archaic ad for witchy helpdesk support in PC Plus magazine, but it’s the captivating illustration adorning the cover of Curses, Inc. and Other Stories by Vivian Vande Velde.
Midnight in a graveyard, a sleek black cat paces at a crossroads, its presence both ominous and intriguing. Headstones thrust up from shaggy, unkempt grass, casting long shadows across the scene. The dampness of overgrown blades is almost palpable, their imagined rustle carried on a chill breeze. This haunting imagery for Witch Way to Murder by Shirley Damsgaard weaves a visual story of mystery and magic that entices the viewer to peer deeper into its shadows. I am totally judging a book by its cover here, but you can count me among the viewers enticed to peek! (I’m looking for a copy at the library as we speak!)
A domestic longhair cat, resplendent in a business suit, regards us with an expression of cunning professionalism. Its eyes glint with intelligence and a hint of mischief, suggesting playful yet potentially nefarious schemes. This clever and cute image, with its undercurrent of menacing shenanigans, graces the cover of John Scalzi’s Starter Villain and becomes a charming yet unsettling visual ambassador for Scalzi’s satirical exploration of corporate ethics and modern villainy.
The brilliance of this cover becomes even more apparent when considered alongside the book’s premise (which unlike a few above, I have actually read!) In Starter Villain, Charlie, a recently divorced substitute teacher, inherits his estranged uncle’s unconventional business: supervillainy. Thrust into a world of lasers, talking cats, and unionized dolphins, Charlie embarks on a journey of self-discovery amidst the absurdity, where humor and intrigue simmer –dangerously, delightfully!–beneath the surface of a dormant volcano in a remote island lair. Elwell’s suited cat perfectly serves as an ideal visual ambassador for Scalzi’s satirical exploration of corporate ethics and modern villainy.
Personal works reveal a deep appreciation for the gothic and dramatic. In “Isolation,” a striking figure perches high on a wire, defying gravity and convention. Adorned in a long black Victorian-style frock, complete with lace collar and cameo, the figure’s playful space buns add a touch of youthful spirit to the somber attire. An umbrella clutched in hand leaves us wondering: is it to ward off sun or rain? Four crows share the wire, a fifth ascending to join this curious gathering, regarding their human companion with interest but without malice, as if recognizing a kindred spirit in this darkly clad figure who has ventured into their domain.
“Inversion,” which just yesterday won First Place for Digital Art in the Beautiful Bizarre Magazine Art Prize (many sincere congratulations, Tristan!!) mirrors this scene but diverges dramatically. A nude woman hangs upside down from a wire, her body a study in grace and control. The tension in her form evokes a ballet dancer practicing passé relevés variations, every muscle defined, every line carefully considered. She shares her precarious perch with a quartet of bats, their expressions a mixture of fascination and bewilderment at this topsy-turvy human interloper. Behind them, the sky transitions to evening, wisps of clouds texturing the horizon as a distant flock of bats passes by.
These two pieces form a captivating diptych: from gothic Victorian aesthetic to an almost balletic nude, recurring motifs of solitary figures, wire perches, and avian companions create thematic links that invite contemplation on isolation, inversion, and the strange companions we find in lonely places. These works are like visual kōans, paradoxical vignettes that invite meditation on the nature of solitude and perspective.
Instagram sketches reveal a gallery of iconic figures: Elsa Lanchester’s Bride of Frankenstein, sultry silent film star Theda Bara, the hauntingly beautiful Peter Steele, and delightfully macabre Lily Munster. The artistic gaze extends beyond pure gothic to embrace a wider range of dramatic personalities: Nick Cave broods alongside Tom Waits, while the surreal world of David Lynch’s Eraserhead neighbors a classically melodramatic depiction of Salome offering John the Baptist’s head. His Instagram becomes a cabinet of curiosities, each sketch a specimen of pop culture preserved in the formaldehyde of Elwell’s distinctive style.
A particularly striking image captures an Edwardian lady in fencing attire, a red heart embroidered on her dress breast. It’s a masterful blend of historical aesthetics and symbolic elements, both beautiful and poignant.
While Elwell’s work has graced an impressive array of book covers spanning YA fantasy to cozy mystery and beyond, one can’t help but imagine the striking impact his art could have on gothic romance novels. Picture a cover where a graceful figure in a meticulously rendered Regency gown stands before a fog-shrouded manor, her hair tousled by an unseen wind. A sleek black cat winds around her ankles, its eyes gleaming with otherworldly intelligence, while a colony of bats silently wheels against the brooding sky.
Another scene might capture a moonlit balcony: a corseted Victorian beauty leans precariously over the railing, her lace-gloved hand outstretched toward a shadowy figure astride a powerful, dark horse in the garden below. The intricate detailing of her dress would be a testament to Elwell’s keen eye, while the play of light and shadow could hint at the passion and danger lurking within the pages. Or envision a windswept moor at twilight, where a lone rider on a ghostly pale horse gallops past ancient standing stones. In the foreground, crimson roses entwine with thorny vines, their blooms stark against the misty landscape.
Such covers would perfectly capture the genre’s signature blend of desire and dread, all while showcasing the motifs that make Elwell’s work so distinctively captivating. Elwell’s hypothetical gothic romance covers would be like Victorian valentines dipped in the blood of midnight ink – ornate, passionate, with just a touch of sly diablerie.
And finally, here is a Halloween cow. A bovine celebration of the most wonderful time of the year! Because beyond the artist’s keen eye for detail and all their technical wizardry and all those years of honing and refining their skills, we know the thing that truly counts is recognizing that animal + Halloween costume = pure, unadulterated gold. I’m not even joking. It is true! (You have no idea how much I love this cow!)
But seriously folks! Elwell’s portfolio is a cocktail of the macabre, the whimsical, and fantastical, shaken vigorously and served with a twist of sardonic wit. These works, from fully realized paintings to quick sketches, reveal an artist with an uncanny ability to capture the essence of his subjects, and his images act as windows to realms where magic, mystery, and wonder are tangible, ever-present forces. Infused with a dreamy darkness and a subtle but distinctive thread of mordant humor, these works captivate and inspire. They invite us to imagine worlds where a midnight ride on a shadow steed is possible, where a feline might stand guard at a haunted crossroads, or where a talking cat in a business suit could be plotting world domination.
Speaking of how these works captivate and inspire, it was that very cat at that very crossroads that caught my eye back in 2010 when it was rampantly reblogged all over Tumblr sans credit or context. Searching out the artist responsible for it was how I first discovered Tristan’s body of work, which I have been following ever since. It feels like a very full-circle moment to have been able to include Tristan’s work in my book. What a weird, wild, wonderful world! And how glad I am to share it with artists like Tristan Elwell.
If you enjoy posts like these or if you have ever enjoyed or been inspired by something I have written, and you would like to support this blog, consider buying the author a coffee?
Happy birthday to my three beloved art books, published in Septembers 2020, 2022, and 2023!
Let’s take a moment to appreciate these visual feasts that explore the mystical, the dark, and the fantastical.
✨ The Art of the Occult: A Visual Sourcebook For The Modern Mystic (2020)
A journey through the esoteric and spiritual in art, from theosophy to sacred geometry. This book showcases how artists have been drawn to the mystical, creating works that transcend time and place.
“The Art of the Occult crosses mystical spheres in a bid to inspire and delight, acting as a light introduction to the art of mysticism.”
✨ The Art of Darkness: A Treasury Of The Morbid, Melancholic & Macabre (2022)
Dive into the shadows with this exploration of how artists have grappled with the darker aspects of the human condition. From the haunting to the horrifying, this book asks: what comfort can be found in facing our demons?
“We deny our inner darkness at our own peril. This book invites us to sit for a while with these shadows – from the safety of our armchairs.”
✨ The Art of Fantasy: A Visual Sourcebook Of All That Is Unreal (2023)
Embark on a magical journey through the realms of imagination. From mermaids to mythical creatures, this book celebrates the fantastical visions that have captivated artists throughout history.
“Our most madcap adventures and extraordinary flights of fancy – this is the fabulous realm of fantasy, and the spectrum of fantastic art is an abundant, richly diverse wonderland to explore.”
These books are more than just curations of art – they’re gateways to other worlds, invitations to explore the depths of human creativity and imagination. Whether you’re drawn to the mystical, the macabre, or the magical, there’s a book in this trio for you. Find them here or grab a signed copy hereand join me in celebrating these weird little art goblins and the windows they open into extraordinary realms!
In the grey gloaming realm that stretches between the living and the dead, Dylan Garrett Smith’smonochrome reveries unfurl like smoke from a snuffed candle. His artistry is a nocturne played on the bones of forgotten beasts, a serenade to the wild things that lurk just beyond our peripheral vision.
Smith’s canvas is a chiaroscuro otherworld where vitality and decay intertwine in a spectral palimpsest, each layer revealing new depths of existence.
In one haunting tableau, corvids engage in a macabre game of cat’s cradle – or is it shibari? – with a skull, their ebony feathers a stark contrast to the bone’s pallid gleam.
Nearby, a small ram reclines in blissful repose, unaware of the arrows that surround it like a halo of impending doom. This particular piece, a poignant illustration of innocence amidst danger, can be found in my book The Art of Darkness: A Treasury of the Morbid, Melancholic and Macabre.
Suspended in the void, a broken bird’s nest becomes a mobile of bones, dangling precariously and giving dark new meaning to the phrase “cradle to grave.”
A fox bounds away into the darkness, its back turned to us. Its burden, both grisly and beautiful, is revealed: upended skulls serve as macabre baskets, overflowing with phantasmal autumn leaves. This juxtaposition of death and seasonal beauty encapsulates the cyclical nature of existence, a memento mori adorned with life’s fleeting splendor.
In Smith’s hands, a deer skull becomes a temple, its antlers reaching skyward like gothic spires, enrobed in a tapestry of forest flora that speaks of life’s persistence in the face of death.
Elsewhere, rats perform a macabre quadrille, their lithe forms weaving intricate patterns around a juicy pomegranate – a Persephone’s bargain made flesh, the promise of cyclic renewal amidst decay.
I have a fixation on “hands holding things,” and in Dylan Garrett Smith’s hands this obsession finds a dark playground of endless fascination. His monochrome world is populated by a menagerie of spindly, clawed fingers that grasp and clutch at various objects, each image a haunting vignette that pulls at the threads of the subconscious.
In one particularly arresting piece, skeletal hands cradle a guttering candle, its flame a fragile light against encroaching darkness, while rosary drape gently about around the wrists, as if anchoring the soul in its futile quest for salvation.
In another striking image, a snake coils sinuously around an arm, its scales a stark contrast to the human flesh streaked with dark, bleeding veins of dirt. From this liminal fusion of animal and human sprout leaves and berries, as if the arm itself is transforming into a branch, blurring the lines between flesh and flora, predator and prey.
These spectral appendages haunt the penumbral spaces of Smith’s work and our psyche. A wrist pierced by an arrow evokes a pagan stigmata, while elsewhere, a disembodied sorcerer’s hand plays puppeteer to a decaying apple, its fishhook strings a grim reminder of the manipulations that lie beneath life’s surface.
Each eerie hand draws me in, their skeletal digits beckoning me closer, telling stories of grasping desire, occult power, and the ever-present reach of mortality. They speak to something primal, a recognition of hands as tools of creation and destruction, acting out dark fantasies and ancient rites.
Smith renders these visions in ash, chalk-lead, and ink on black cotton rag, his choice of medium as much a part of the story as the images themselves. The ash speaks of transformation and endings, the chalk-lead whispers of impermanence, while the ink etches permanence into the ephemeral. On the black canvas, these materials come alive, each stroke a revelation of light amidst shadow, of form emerging from void.
This interplay of light and dark extends beyond technique, embodying the very essence of Smith’s artistic philosophy. His work is a meditation on the cycle of life, death, and rebirth, on the beauty found in decay and the inevitability of nature’s reclamation. In Smith’s art, ecological concerns intertwine with occult symbolism, creating a visual language that speaks to both the natural world and the supernatural realms that haunt our collective unconscious.
This shadow play extends beyond the confines of gallery walls and into the pulsing heart of the music world. For over half his life, he’s been weaving his spectral visions into the very fabric of the industry, birthing nearly a thousand designs that clothe the devotees of darkness. From the hallowed racks of Hot Topic to the curated collections of Foxblood, Smith’s creations lurk, waiting to ensnare unsuspecting shoppers in their gossamer threads of ink and imagination.
Throughout his career, his artistry has been embraced by titans of the metal scene, with Smith creating designs for renowned bands whose music shakes our very souls. One can almost hear the eldritch roar of guitars and the seismic percussion echoing through his creations, each design a portal to a concert at the end of the world. “Through these designs,” Smith muses, “many of my favorite artists are now my closest friends.” It’s a testament to the alchemical power of his art, transmuting admiration into connection, fandom into friendship.
He has also lent his talent to the folks at Cadabra Records, where — small world!– I was perusing their website years ago and came across a spoken-word Dracula album, narrated by the one and only Tony Todd. “Hot dog!” I thought, “This is amazing! But wait a second…I recognize the style of this artwork…!” And sure enough, there are several albums in their catalog whose covers are awash in Dylan’s particular brand of darkness.
To stand before a Dylan Garrett Smith piece is to feel the veil between worlds grow gossamer-thin. Time becomes elastic; the boundaries between observer and observed blur. We find ourselves not simply viewing foxes and snakes, skulls and hands, but inhabiting a liminal space where the arcane and the ecological converge.
This is art as ritual, as invocation. Each piece a spell cast against forgetting, against the numbing comfort of artificial light. Smith’s work demands we rekindle our relationship with shadow, with the rich loam of decay that nourishes new life. It whispers of old gods and older truths, of the wisdom found in bone and root and stone.
In an age of ecological crisis, where the wild places shrink beneath our ever-expanding footprint, Smith’s art serves as both warning and balm. It reminds us that nature’s triumph is inevitable, not as a cataclysm to be feared, but as a homecoming to be embraced. To engage with Dylan Garrett Smith’s art is to pilgrimage into the heart of darkness – not as an absence of light, but as a fertile void teeming with possibility.
It is to remember that we, too, are creatures of ash and shadow, of bloom and decay. In his funereal monochrome, we glimpse not just the face of nature, but our own wild souls gazing back, asking to be remembered, to be set free. In Smith’s stark compositions, we find a memento vivere cloaked in the guise of a memento mori – a poignant reminder that in breakdown lies the promise of renewal, in endings, the whisper of beginnings.
Between these poles of existence, Smith reveals the raw, mesmerizing complexity of life’s perpetual cycle.
For all the haunting grimness of his canvases, you’d be hard-pressed to find a more amiable soul than Dylan Garrett Smith.
In my few DMs with him, our conversations have meandered through art and perfume, revealing an artist as relatable as he is talented. Smith’s Instagram offers a window into this duality: interspersed among his spectral creations are posts that showcase a genuine love for his artistic community and a delightfully goofy sense of humor.
I’m particularly fond of his allergy season jokes accompanying some of his woodland flora vignettes – a cheeky reminder that even artists who traffic in the realms of decay and darkness aren’t immune to the prosaic irritations of pollen. This juxtaposition of the macabre and the mundane, the profound and the playful, adds yet another layer of depth to Smith’s already multifaceted persona.
In contemplating Smith’s art, one can’t help but draw parallels to another realm of sensory experience: perfume. Both dark art and fragrance possess the power to evoke visceral reactions, bypassing our logical mind to trigger something primal within us. Like Smith’s meticulously crafted monochrome visions, perfume can transport us to liminal spaces, conjuring the essence of spectral forests and forgotten rituals in an instant. There’s an intimacy to both, a way of getting under the skin and lingering, transforming our perception of the world around us.
In the earthy notes of soil and roots, the metallic tang of blood, or the ethereal whisper of smoke, we find olfactory echoes of Smith’s visual themes – a shared fascination with the cycle of life, death, and rebirth that permeates both art forms. Just as Smith’s hands grasp candles and cradle skulls, certain scents can hold us in their thrall, telling stories of nature’s reclamation and the thin veil between worlds.
I recently inquired with Dylan about his favorites, and he got back to me with the following …
“Since moving to Los Angeles from Pennsylvania a few years ago, I had to completely overhaul my fragrance collection – everything I had was dark, smoky, spicy, and warm for the cooler weather and now that’s it’s like 80 all year long, I’ve had to do some soul searching and branch out, haha!”
Some of my favorites right now:
“Vertical Oud” by Hermetica Paris
“La Capitale” by Xerjoff
“Super Cedar” by Byredo
“Oud Wood” by Tom Ford (author note: ME TOO, IT’S SO GOOD!)
“Woodphoria” by Boy Smells
“Bulletproof” by Tokyomilk Dark
“FFCC33” (“Sunglow”) by Hans Hendley
Also, according to Dylan, “If you’re reading this from Southern California or New England, I have some events and art shows coming up that I’d love to see you at! Check out the Upcoming Events page on my site for more info!”
If you enjoy posts like these or if you have ever enjoyed or been inspired by something I have written, and you would like to support this blog, consider buying the author a coffee?
As twilight descends and the world exhales into darkness, a different realm awakens – one populated by creatures that have long captivated our imagination.
In my book, The Art of Darkness: A Treasury of the Morbid, Melancholic, and Macabre, I explored the intricate nocturnal bestiary that has long prowled through dark-themed art. Now, let us both expand beyond the imagery in the book and narrow our gaze to three of night’s most beguiling emissaries: the owl, the bat, and the moth.
Owls: Wisdom’s Watchful Eyes
In the hushed cathedral of the forest, the owl reigns as both sage and specter. Its penetrating gaze has, for centuries, been a mirror for our own search for knowledge in the darkness of ignorance. From Dürer’s meticulous engravings, where owls perch as symbols of wisdom and melancholy, to the surreal, moonlit landscapes of Gertrude Abercrombie, where these birds stand as enigmatic sentinels, owls bridge our world with realms unseen, embodying the very essence of nocturnal mystery.
In literature, the owl’s hoot has heralded profound messages – think of the prophetic bird in Shakespeare’s “Macbeth” or the wise companions in modern fantasy. These creatures, with their ability to pierce the veil of night, remind us that true wisdom often comes from peering into the shadows of our own souls.
Bats: Creatures of Transformation
If owls are the philosophers of the night, bats are its shape-shifters – embodiments of our fears and fascinations with the unknown. Goya’s haunting etching, “The Sleep of Reason Produces Monsters,” captures this creature’s darker associations, with bats emerging from the dreamer’s subconscious like fragments of a shadowy psyche. Yet bats also inspire whimsy and wonder, as seen in Richard Doyle’s enchanting “A flight by night of bats and elves.” Here, bats flutter alongside fairy-like creatures in a nocturnal revelry, reminding us that the night holds magic as well as mystery. This duality of the bat – at once ominous and enchanting – reflects our complex relationship with the unknown, inviting us to find beauty in what we fear.
In gothic subcultures and literature, the bat has been elevated to a creature of dark majesty. From the pages of Dracula to the iconic symbolism of Batman, these winged mammals have come to represent fear transformed into strength, reminding us that even in our darkest moments, we have the power to soar. Or that at least we can look really cool and badass in big, black flappy capes.
Moths: Fragile Pursuers of Light
Perhaps the most poetic of our nocturnal trio, moths embody the delicate dance between destruction and desire. Their fatal attraction to light has inspired artists and writers to explore themes of transformation and the allure of the forbidden. The Pre-Raphaelites, with their love of natural symbolism, often included moths in their works, using their ephemeral beauty to speak of mortality and rebirth.
Contemporary artists like Kiki Smith have created haunting works centered around moths, inviting us to contemplate our own fragility and the beauty found in life’s fleeting moments. In literature, from Virginia Woolf’s poignant essay to the chilling motif in “The Silence of the Lambs,” moths continue to flutter through our collective consciousness, reminding us of the thin line between attraction and annihilation.
Together, these creatures form a nocturnal symphony, each playing its part in the grand opera of the night. In art that brings them together, we see a world where wisdom perches watchfully, transformation takes wing, and beauty dances perilously close to the flame. It’s a world that invites us to step beyond the boundaries of our illuminated lives and into the rich, velvety darkness where mystery still thrives.
As we gaze upon artistic renderings of these night dwellers or encounter their symbolism in stories and songs, we’re reminded of the thin veil between our orderly, illuminated world and the vast, unknowable darkness that surrounds us. In the piercing gaze of an owl, the silent swoop of a bat, or the moonlit dance of a moth’s delicate form, we see reflections of our own journeys through light and shadow, wisdom and fear, transformation and ephemerality.
These creatures and the art they inspire invite us to embrace the night – not as a place of terror but as a realm of beauty, mystery, and profound truth. They continue to flutter, flit, and lurk from the edges of our consciousness, reminding us of the unfathomable mysteries that still exist in the universe, just beyond the reach of daylight.
If you enjoy posts like these or if you have ever enjoyed or been inspired by something I have written, and you would like to support this blog, consider buying the author a coffee?
There’s a mesmerizing quality to Jerome Podwil’s book covers that arrests the eye and captivates the imagination. His artistry weaves an irresistible spell, whether depicting the shadowy corridors of gothic romance or the shimmering vistas of far-flung galaxies. Podwil possesses a rare gift: the ability to imbue his subjects with a depth and complexity that transcends the typical boundaries of cover illustration.
Gazing upon a Podwil heroine is akin to peering through a window into a fully realized world. These aren’t mere figments of fantasy, but women with hidden depths and untold stories etched into every line and shadow. Their eyes, rendered with exquisite care, seem to hold secrets just beyond the viewer’s grasp. Each expression is a masterclass in subtle storytelling, hinting at complex emotions and veiled motivations that leave you yearning to unravel their mysteries.
What truly sets Podwil’s work apart is his uncanny ability to marry this psychological depth with an ethereal beauty. His touch is delicate yet assured, creating faces that are at once soft and strong, vulnerable and resolute. The eyes, in particular, are windows not just to the soul of the character, but to entire worlds. They’ve an immersive, expansive quality draw you in so completely that you can almost feel yourself slipping into the character’s perspective, seeing their gothic mansions or starlit skies through their eyes.
Podwil’s affinity for, and fluency in, the gothic is evident in his work on classic tales like Oscar Wilde’s The Picture of Dorian Gray or the Dark Shadows novel The Mystery of Collinwood. While these pieces may not be his most daring or groundbreaking creations, they resonate with the eerie charm of the genre. Podwil’s brush dances between light and shadow, conjuring an atmosphere thick with unspoken secrets and lurking supernatural presence. As I gaze at these covers, I’m struck by how effortlessly he distills the essence of gothic literature, that palpable sense of brooding atmosphere and latent supernatural menace, into visual form. These works, while honoring the classic status of their source material, bear the unmistakable mark of Podwil’s artistry – a testament to his ability to infuse even well-trodden paths with his unique vision.
But Podwil’s artistic prowess isn’t confined to the realm of the gothic. His science fiction covers reveal an equally deft touch, transporting viewers to cosmic vistas that feel at once alien and oddly familiar. Where other artists might assault the senses with harsh lines and chromium gleam, Podwil opts for a more nuanced approach. His extraterrestrial landscapes are rendered in muted jewel tones, creating worlds that feel less like cold, distant planets and more like half-remembered dreams.
It’s no wonder that Podwil’s name frequently surfaced during last year’s search for the artist behind the iconic A Wrinkle in Time cover art. While that particular piece wasn’t his work (it is Richard Bober!) the frequent attribution speaks volumes about Podwil’s reputation in the field. His sci-fi illustrations share that same sense of wonder and otherworldly beauty that many associate with classic young adult science fiction.
In Podwil’s hands, celestial bodies become precious gems suspended in the velvet backdrop of space. His galactic empresses and space vampires exude an otherworldly glamour, their alien nature conveyed through subtle, telling details rather than outlandish caricatures. Even his depictions of spaceships and stations possess a whimsical, almost organic quality, as if they’ve grown naturally from the stuff of stars rather than being wrought by future engineers.
Podwil’s approach to science fiction illustration offers a unique perspective in a genre often dominated by sleek, technological imagery. While his covers are rich with detail, they feel more like stumbling upon an ornate treasure chest than poring over a complicated NASA blueprint. Each element, from swirling nebulae to gleaming spacecraft, is rendered with exquisite care, inviting viewers to lose themselves in a galaxy of intricate particulars. This style captures the wonder of space exploration not through sterile precision, but through a sense of opulent mystery that beckons the imagination.
In an era when cover art often served as mere marketing, Podwil elevated it to an art form in its own right. His distinctive style, at once recognizable and ever-surprising, transforms each cover into a carefully composed overture. Layers of visual storytelling complement and expand upon the written word, enriching the reader’s journey from the moment they lay eyes on the book.
Jerome Podwil’s book covers visual feasts and not simply previews, but portals to worlds both familiar and fantastical. When I encounter a Podwil piece, I’m drawn into a narrative that begins long before the first page is turned.
To discover Podwil’s work is to unearth a hidden treasure trove of imagination. His dreamy, evocative style reminds us of the magic inherent in a single image. Whether beckoning us down a gothic mansion’s candlelit corridor or to a distant planet where crystalline spires rise under triple moons, Podwil’s art whispers of midnight revelations and stardust-streaked journeys. Each cover is an invitation to step through the looking glass, a promise of adventure that lingers long after the book is closed. In this artist’s capable hands, the humble book cover becomes a gateway to infinite possibilities, sparking our imagination and priming us for the wonders that await within the pages and beyond
If you enjoy posts like these or if you have ever enjoyed or been inspired by something I have written, and you would like to support this blog, consider buying the author a coffee?
I probably should have written this intro before I even began this series on cover artists. Actually, it just occurred to me today that I have written so frequently about book cover artists that I should make a series about it. In fact, now is probably a good time to confess that there is zero foresight or planning or scheduling at all when it comes to these blog posts. I get an idea–I write about it–I hit publish. I don’t have a content calendar or a backlog of posts waiting in the wings. I barely even edit these things!
So let me take a moment to apologize properly for my characteristic lack of foresight. But better late than never, right? Classic Sarah, chronically putting the dramatic reveal before the proper setup. Either way, here we are at last…
There’s a peculiar magic in the way a book cover can beckon to you from across a dusty shop or on a quiet library shelf; its ensorcelling visual siren song ensnares your imagination before you’ve even cracked the spine or read the first page. My obsession with cover art is a many-splendored thing, and as a connoisseur of the gloriously over-the-top, I’ve long been enthralled by these gateways to other worlds, particularly those depicting gothic romances, psychedelic fantasies, and golden age sci-fi. These genres, with their unapologetic embrace of the dramatic and fantastical, speak to the part of me that still believes in mythical monsters and mystical creatures and all manner of ghosts and goblins and ghoulies.
I’ve waxed poetic about many a cover artist in these digital pages: Victor Kalin with his brooding heroines and looming castles, Ted Coconis and his fever dream color palettes, Laurence Schwinger’s mastery of shadow and light. I’ve swooned over Hector Garrido’s penchant for placing impossibly coiffed damsels in the most dire of circumstances, marveled at Ed Emshwiller’s ability to make even the most outlandish alien worlds seem plausible, and lost myself in the transcendent visions of Leo and Diane Dillon. But today we turn our gaze to an artist whose gothic romance covers are a veritable feast for the eyes: the inimitable Vic Prezio.
Before we dive into the delicious depths of Prezio’s gothic oeuvre, I feel compelled to acknowledge the elephant in the room – or perhaps more accurately, the scantily clad pin-up and problematic stereotypes in the room. Yes, Prezio is perhaps best known for his ‘men’s magazine’ art. To which I say: yawn and yikes. Let’s just draw a veil over that particular aspect of his career and instead lose ourselves in the fog-shrouded moors and candlelit corridors of his gothic imaginings.
Vic Prezio’s gothic romance covers are a masterclass in atmospheric tension. His heroines, invariably clad in diaphanous nightgowns that seem to exist in a perpetual state of windswept drama, navigate landscapes that are equal parts allure and menace. Crumbling mansions loom against stormy skies, their windows glowing with an eldritch light that promises secrets best left undiscovered.
But it’s in his depiction of landscapes that Prezio truly shines. His seaside scenes rival the most evocative marine paintings, with jagged cliffs and turbulent waters that echo the emotional storms of his characters. The grounds of his manor houses are studies in cultivated wildness, where manicured lawns give way to tangled woods with shadows deep enough to hide a multitude of secrets.
Prezio’s shadowed midnight streets evoke comparisons to the nocturnes of Whistler or the gaslit avenues of Atkinson Grimshaw. While perhaps not rivaling these masters in technical execution, Prezio captures their spirit, transforming ordinary urban scenes into stages for extraordinary encounters. Gas lamps cast pools of sickly yellow light, barely holding the encroaching fog at bay. Cobblestones gleam with recent rain, reflecting the moon in fractured shards of silver.
[Edit: A commenter inquired as to the provenance of the above artwork, and I think…I may have saved it in my Vic Prezio folder by accident. I am but a human person and I do make mistakes! It’s possible the artist is actually Darrell Greene, but I am not entirely sure about that. My first inclination is to be embarrassed about flagrantly misattributing something, but I guess at least it was just in a blog post and not a published book, ha! At any rate, who has time for embarrassment when there’s a new artist to learn about?! And a big thanks to Steve for catching the error, seriously–thank you. ]
His color palette is a thing of moody beauty. He favors rich, deep hues – midnight blues that seem to swallow light, forest greens that whisper of ancient, untamed wilderness, and crimsons that could be passion or peril, depending on how the light hits them. These dark tones are often punctuated by a single, startling splash of brightness – the heroine’s golden hair, a shaft of moonlight piercing the gloom, or the sickly yellow glow of a ghost light leading unwary travelers astray.
There’s a delicious absurdity to many of Prezio’s compositions, a quality that I find utterly irresistible. On one cover, a ghostly woman outside a crumbling wooden house bathed in a crimson sunset looks as if she’s experiencing a head-scratching, logic-defying transporter malfunction – she appears to be morphing into a tree, her form blurring with the gnarled branches behind her.
Another cover features a negligee-clad woman transfixed by a zombified hand rising from a marsh. Despite the apparent danger, she’s at a comically safe distance, with ample time to turn and flee, yet she remains rooted to the spot in classic gothic heroine fashion.
In yet another, a woman sits at a bloody piano, looking coquettishly alarmed, as if she’s been interrupted mid-way through a flirty rendition of “Three Blind Mice.” Behind her, a menacing figure glowers from a mirror, creating a delightful juxtaposition of the mundane and the macabre. It’s as if Prezio delighted in pushing the boundaries of the genre, seeing just how far he could stretch credulity before it snapped like an overstretched piece of lacy elastic from a flimsy peignoir.
Yet, for all their melodramatic excess (or perhaps because of it?), there’s something undeniably compelling about these covers. They capture the essence of the gothic romance genre – that delicious frisson of fear and desire, the thrill of the unknown, the promise of passion lurking just beyond the veil of propriety.
In Prezio’s hands, these stock elements become something more than the sum of their parts. They become windows into worlds where every shadow holds a secret, and where what should be perceived as menace and danger becomes, to the right kind of connoisseur, a tantalizing promise. In Prezio’s gothic landscapes, threats don’t just lurk—they beckon, transforming the nightmare into a thrilling invitation to adventure.
At least for us, the readers, if not for the artfully terror-stricken lady on the cover.
So here’s to Vic Prezio, master of the gothic cover, weaver of visual tales that have likely caused many a reader to miss their bus stop, so engrossed were they in the promise of the pages within. May his heroines never run out of breath, may his manor houses never succumb to mundane building codes, and may we all find a little of that gothic magic in our everyday lives, with a luxurious abundance of billowing nightgowns.
Billow on, friends. Billow on.
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