Today at Unquiet Things, a gallery of art that has lately captured my imagination. I initially began sharing this “eyeball fodder” in my Instagram stories as a daily practice, a ritualof art therapy for myself, back in 2019 or so. From there, I gathered these collections into a weekly series that I shared on the haute macabre blog, though we all know it was never actually a weekly occurrence. And I thank you for never calling me out on that! I just couldn’t think of a better name for it.
Going forward, these galleries of visual phantasmagoria and fantastical ocular flotsam can be seen on my personal blog, and with the more fitting honest title. Whether for you art is a source of fascination and inspiration, or therapy and healing, or any combination of modes of self-expression and self-awareness, I hope you’ll be surprised and delighted anew each time you peek in on Intermittent Eyeball Fodder .
Sometime in 2020, I came to the realization that I wanted more color in my life. This could have been a pandemic-prompted compulsion, or maybe the middle-aged yearnings of an individual recalling some beloved jewel-toned fairy tale illustrations of their childhood, but whatever it was, I was feeling done with my #allblackeverything phase (although I reserve the right to step right back into it whenever the urge strikes me!)
I spied the lovely luminous work of jeweler Alexis Berger at just the right time, then! Don’t you love these cosmic winks from the universe? Beautifully crafted, translucent beads with finishes reminiscent of Art Nouveau and the Belle Epoch, Alexis’ work is utterly imbued with her unique creative vision and I am so thrilled that she has agreed to answer some of my nosy questions. See below wherein Alexis shares all about her love affair with hot glass and her “sparkly glowing fire-melty” life’s dreams of working with this most sumptuous material.
As someone with enthusiasm for the arts but with a marked lack of talent or skill in that area, I am always interested in how my favorite artists got started. When did you know that this was what you wanted to do with your life? How did you know what medium was the one you were interested in working in? Do you dabble in other mediums? Where did it all begin, and when did “your art” coalesce for you?
I came from a very artistic family, both sides of my family were involved in architecture, design, and craftsmanship. My father is an architect. My mother is a craftswoman and worked as a professional seamstress for quite a few years, now she enjoys restoring antique sewing machines.
My paternal grandfather was a painter, musician, and photographer and my grandmother was a professional dancer. My maternal grandfather was also an architect and my maternal grandmother was also a fantastic craftswoman.
I was introduced to drawing and handicraft from a very early age, and from the minute I figured out how to make my hands do what I wanted, I used arts and crafts as an escape, I had a hard time in school so I felt like I wanted to escape a lot. When I announced that I wanted to go to art-school and around age 6? it was met with the hearty joy of parents excited that their kid is going into the family business. I was aware, very early on, that if I wanted to be a SERIOUS artist I needed to learn to draw from life so I was very focused on keeping a sketchbook and drawing ALL the time, that was me being a serious art-school wannabe, but I always did crafts for fun on the side. I loved embroidery, basketry ceramics, and of course making jewelry out of everything I could get my hands on. It was also at this time that I started collecting beads, or rather more accurately, adding to the collection that my mom started and I stole from. But because that was so much “FUN” I didn’t take it seriously, also I didn’t think I could put it into a portfolio to get into a SERIOUS art school.
This is a story of how I mistook my calling as a hobby for years, always learning other skills but coming back to jewelry.
I eventually got into an art magnet high school (Ruth Asawa San Francisco School of The Arts) which was great for me. They are very rigorous about training you to get into a good art-college and you’re around other artsy-fartsy kids who you learn as much from as the teachers. They helped me put a portfolio together which got me into RISD (Rhode Island School of Design) and there I decided to major in Industrial Design (ID) which is designing everything you interact with that gets produced: toys, toothbrushes, cell phones… I still at this point thought, “I need to go get a JOB” and this would major would be good to teach me how to be a serious DESIGNER! Even though that’s not where I ended up, ID was a great thing to major in because it taught me how to think about things in 3D and how to use lots of different materials. I learned about metals and welding as well as woodworking and plastics.
Ironically I never learned how to use glass while I was at RISD, glass was in a whole different department and location on campus and was notoriously difficult to get access to, so I never touched it there. I actually learned about glass for the first time while I was teaching weaving at an arts-camp called Buck’s Rock. They had a world-class glass blowing facility there and that’s where I first saw glass beads being made. I didn’t know anything about how to work with hot-glass and I was transfixed. It was like falling in love, all I wanted to do was make BEADS! I used basically every scrap of time off I had that summer to practice making them at the facilities there and when that summer ended I was completely seduced, from that point on, I was melting glass every chance I got.
When I went back to school at RISD in the fall. I got into trouble for using the metal shop soldering torches for lampworking and over the next summer, I made sparkly sharp messes in my grandparents’ back yard as I melted broken Heineken bottles and Bombay sapphire gin bottles. (which makes excellent blue glass with red copper streaks if you’re interested). My family was very forgiving… but to be fair, I never burned anybody’s house down, just toasted my own fingers a fair amount.
Glass was all I could think about, I had sparkly glowing fire-melty dreams at night and all I wanted to do was Lampwork all day, but I still didn’t quite have the confidence that I could be a glass-artist. I was still on track to become an industrial designer, but I was quickly falling out of love with the slicker-than-snot-super-hyper-masculine look that the department seemed to be pushing and that so many products in the industry seemed to have. Think: tennis shoes, gillette razors, cars, and even air fresheners.
Everyone wanted to make products that looked fast and angry and maybe wanted to lay eggs in your brain. I also began to look at the kind of life I would have as an industrial designer if I started working at a company…
-I would start as computer-monkey fiddling in a 3D modeling program
-taking direction from a senior designer
-I would be in an office
-I wouldn’t be using my hands to make anything much
-and worst of all I wouldn’t get to be in charge of the designs I worked on…at least not until I had worked my way up to being a senior designer which could take years.
…and ultimately, I didn’t get the tight little shiver of pleasure from looking at a well-designed toothbrush that some of my fellow students seemed to.
But a beautiful pair of earrings? ohhhhh!
Finally, in my senior year, I got to have a chat with one of the teachers and I asked, “Do I have to go work for Bic Pens or Clorox or Hasbro when I graduate?…OR can I go into business for myself? Is that something I can even do?”
And she answered like she was letting me in on a secret. “YES” that one conversation was the permission I needed to begin scheming on how to eventually make jewelry full time.
An engraving depicting a woman blowing a glass bubble to form the basis of an artificial pearl. Dated 19th century.
For those who may not know (me, for one) what exactly is lampwork glass? (And is that the same thing as “flamework”? I think I have seen your work referred to as both?) And what are the rewards and challenges of working with lampwork glass?
That’s right, flamework and lampwork are interchangeable terms. The “lamp” in lampwork refers to the fact that the heat source for this type of craft used to be done on oil lamps that would be stoked with a bellows blowing fresh air across the flame to heat it up enough to melt glass.
The process is melting rods of different colored glass in a torch (much like a bunsen burner) and manipulating the molten glass with different tools and techniques to create different shapes. Layering different colors will give you lots of different patterns and effects but you’d be amazed what you can do with just using gravity and an old ex-ato knife.
The rewards of working with glass are numerous but at the top of the list I’d say it’s immediacy. It takes years to make things perfectly (one of glass’ drawbacks is that it’s HARD and takes lots of practice) but when you sit down to work, you sculpt the piece all in one sitting, and it’s essentially finished. It will need to cool in the kiln but when it comes out it’s all shiny and bright and if you’re lucky, it’s just how you imagined it. If you’re casting something there are so many steps involved in producing and finishing your work. But lampworked glass is created in its final material and form and all the colors and shapes are right there for you to dig into.
While lampworking, it’s very easy to be seduced into covering everything you produce with detail rather than letting the material speak for itself, it’s a balance between showing off virtuoso technique and actually allowing the natural beauty of the glass to shine. There is a temptation to show skill rather than beauty. Metal and gem jewelry is all about using the color and optical qualities of the stone with the metals acting as structure and a “canvas” for the gems. I try to use that sensibility with my work, contrasting optic and reflective components with structural supporting ones. Glass is such an inherently beautiful material that working with it becomes a game to allow somebody to see that beauty in all its aspects without being distracted by too much sensory input all at once. I think this objective is true for many craftspeople who are working with sumptuous materials.
You’ve mentioned that glass as a material, allows you to “paint with light and color in three dimensions, which is critical to making the natural motifs that inspire my art”. Can you share a bit about those natural motifs and why they speak to you?
Nature is the best teacher when it comes to making a design that works, for lots of my work I try to make something that looks like it could have been plucked off a tree or picked up on the beach. Or imitates human anatomy, there is something so thrilling about capturing lifelike qualities in art.
Other than hot glass, what are your favorite materials to work with and why?
As I mentioned before I LOVE fiber-arts and I still incorporate a bit of that into some of my jewelry, I make crochet silk necklaces for many of my pendants. I especially love crochet and embroidery. I’ve been enjoying crocheting lace on my clothes during the pandemic. It’s so soothing and repetitive, you can let yourself go into a trance while binge-watching Star Trek.
You seem to have a thing for EYES! As I mentioned to you in a previous conversation, I shared on my Tumblr page (haha, yes, I still use Tumblr!) a photograph that you had posted to your Instagram of your weeping eye brooches, and that Tumblr post is now at 14K likes/reblogs and growing– obviously, this is a symbol that speaks to other folks as well! Whether it’s the symbolic tears of the mourning eye or an apotropaic talisman to ward off evil, the eye is a powerful and enduring emblem. I’d love to hear about its personal meaning for you.
Yes! Thanks, I’ve been thinking about that for a while, it’s really striking to me how many people are feeling a connection to weeping eyes right now. I think about the last time jewelry with a weeping eye motif was really popular and that was around the Georgian and Victorian era, death and mourning were so present in people’s daily lives and that’s where we are again. We as a society are going through a huge mass-death event and are feeling the appalling consequences of living under a government that couldn’t be bothered to help us. There is so much loss to feel and process, as well as joy and relief as hope sprouts back up to meet us. All of this emotion makes crying eyes feel like the right motif for the moment. I know it did for me.
Part of the job of art is to help us process our feelings and express ourselves, and wearing jewelry is a very potent act of self-expression. Wearing a weeping eye is unmistakable in its message, there is pain here, there is beauty here, and I’m here to feel it.
What does a typical day in your studio look like?
What a fun question!
I get to my studio at the crack of noon most days (I’m not an early bird) and the first order of business is to go open the kiln from the day before. It’s like Christmas every time, I pull out the treasures and turn the kiln on to heat up,(it goes to about 1000 degrees) while this is happening I go make myself a HUGE pot of tea which I will chug continuously throughout the day, I usually spend a few minutes photographing the stuff I made the day before (while the light is still good) then it’s time to light the torch and melt that glass!
I believe I read that you also have a love for music? And cooking! Tell me more! Who are some of your favorite musicians right now? Do you have an all-time favorite album? What is a meal that you’ve cooked lately that you were particularly excited about? Or a favorite go-to comfort meal? If you can’t tell, music and food are two subjects very dear to my heart 🙂
I take after my Grandmother in that I love dancing, before the pandemic I loved ballroom and partner dancing of all kinds, I miss the music I would listen to then, blues, and zydeco music would be what I would hear live most often. But music to listen to while I work is a totally different game. Right now I’d recommend the album Deluge by Anura, it came out recently and it absolutely put my head in the right space to make good stuff. You can get it on Bandcamp from the label “Already Dead Tapes” Highly recommended. It’s a perfect relaxing but invigorating get-work-done album.
As for FOOD! Well, I am a lucky girl indeed because although I’m an OK cook I married a Genius Chef. My husband is an amazing cook who is always inventing and teaching himself how to make new things, he has made sourdough from scratch, pickles, pizza oh boy! But I think the thing he made that’s my favorite as well as being really creative was he made spiced fried chicken with a “breading” made from almond-flour and sesame seeds which just about knocked my socks off.
This is all to say, do I have a passion for cooking? Yes! It just happens to be my husband’s cooking.
Is there a particular bead and/or jewelry artist you admire or who you consider a role model? And/or if you were to draw attention to a favorite designer or artist, who would it be and why?
I am constantly amazed and inspired by my dear friend Anandamyi Arnold who makes incredible floral/fruit sculptures and surprise balls out of crepe paper, they are often so life-like that they are confused about the real thing if you’re interested, I’d check out her Instagram page under the handle @lynxandtelescope
She was definitely a role model for me as she has been making sculptures full-time professionally for years and was a fantastic example to me of how to “make it” and set up your life to work as a full-time artist in the Bay Area.
Is there anything else that you might like Unquiet Things readers to know about your work?
I’d say that I would want people to know that I’m so grateful I get to do what I love for a living and part of why that’s possible is people like you who have made it their passion to curate and proselytize about things that move you and others around you.
So thank you, and thank you to all the people who have read this, I hope you got something out of it. Perhaps you feel inspired to pick up that craft project you’ve been thinking about doing, that would make me very happy to think somebody might go make something because they read this. 😀
Alchemist’s Laboratory, Gian Domenico Valentino, 17th century, oil on canvas.
Some distressing news: The Art of the Occulthas been somewhat hard to find since about mid-December, when a shipment of books was lost at sea. Ok, maybe that’s not totally accurate, but it sounds more romantic and mysterious than “storm-damaged.” I just received word from my publisher that there won’t be more copies available until 3/29 at the earliest. Until then, please enjoy my favorite page of the book.
“Giovanni Domenico Valentino (1630–1708) was an Italian painter of the late-Baroque period who specialized in a mix of genre and still life painting. In this particular alchemical scene, we are so focused on the jumble of shining copper laboratory instruments and implements, that it would be easy to miss the alchemists busy at work in the background. At the forefront, a cat perches atop an indistinct object, both alert and idle, as only cats can be. ‘Fuck this thing in particular,’ it seems to say, regarding the toppled container at its feet.”
Hungry for more peeps inside The Art of the Occult? Perhaps these links will tide you over, or else whet your appetite!
And finally, a look at the art of Rosaleen Norton, who, sadly, is one of the artists not featured in The Art of the Occult. There are many reasons that a piece of art that you might expect to see in a publication celebrating occult works of art was not included, and for the most part, I can assure you, it’s not because they were overlooked.
There are so many steps involved with a book like this that you might not have thought about! I never did, until I had to do it myself. Gathering ideas of the art, getting the publisher to agree with the art you’ve chosen, tracking down and finding, and then introductions and communication with the artists (or galleries, or estates,) securing permissions for the work, and jumping through all of the hoops that entails, and finally, obtaining viable images that are actually appropriate for a print medium. Something could break down at any point in that checklist! And frequently did. There’s a lot of things that authors have no control over–especially first-time authors, such as myself.
So before you complain that your favorite artist was forgotten, please know that it’s entirely possible that they were not–either the author presented the artist and the publisher was like, “nah,” or they tried to get ahold of the artist and the artist never responded, or if they did respond, they may have declined, or if they worked with a very amenable artist who was happy to be included, but oops, a file was corrupted, and they don’t actually even have that piece of work anymore! Before you complain about a book cover, please know that the artist may not have had anything to do with it, the cover might have been chosen and set in stone before the author was even brought on board! Before you knock off a couple of stars on your review because the book was “too short”, please remember that authors have word count parameters that they have to work within.
Ok, with that tirade, I think I hit on all the dumb things people tweeted @ me on Twitter or the reviews on Amazon that irked me. Not that there is/was not a lot of that sort of thing! But you know how it is. Even one or two instances of people being shitty and snarky, it stings!
Next up in this very informal series of interviews with the contemporary artists whose work I was generously allowed to include in The Art of the Occult is Gina Litherland.
Active in the visual arts since the mid-1970s, exploring photography, performance, drawing, and painting, Gina Litherland studied at the School of the Art Institute of Chicago, and her paintings, drawings, and articles have been published worldwide in journals and periodicals. Her essay on the connections between creative activity and the natural world, “Imagination & Wilderness,” appears in Surrealist Women: An International Anthology (University of Texas Press).
Enthralled with folktales, myths, and literature since childhood, these themes have served as an important source of inspiration in her work. Children’s games, old theater forms such as puppetry and opera, traditional British folk ballads, divination, superstitions, the human/animal boundary, and the natural world wherein the mundane commingles with the magical to coalesce into the richly detailed visions, fables, and dreams on her canvas.
I am so pleased to share with you my recent interview with this generous-hearted, delightful artist, wherein we chat about tea and divination, fairytales and curious women, and the endless and fantastical inspiration to be found in nature
Tea Leaf Reading
In “Tea Leaf Reading”, the painting that you kindly allowed inclusion of in The Art of the Occult, we are treated to the divinatory dramatics of a session of tasseomancy wherein two figures contemplate the portents in a teacup, while various animals look on in interest, or flit overhead, perhaps in alarm! Can you tell us about your own interest in/history with/or practice of various divinatory techniques and rituals? And while we’re spilling the tea, what’s your favorite brew to have on hand–either while working on your art, or just relaxing with a cuppa?
My interest in divination started when I was in high school and bought my first tarot deck. I went to our local bookstore in Gary, a tiny place called “The Book Nook” and bought the Swiss Tarot, the only one they carried. If you’re familiar with that deck it’s an old design and many of the images have a dark, foreboding quality. I really like it, but the Devil card in that deck is absolutely terrifying. I dabbled with it a bit, got a little spooked by it, and put it aside. I hadn’t really studied the Tarot, I was just fooling around with it.
Some years later I picked up my first I Ching, which interested me greatly and I’ve used that consistently over the years. I also began studying the Tarot more deeply and occasionally did readings for other people. The images intrigued me. I was also very interested in astrology and studied that, and did charts for people. I got a reading around that time from an astrologer who told me that art would be the central focus of my life and that it was imperative that I use my creativity. I already sort of knew this, but at the time it was a great encouragement to me. She also said that my painting would take the place of the tarot for me. That was interesting, because I never fully connected with the imagery of any of the tarot decks that I found. I eventually came to the conclusion that I would have to create my own. I started one about 5 years ago and I’m hoping to finish it in another 5 years or so. I want to do all 78 cards so the Major Arcana and Minor Arcana are illustrated and that’s a lot of work! Beyond that I think all sorts of divination methods are interesting, like palmistry, bird augury, tea leaf reading, etc.
My favorite tea? I drink tea all day and I love black tea, green tea, mint tea, and there’s also a tangerine/orange tea with rose hips that I drink every day. I have lemon balm growing completely out of control in back of the house, and I can pick it fresh in the summer and blend it with mint. It’s wonderful, especially when it’s fresh like that. Lemon balm is excellent for lifting the spirits, too, and Nicholas Culpepper wrote that it made the mind “happy and bright!”
A Friendly Game
I’ve seen mention of a handful of your favorite artists–Leonora Carrington, Remedios Varo, Hilma af Klint, and Vali Myers, to name a few. Can you tell me what it is about these artist’s work or vision that speaks to you so profoundly? Is there a common thread that you find particularly compelling?
Leonora Carrington’s work has an airy luminosity to it, and references to Celtic mythology and magic which fascinate me. Remedios Varo’s work is also magical and hermetic. Both of these artists obviously studied early Renaissance painting, something I’m also inspired by, and used it in a very personal way. Vali’s work feels very Intimate, like looking in someone’s diary. Hilma af Klint’s work has an elegant, glowing balance. What they all share is working from their inner vision and being wholly committed to it. That is always the kind of work that interests me.
Little Red CapBeautiful Wolf Lady
You speak of how in every myth and folktale, there is a pivotal scene in which an encounter occurs, pushing the hero/heroine into an unknown world in which they have to learn to navigate. What are some of your most beloved fairy tales, mythic stories, poems, or parables, in which such a shift occurs? Can you speak to how you may have interpreted that scene or characters through the strokes of your paintbrush?
One of my favorites is Little Red Riding Hood. It’s so basic and perfect and the image of the little girl facing the wolf is an iconographic image that’s understood universally. It’s also what I call one of the “anti-curiosity stories”, the warning being “don’t stray from the path”. Like Bluebeard’s bride being warned not to open that one door, or Pandora being told not to open the box, it’s the old warning to women not to be curious. They are all basic rehashings of Eve in the garden speaking to the serpent and eating the fruit of the Tree of Knowledge. I find it all fascinating. The encounter leads to a revelation of some sort, maybe terrible, maybe wonderful. Red Riding Hood and Beauty and the Beast are also two of my favorite fairy tales because they involve a human female encountering an animal.
A recurring theme in my work is penetrating the wall that separates humans from other animals. Part of what the myth of the Garden of Eden is about to me is that our fall occurred when we recognized that we were different from animals, we felt the shame of being naked. That’s when we lost paradise and why we have this longing to repair the rift between humanity and nature, but we struggle against it, too. We want to be superior and we’re not.
When I depict these scenes I’m showing them through a lens of female experience. A woman or girl is having this moment of discovery that will lead her to some new understanding. This discovery is sensory, imaginative, and psychic. It is not interested in control but in learning from the encounter.
The Unknown Room
…And as we often see ourselves in the stories we are most drawn to, I am curious as to how much of yourself do you see emerging forth on the canvas as you share these stories through your personal lens and the medium of your art?
From the time I started reading these stories when I was little, I related them to my own experience completely. I loved the thought of Little Red Riding Hood bravely straying from that path in the woods, in the way that I loved to explore the wooded areas near the house I grew up in. It felt mysterious and dangerous. And now, when I’m painting these scenes the situations still feel fresh to me, that feeling of awe and discovery that I feel when I’m walking through the woods or when I’m painting.
I did a painting called The Unknown Room that shows a woman about to open a door with a key. I had a dream that I was at the door of my old house from my childhood. The door in the dream looked just like the one in the painting, like a weathered, medieval door with a wonderful texture. When I opened it, I entered a beautiful room of glass filled with glittering bottles. That moment at the door, when I was deciding to go in, reminded me of the Bluebeard story. When Bluebeard warns his wife not to open that door, and then she does as soon as he leaves, that moment at the door is the most suspenseful in all of literature! She opens it and sees all of the murdered wives that came before her, the most ghastly sight. The discovery, as horrid as it was, saved her life. The discovery can be wonderful or horrific. Often these encounter stories have multiple levels of meaning for me, the original meaning layered with my own experience. The fact that they take a long time for me to paint, usually a few months, gives me lots of time to think about the meaning.
Crazy Jane
I see the term “Midwest surrealism” used in many descriptions of your work; though I suppose I could conjure for myself some imagery of what that might mean, I’d love to hear your thoughts on it for folks who may not be familiar.
There was a group of wonderful artists working in Wisconsin and Chicago, starting in the 1940s, who were strongly influenced by the European Surrealists. Some of them were Gertrude Abercrombie, Sylvia Fein, Marshall Glasier, Dudley Huppler, Karl Priebe, Julia Thecla, and John Wilde. If you looked at their work and compared it to the European Surrealists, there’s nothing particularly Midwestern about it. It’s a category created by art historians and critics because they like to label things. If you are an artist and stay in the Midwest, the tag of regionalism always follows you around. I personally love the Midwest and feel fiercely loyal to my Midwestern roots, so it’s fine with me.
early work from the artist
Ok, so I don’t want to embarrass you, but on Facebook you shared a drawing you had created when you were four years old and it was so much fun to see that colorful little relic from your formative years! Obviously a great deal has changed and evolved over time since that artistic offering from toddler-you… but maybe not everything…! To my eye, you seem to work in a very similar color palette today! Those deep, rich, beautifully earthy shades can still be seen to great effect in your current work (I actually see so many of them in Tea Leaf Reading!) Can you speak to the use of color in your work?
That’s funny, because I recently found that early drawing that I did and one of the reasons I posted it was that I did really think that it was unmistakably my work. I think your observation about the colors is great. What I noticed was that I made sure each hand had five fingers, the clothes were kind of detailed and fancy, and I still love that sort of detail. One of the things I love about drawing and painting is that the personal stamp is so unavoidable. That brain-to-hand communication, the kind of line a person uses, for example, are as unique and personal as a fingerprint or a signature. I love the pure tactility of painting. And yes, I do gravitate toward earth colors and jewel tones. I also like to layer color, which oil paint does so beautifully, and use glazes so one color shows through another.
Life on the Moon
You sometimes use a “decalcomania” technique by stamping various colors onto the panel and letting the textural forms suggest images, through which a narrative forms. You have noted that this can be a very satisfying way to work, and often the most revelatory– with a world emerging out of nowhere. In this time of isolation and COVID, we haven’t been seeing much of the world at all over the course of the past year. I’d love to live vicariously through the worlds you are creating! Can you tell us please about the worlds you’ve been most excited to have seen revealed to you on your canvas of late?
When the pandemic first hit, honestly, I was stunned. I spent a lot of time staring out the window and watching the birds at the feeders. I kept a notebook and mostly drew funny cartoons of myself having no energy and watching the busy, industrious little birds and squirrels outside. Then I started thinking about one of my favorite writers, Shirley Jackson, and her book, We Have Always Lived in the Castle. It’s been one of my favorite books for a long time. One day, my husband, Hal, said to me, “I would have chosen different library books if I knew this was going to happen.” It reminded me of an almost identical line at the beginning of Castle that comes from Merricat about their own library books, chosen right before she and her sister, Constance, completely sequester themselves from the world. I decided this would be a good time to pay tribute to that novel.
So I did my Portrait of Mary Katherine Blackwood, for Shirley Jackson. Merricat stands in the middle of a wooded area with her cat, Jonas, neatly folded into her arms safely tucked into her own feral, magical world. Around this time I also did a cooking painting, with two women making a big harvest stew with a variety of animals assisting them in the kitchen. I’ve become obsessed with cooking during the pandemic, and enjoy figuring out what to cook next. Now I’m working on a painting of harpies and another one of a woman standing in an incandescent garden at night. These two paintings were just begun very recently and I think they both radiate a kind of eerie light in the darkness. Now that we’re coming into 2021, I’m trying to be hopeful in the midst of all of the chaos of the world.
Do you have a particular process you use when entering into your work? What gets you in the mood to create? Any rituals or practices?
I always start my day by feeding the birds and squirrels. After breakfast, I have a cup of coffee or tea, then I light some incense, and put some music on before I begin. I do this without fail every morning.
A Most Celebrated RaccoonIn Bloom
You have an essay in the collection Surrealist Women, titled “Imagination and Wilderness” stating that “The imagination is a wilderness — liberating, ecstatic, waiting to grow and fly and howl.” I’m still trying to track down a copy of the book because it sounds absolutely marvelous! And my own imagination is set wonderfully alight/aflight by your words in this vein as I consider this impact of the natural world on the human psyche and creativity. Can you tell us a bit more about that statement and perhaps also about the influence of the natural world upon your own work?
One of the ideas that I was trying to get across in that essay is that our psyches need wild spaces and wild life in very deep complex ways. Nature is endlessly creative and fantastic. It’s an imaginative entity in itself, and everybody needs it, not just the animals that live in these spaces. Nothing stimulates the imagination like sitting in nature, looking at the way a bird’s nest is made, or the intricate symmetry of flowers.
I was also thinking about the similarity between taking a walk in the woods, looking at the forest floor, noticing little things like plant debris, lichen, small animals hiding here and there; the similarity between that and painting, dabbing paint on a panel and seeing forms, having textures suggest other forms, the associations that come into the mind if you can be receptive to these suggestions. Nature is constantly creating and extinguishing life forms in the same way that unconscious thoughts rise and vanish in our minds. Being receptive to passing unconscious thoughts are what the surrealists meant by pure psychic automatism.
Civilization has treated nature like a commodity, and by doing this, we’re not only creating a very unhealthy environment, we’re killing off a part of our minds and turning ourselves into automatons. Human beings are much too arrogant and lacking in respect for wilderness. If you turn to wilderness with an attitude of receptivity and respect, if always gives something precious back to you. I love the myth of the Norns, the three women who took care of the tree, Yggdrasil, from the Poetic Edda. Yggdrasil was the tree of the world, the center of the universe, and the Norns were three wise women that nurtured the tree, watered it, and tended it. I find that incredibly beautiful, the idea that just tending to a tree and nurturing it can have an effect on the universe. I think it’s true.
Have you ever realized that you “knew” someone before you, well, actually knew them? Such was the case for me with artist Carrie Ann Baade, whose work “Artemis” (above) I was wonderfully privileged to include in the “Higher Beings” chapter of The Art of the Occult...and I own a stunning, real-life print of the same work perching, propped up against a bookcase, while we find the perfect space for it on our walls.
Though I was vaguely familiar with the artist’s work from seeing it over the years, perhaps posted on Tumblr or Pinterest–perhaps I’d even posted it on Tumblr or Pinterest!–and I became intimately familiar with it while doing research for the book…I only realized much, much later and after becoming friendly with Carrie Ann Baade herself…that I’d actually shared her work in the form of a portrait of Pam Grossman on my own blog here at Unquiet Things! Somehow I hadn’t connected the art with the artist, which makes me feel profoundly silly, and yet it was a sort of wonderfully electrifying jolt from the universe when I finally put two and two together. Listen, no one ever accused me of being the smartest in the room, okay?
Carrie Ann Baade is a contemporary painter whose work quotes from, interacts with, and deeply relates to art history. Linking the power of historical masterworks with her own experience as a contemporary artist, she is a reverent scavenger salvaging lost aesthetics in an attempt to reconcile the irreconcilable and piece together the sublime.
See below for our interview wherein we chat about the origins of her Dr. Frankensteinian technique, the mythic energies that she is compelled to “hyper-incarnate”, and how we can heal and grow and create profoundly intimate relationships with ourselves through art.
…and can I just say how deeply thankful that I am to the artists over the years who have taken the time to answer my questions and share their insights with me? In reading this interview over again, I was moved to tears and I am so grateful for all of the creators who have spared a moment or two to discuss their works and practices with me.
…aaaaand speaking of artists sharing their works with me, the artwork featured immediately below, “Dominions”, is a brand new piece from Carrie Ann Baade, an astonishing vision that Unquiet Things readers can get a first, ecstatic glimpse at.
Unquiet Things: I love the densely layered aspect of your work, how it contains this surreal stratum of personal biography and allegory and history. Moreover, you’ve stated in the past that you think of yourself as a kind of “Dr. Frankenstein attempting to piece together the sublime.” What a fabulous notion of these interconnected many-layered puzzles pieces of myth and meaning! I’d be very interested to hear about not just the process itself, but where along the way of your artistic journey did this technique coalesce into an artform that felt somehow, uniquely “you.”
Carrie Ann Baade: In graduate school, I had one of those breakdowns that were indistinguishable from the breakthrough. I got out my scissors, cut up my artbooks and made collages of the paintings. However, figuring out what to do from there was a process. It required lots of trial and error to make this work. Anytime we do something new, it takes time to process what we are doing. Maybe I am still in the process of comprehending what cutting up and making new things means or does. It’s synergistic, it’s mad scientist, it’s conjuring; it’s also a bit like a tarot reading. But also, art is about seeking and making inquiries. If I truly solved or understood anything completely about what I was doing, I would likely quit doing it. The chase is towards mystery and this process allows it.
By allowing chance into my process, it allows the pieces to talk back to me and say things through a message detectable amid the potent symbols. I stoke my container of cut ups images like a fire. What it yields is often untranscendent and then after more play, it will yield a composition for a painting when I need ten. It’s a mystical process for me. With the world of symbols comes meaning and storytelling. The images wish to speak. As much as I want to speak through them, very often they are speaking through me.
I am intuitive and I find the safest place to exercise my gifts is through art. Art can take it. Why? Because although intuition can be irrational in day-to-day life, it is highly functional in art. I do find this process works best when I have a question…like “what happened to female genius” and the answer the images returns shocked me to my core. It’s a radical submission into a process of dialog with the world of symbols that results in my painting.
“Seraphim”
I believe I read that you were raised in Colorado, you studied in Chicago (and Italy) and now you live in Florida. Many varied locales and landscapes! I am wondering what role, if any, does environment play in your artistic endeavors? I ask this as a Floridian myself–in our sultry, sweltering semi-tropical climate, for 9 months out of the year I don’t even want to move, let alone create anything!
Strangely, I have found where I am informs what I am making. I have painted in Florence, Valencia, Poland, and London… as well as, Florida. I think different places have different energies. Different houses do. The location seeps in. And then the paintings themselves are pretty demanding… I once had painting insist on being put outside in the moonlight for it to absorb. I had another painting that wanted to be left alone to cook in the 100-degree sun. I listen to the work and it tells me all kinds of things.
“Hellmouth”
As a professor, you have read a fair amount and taught art history, so no doubt you have considerable knowledge of mythology, religious symbolism, stories of creation–I’m curious about some of your favorite stories to tell. Or if not “favorite”, perhaps most compelling, or urgent. The myths and narratives that for whatever reason, you return to again, and again?
I am an advocate for serpents; they are present in all creation myths in the form of snakes or dragons. I am curious about these perhaps being conscious wavelengths? Serpents move through symbolic representations of the goddess, genius, Medusa. Perhaps they represent the presence of the archetypes themselves. What is a snake but a wavelength with eyes? All of these have been and continue to be significant for me over the past 25 plus years.
When I align myself with a myth like Medusa, there is usually an act of embodiment, I become an alter ego. This energy through embodiment or hyper-incarnating, as I like to call it, results in a painted image. It allows me a small glimpse into being more or different than I am. The Medusa myth has also allowed me to work through rape, victim shaming, anger, and processing feelings of being abject or monstrous. It’s a way to learn and potentially process experience. Once I work with a myth or narrative for a while, I will shed it and move on, to work to develop another aspect of myself in a new form. Perhaps this is no more than an actor taking on a new role but that too is a way to unlock and explore our human potential and get some breathing room in our identity. I was reading a book on transpersonal psychology last year and the author described research as “soul work”. I like that. I hope that is what I am doing.
“Angel at the End of Time”
Again, referencing that Dr. Frankenstein quote about “piecing together the sublime”, how do you experience the connection between spirituality and creativity?
When I am a making, it starts by doing time. This is sometimes going through the motions. Yet, when the flow state hits, this is what I call going from “fraud to gawd.” Every night I die and every night I am reborn through the creative act and working in the studio. When I start, I am lower than dirt and this never seems to get any easier. After a period of struggle, I am let inside the greater mystery of connection as I make. A feeling that one could assign to ego, or as I believe, that there is a oneness that permits exquisite technical and conceptual acts. For me, I humbly assign the better work to a greater genius or insert your definition of god. I am a decent painter but when I am truly connected it’s more like something moves through me. Whatever it is, it is a natural high that is very addictive. I struggle to get back there and then the process is worthwhile… but man, I would not wish the low on anyone. Who wants to be separate from that sense of creative flow?
“Caritas”
As an artist with many years of personal practice and experience, as a teacher who guides and encourages your students, what is a piece of advice you might give to someone, a friend perhaps, who has experienced a life-long artistic itch, a powerful inclination…maybe they feel deeply, they have big ideas…but they don’t know how “to art.” They don’t even know where to start! And I don’t even mean making a living with their art. Just starting something for the fun of it! I just mean…what do you do if you feel like you’ve got art in your blood but you’re afraid to bleed?
By all means! You don’t want to die with the music still in you! Let it out! I think we all need to art in all its multifarious forms. This is how we heal, how we express ourselves, how we learn about ourselves, and how we grow. Set aside designated space in which to make! Give yourself the gift of time! Be detached from the results. No one prepares us for how much self-confidence to do what we love. Give yourself permission!
One should always be learning something new. This is the process of being a life-long learner. Embrace the cultivation of new interests and experiences! A healthy mind is curious and interested.
I am writing a book now and I never wanted to be an author, but somehow I got book pregnant. I have a book bun in the oven. A book requires a dedicated focus but it’s made of micro acts… not on focusing on the whole big final project but on bite sized recollections: by making myself write three pages a day. This and giving myself permission not to be worried about the outcome are letting this happen. Publishing is not the goal at this time …this act is just for me. I need to write about my life and my work in a dedicated and cohesive way. I don’t want to ask permission or care who is alive that it might impact, I just need to let it flow. It’s the most dangerous and wonderful thing I have done in our newfound captivity. I nearly made myself vomit from confessions and realization; I had no idea how visceral this experience would be.
No therapist I could pay could do what I am doing for myself. It’s a gift of time. It’s a reflection on my life that will hopefully yield the fruit of self-understanding. I find this a scary, yet magical experience. I am most turned on to create by author Helene Cixous, who says:
Woman must write herself: must write about women and bring women to writing, from which they have been driven away as violently as from their bodies – for the same reasons, by the same law, with the same fatal goal. Woman must put herself into the text – as into the world and into history – by her own movement.
In short, we all need to create deeper more intimate relationships with ourselves to be alive and art is a way to do that. I encourage you to move into that feeling of comfortability… learning happens when we get outside of our comfort zone.
“Of Ergo and Ashes”
Do you have a particular process you use when entering into your work? What gets you in the mood to create? Any rituals or practices?
It’s not easy to go into the studio every day. But because a studio practice must happen every day to be a professional artist, it’s kinder to flow and not to force this act. It’s best to try to seduce myself.
For this reason, I am a total romantic in the studio. I need to be focused by candles… I ritualistically put on perfume to transport me. I generally only paint at night. Knowing the world being asleep makes me feel like I am alone and undistracted from my work. I desire to in my own world with my paintings. It’s a lovemaking.
“Bride”
In our chats, you mentioned a ladies’ tea that you used to participate in. Why do you think that sense of community for artists/creators is so important? Given the isolated nature of 2020, what, if anything, are you doing to conjure community for yourself right now?
The tea I refer is the Salon de Femme or as I refer to it “the Ladies Surreal Tea Party.” This a group of artists that I founded with Tina Imel in 2007. The founding members include: Lori Field, Pam Grossman, and Madeline Von Foerster. We met annually in New York City until 2014 and then I had a couple with dear friends in Paris. The event was simple, bring a female artist friend to tea and we all hung out and talked shop. Once we invited boys which was fine, but really it was about girl power support and love in the artworld. This resulted in events at Cynthia Von Buhler’s, a private tour of a gallery, an exhibit in Brooklyn, a couple of national curation projects, lots of networking, and lifelong friendships. The motivation was that while we had met online, we wanted to meet in person. Some of our guests included Julie Heffernan and Allison Sommers. I think I was always inviting lesser known artists that I thought could use help. What this did do, is it gave me a mission to meet living artists in person. Studio visit reveal so much and they help inform me as a teacher.
After a long dormancy, I will be hosting a tea again before the holidays. Our inaugural zoom tea will allow us to be all over the world, with some of us living in Europe and the U.S. We need our sisters now more than ever. We need connection, understanding, and support. Art is not just paint and ideas, it is community and belonging. We are constructing culture.
That I have any friends at all is something that constantly surprises me, and sometimes when I think I’ve missed an opportunity at friendship, that deeply saddens me.
I met G.A. Alexanderbriefly on a side-trip to Seattle, a branching-off from a trip to Portland, that I took a few years ago, in order to spend some time with friends. G.A. Alexander was the partner of one of these friends (a human whom you are all very familiar with, poet and writer Sonya Vatomsky, whom I have interviewed previously!) and I maybe said two words to him at the time. I met him again on a trip back to Seattle and was deeply privileged see him and Sonya get married…and again maybe only spoke a handful of words to him. I am very shy and I did my best!
As I know we share similar enthusiams–a love for the horror genre, and what I broadly think of as “goth musics”– I have kinda low-key, stalkery been following his projects with great interest over the last four years or so. As a musician and writer, G.A. Alexander has played in the bands Golden Gardens, The Vera Violets and Push Button Press, and is the writer of Kickstarter comics success Keepsakes, along with short stories published by Eerie River Publishing and Nocturnal Sirens Publishing. His new project, OBSO/LETE, is over on Kickstarter right now, and I am very much looking forward to these dystopian tales of terror.
In the meantime, I thought it might be fun to ask him a few questions about this forthcoming effort, and his inspirations/enduring influences, as well as wrangling some recommendations from him to share with all of you!
See below for our chat on all things horror from the grimy and lo-fi, the the elevated and possibly “too beautiful” and be sure to check out OBSO/LETE on Kickstarter!
Unquiet Things: I’ve written previously about how much I thoroughly enjoyed your first comic, Keepsakes. It had that sort of retro-anthology vibe, with stylized imagery recounting horrific yarns, that took me back to the feeling of reading copies of Eerie and Creepy magazine when I was way too young to understand them. And maybe, too, my more recent memory of watching Tales From The Crypt and wishing I had seen it when I was younger! Your new project, OBSO/LETE, which I understand to be cyberpunk body horror set in a collapsing future, sees a very different direction and vision! Can you tell us what OBSO/LETE is about? What should readers know prior to diving in?
G.A. Alexander: Thanks for noticing that about Keepsakes! A lot of people brought up the Tales from the Crypt similarities, but I was also a fan of things like Creepy, Eerie, House of Mystery and other horror books that were either active or were enjoying a period of extensive reprinting when I was a kid.
OBSO/LETE is definitely a different beast altogether from Keepsakes. The book is set in an alternate future where technology (especially anything using networking) was severely restricted for the average person by the American government from the 1990s-onward. In the meantime, however, development for things such as medical research and the military have experienced no hindrance at all. Due to the stunted development of technology and the way society developed, the power grids in the large MegaCities that have sprung up have become overburdened to the point of near-collapse, and so different districts have started experiencing rolling blackouts which have come to be known by the population as “Cold Spots”.
The first issue of the book tells the story of Sandra and Juliette, two bartenders working in District 4, an extremely blue-collar part of a large, un-named MegaCity. As their neighborhood is hit by Cold Spot after Cold Spot, they begin to notice that things may not quite be what they seem: the constant power fluctuations in the city seem to have ignited something buried deep below the city. Things that appear to be neither completely human, nor machine are now lurking in the shadows of the city, waiting for their opportunity to strike.
Could you share where the idea for OBSO/LETE came from, and what inspired you to tell this type of story? And what ‘type’ of story would you say this is?
OBSO/LETE’s main influences came from a few different sources: I noticed a lot of modern cyberpunk media had adopted a sort of “neon palm tree” sort of aesthetic, which eventually became a bit too ubiquitous to be fun for me, and so I really wanted to make something that could be considered “Cyberpunk” under its original idea of “high tech, low life”, but could be dirtier, nastier and grimier. Aside from that, a lot of the inspiration came from the movies Tetsuo The Iron Man and Hardware, the comic books Akira and BLAME! and the box art and aesthetic of 90’s FMV computer games like Under a Killing Moon and Phantasmagoria 2 along with 90’s cable television shows like The Hunger, Max Headroom and Highlander.
The story’s genesis came from mis-remembering a scene from Hellraiser III. After re-watching it and quickly realizing my memory had distorted it into something else entirely, that then turned into the inciting incident in OBSO/LETE (and which you can read on the Kickstarter campaign). From there, pieces started falling into place. The rolling blackout concept was something I had been thinking about for a few years after reading about how certain countries had actually implemented it.
The premise of technology being hampered for regular people but completely unhindered by any restriction for the military came from living through Y2K while also working in an office park directly next door to a military contractor.
I’ve got a fair amount of techo-skepticism in me and some very distinct worries about the growing alienation we’re experiencing due to social media and other technological things that past few decades have inserted into our lives, but I’m also very well-aware of how these things have absolutely improved certain peoples’ lives and how much of a net-benefit they can be. I wanted to tell a story that explored what the world would (possibly?) be like without some of these things. I didn’t want to come into that story with a pre-conceived black-or-white “Technology Bad/Technology Good” perspective at all, but I really wanted to think about and depict how I believe human interaction and the world may develop without mass-media communication as we currently know it.
Also, I wanted to take that world and put monsters in it.
You’ve got some stories on the popular horror r/nosleep subreddit and you’re a musician/songwriter(?) as well. As a writer of all sorts of interesting things, I’m curious as to who you consider your biggest writing influences?
I’ve come to writing very late in life, having done most of my creative work as a musician and songwriter. I’m very influenced by who I grew up reading, including people like Billy Martin (who wrote under the name Poppy Z. Brite), Clive Barker, Stephen King, Brad Meltzer, William Gibson, Caitlin Kiernan, Neil Gaiman, Grant Morrison and many others.
The writers who really “clicked” for me as an adult, and who kinda pushed me into a mode where I not only felt “I can do this” but also “I need to do this because they’re so good and I have to catch up!” are Thomas Ligotti, Nicole Cushing, Kathe Koja and Matthew M. Bartlett. I would recommend anyone with a taste for left-of-center horror with a VERY distinct sense of setting (which is a thing I find really appeals to me) check out any and all of those authors.
And in terms of horror cinema, if you had to narrow a list down to two or three films that shaped your view/appreciation of the genre, or that you recall as particularly profound, what would they be? (and why, if you’re feeling expansive!) Is there anything going on with horror right now that you find inspiring?
A lot of the horror movies over the last two or three years that have been connecting with me have been somewhat low-budget affairs. On the micro-budget end, Nigel Bach’s Bad Ben series has been an absolute delight to watch, as you get to see a filmmaker find his voice and his “style” as he goes. I really enjoyed Brandon Cronenberg’s Possessor, as well, which utilized a ton of practical makeup effects, which I REALLY enjoy.
Historically speaking, my favorite horror movies would have to be Hellraiser, Halloween and The Thing. These are obviously fairly pedestrian takes, but I struggle to think of stronger and scarier works. I’m a big fan of Takashi Shimizu’s Ju-On The Grudge, as well, and I think it’s an unfairly overlooked classic.
I feel a lot of modern horror can be sabotaged by how modern technology had granted us access to beautiful cinematography. The modern “elevated horror” subgenre has put out SO many great movies, but most of them have failed to connect with me and on reflection, I think it’s because so many of them are TOO beautiful to look at. Having been raised in the VHS era, I think there’s something with film grain and tracking static that my brain associates with “scary”.
You and your wife and cat just made an international move during a pandemic! Well done! I know that was challenging to say the least, and that whole process almost seems like a horror story in and of itself. I’m always interested in how one’s geography shapes one’s fears and inspirations in that vein. Can you speak to how aspects of place and environment, and perhaps even culture, find their way into your writing?
That’s an interesting question, and one that I think I’m just starting to grapple with. Having grown up and spent most of my life in the USA, how does or should my writing change now that I’m, for all intents and purposes, a British Writer?
A lot of my previous stories are set in and around North East Pennsylvania, which I only spent a couple of years living, in my 20s, but left a very specific impression on me. How long can I go on writing about America, while not living there, and have my stories feel grounded in reality? How long should I immerse myself in the UK’s culture and places and idiosyncrasies before I can safely write a British Horror story? It’s odd because on one hand, I have these very specific experiences and memories and on the other hand, I worry about how long those will feel “Valid”.
For example, in Keepsakes, there’s a short story “An Open Letter to Blue American Petroleum”. That’s directly inspired by actual experiences I had moving cross-country in the United States, filling up at little gas stations in little towns off the highway. I don’t think the same sort of experiences happen here.
While that’s the case, every place has its own strange culture and unique features. The city I live in now has an extensive canal system and you have the ability to travel from neighborhood to neighborhood through tunnels underneath bridges and by the side of long stretches of water. I can see this, and many other features of where I now live sneaking into my work soon.
Keepsakes felt very North Eastern USA to me. Keepsakes 2 (which will be a standalone story, tangentially connected to the original collection) will be Pacific Northwestern. OBSO/LETE’s setting feels Chicago to me, while its characters feel very St. Petersburg, Florida. I always seem to want to write about places after I leave them more than when I’m there.
I’m extremely fascinated by the personal routines of creators. Do you have a particular process you use when entering into your work? What gets you in the mood to write? Any rituals or practices?
I wish I had a better or more structured routine. A lot of my process feels like “stealing time” from other things. I recently bought a couple of notebooks and a fountain pen to try and make my writing process feel a little less tethered to a keyboard, but I’ve found that the notebook is its own tether.
Some of my favorite work has been typed into my phone at 11:30pm at night while laying in bed, dealing with insomnia.
I only just realized that you stream on Twitch! Horror games, is that right? I am not very good at these things, but I recently just tried my hand at World of Horror, an H.P. Lovecraft/Junji Ito-inspired RPG horror game set in a quiet Japanese town filled with eldritch beings, wild-eyed cultists, and impossibly twisted human forms. I died a lot! Have you played anything lately that you really enjoyed and that you might recommend?
I tried out World of Horror on-stream a few months back!
I died a lot too. I think my issue is that I have exactly zero history with RPGs. My game of choice was always point-and-click adventure games.
The Twitch stream, Welcome to Frankenstein House, came as a result of wanting to fill time when the pandemic hit. Initially the idea was to do comic book reviews but that quickly evolved into abandoning the review format about 10 minutes into each stream and them proceeding to goof around about whatever we wanted (usually complaints about the Stuart Townsend depiction of Lestat in the Queen of the Damned movie, or how Alfred from Batman is in fact an interdimensional sex god) for 2-3 hours every week.
After that, we started adding in horror gaming streams, which then took over the whole thing. We’ve been on pause for a couple of months due to the movie and the time difference but we’re planning on restarting soon and we’re probably going to be switching to more of a variety show format.
The games I’ve really enjoyed playing lately are:
Detention: Scary point-and-click adventure game set in a haunted school during the White Terror in Taiwan
Love, Sam: I dubbed this a “Reading Simulator” on the stream as a joke, but it was REALLY scary. You play an unidentified character, reading a school friend’s diary in their tiny apartment. As you read, things in the apartment being to move and change. Doors appear, taking you to different places. You realize that the diary may have opened the door for something to haunt you.
Stories Untold: Sort of a puzzle/adventure game. It’s 4 different games that each tell a story in different ways. The first game, The House Abandon, is a retro text adventure and each of the others keep the sme spirit if not the same mechanics. It has a great early 80’s style aesthetic to it.
The Glass Staircase: Made by Puppet Combo, one of the more interesting “auteur” game creators out there right now. This is effectively a take on the Resident Evil or Clocktower style survival horror gameplay, but in an Italo-horror environment. It’s really cool, but really difficult.
Speaking of recommendations! I am normally constantly on the hunt for, and learning about new music–although in 2020 my interest in this has regrettably waned quite a bit. I have to imagine that as a musian you’re constantly finding and listening to new things! I’d love to know your favorites from 2020.
The most recent I Like Trains album Kompromat was fantastic, a really great return for a band I was half-sure was done. It’s odd post-punk, extremely politically outspoken, dark and upsetting.
Creux Lies’s The Hearth is absolute The Cure-worship, but the songwriting and performances are so on-point.
This question is a bit silly, but I hope you’ll indulge me! Your wife Sonya sometimes shares your thoughts on the perfumes that they’re sampling, and I know I’m not the only one who loves to read about them! Unquiet Things readers are fragrance fiends as well, and I think I speak for all of us when I say that I’d love to know what perfume of theirs you’ve smelled recently…that you might base a horror story around! Tell us everything about this aromatic atrocity, please!
Oh god. So, the problem with writing a horror story about Perfume is you don’t want it to be derivative of the Patrick Suskind book!
So for anyone unfamiliar with Sonya’s “My Husband Smells” posts, Sonya collects all these samples from various boutique perfume companies and has me smell them and say what I feel they smell link.
The gimmick is that I have no idea what I’m talking about. I have no frame of reference for what traditional perfumes or colognes are “supposed” to smell like. This is only compounded due to the fact that I have bad sinuses which affect my sense of smell.
Ultimately, you’ll end up with a $400 bottle of expensive perfume and a review from me that just says “Smells like Dracula makeup?” because some chemical in it smelled sort of like Halloween makeup I put on as a kid and it triggered a sense memory.
The Story:
My perfume horror story would be based around us receiving a number of samples from some company that Sonya couldn’t remember ordering from, and that doesn’t have a website.
Rather than triggering sense memories, the perfumes would cause us to relive entire moments in our lives. As we went down the series of samples, the memories would get more and more recent, and we would find ourselves unable to stop sniffing each of the samples.
The story would end with us testing the last of the samples, in a jet black, unlabeled nebulizer. As we each breathed it in, we would feel the air disappear from our lungs, the lights disappear and the walls close around us – we wouldn’t be in a memory from the past, we would be trapped in a memory of something that hasn’t happened yet.
We would be “remembering” being dead and being interred in a grave, unable to breathe or speak or escape.
The End.
Back to OBSO/LETE as we wrap up! Is there anything else you want to share about this project or what we can expect? I’m really looking forward to it!
We have about 7 days left on the campaign and we’ve just debuted our second of two t-shirt designs.
It’s really been a labor of love, and I’ve gotten the opportunity to make some new friends in the industry, Justin M. Ryan (penciller and inker) is also an accomplished writer on his own and has a fantastic graphic novel he put out a while back called Tresspasser. Todd Rayner (colorist) has an awesome comic book he does called Icepick.
In addition to OBSO/LETE, I also have a scifi-horror story called “Flickering” which just came out in an anthology from Eerie River Press called “It Calls From The Sky”.
A gathering of death-related links that I have encountered in the past month or so. From heart-rending to gut-splitting (sometimes you gotta laugh, you know?) from informative to insightful to sometimes just downright weird and creepy, here’s a snippet of recent items that have been reported on or journaled about with regard to death, dying, and matters of mortality.
On Instagram today, I’m sharing some of photos of and peeks into The Art of the Occult that people have been so kind to share. This capture by my beloved friend Maika, featuring her darling danger noodle, is one of my favorites! Have you shared a photo of your copy? Please tag me so that I can see it!
I’m beyond humbled by the response my little book of magical art has garnered and can’t thank you all enough for your interest in it, your purchases of it, and for taking a moment to tell someone about it or to write a thoughtful review of it. (That said, if you enjoyed it, and have not already done so, would you consider penning a quick review for Amazon or Goodreads? Thank you!)
Speaking of Goodreads, there are ~three days~ left for the opportunity to win a copy of The Art of the Occult! Separately, if you missed the chance to grab an autographed copy from me, I do have a few more on hand, and I will ship both domestically and internationally, so please message me and we will work it out!
I will end this missive with a snippet from a lovely review that I just read. It’s simple, really, but it wonderfully encapsulates one of the ways in which readers can use this book: “…take each image and sit with it for a while, and see how it speaks to you.”
I hope that there’s at least an image or two in The Art of the Occultthat, on some level, speaks to you. I would love to hear all about it!
“History of Magic, Part II… Initiation” by Alison Blickle
This installment of fantastical fodder for your eyeballs appeared initially over at Haute Macabre on a Monday morning, brimming with mystical, magical imagery to inspire your week. I thought I might share here, on my own blog, as well! These visuals, by contemporary artists who reveal occult elements and philosophies through their creative gaze, all feature in The Art of the Occult, which was conjured forth into this world a month ago.
As an extra bit of magic, there is currently a GoodReads giveaway for three individuals to win a signed copy of the book!
Hello friends! It is my little book goblin’s birthday! The Art of the Occult is officially summoned into our realm today, October 13th, 2020, published by Quarto Knows. I never dreamed I’d see a stack of my own books on my own sofa, so I thought I’d commemorate the occasion with a capture of it cozied up next to some of my favorite gremlins and gargoyles.
Speaking of wee goblins and gremlins: Megan Rosenbloom was sharing with us last night that her toddler is obsessed with flipping through the pages of The Art of the Occult, marveling at all the pretty pictures “in a grown-up book.” This gave my heart such a rare and beautiful thrill. Do you remember how old you were when you first became aware of magic and beauty? I reckon it was very young. You may have seen something so thrillingly gorgeous that it haunted your dreams and has guided every twist and turn in your life’s path ever since. I hope The Art of the Occult can serve as that initial portal, that gateway to mystery and inspiration and a lifelong curiosity, never quenched.
Many of you are awaiting copies and I truly hope you like it! Please tag me in your photos and reviews, and speaking of reviews, It would be great if you could leave a few words about the book on Amazon or Goodreads or both!
If you would like a signed copy of The Art of the Occult, please message me, and I’d be happy to work that out with you. Please keep in mind, though, I ship things out once a week, so you might have to wait a little bit longer for your copy then you would if you had ordered it through a major bookseller. Just an FYI!
I currently have a giveaway for a signed copy of The Art of the Occult, and today is the last day to enter! Check out the Haute Macabre blog for details.
In super-extra-exciting news, the beloved aroma artists at Black Phoenix Alchemy Lab have created a series of scents celebrating and inspired by some of the esoteric works in The Art of the Occult, and you can learn more here!
Lastly, thank you for reading my writing here, my blog, where ever else you might have found me. Thank you for your support and encouragement over the years. And thank you for purchasing a copy of my little book of magic and art and wonder. It’s HERE!
