25 Oct
2018

bat

…tfw you are found guilty of premeditated dumbness in the extreme and your punishment is knowing that you were so close to being done with your project but now you must account for the crime of having obliterated a pair of knitpicks needles and dropping over 300 stitches in the process, derailing weeks and weeks worth of progress on the most complicated shawl you have ever attempted…

“If I may direct you to exhibit A., an artist’s rendering of the diabolical perpetrator involved in the events of last night.”

*Addresses jury of peers*

“Yes, I can swear to it! This vampire bat ring totally came to life and ate my knitting needles. You can even see the bite marks from his pointy fangs! I absolutely did NOT have over one thousand stitches jammed on a  flimsy 8-inch circular needle with known defects. No, ladies and gentleman of the jury, only a madwoman would have attempted such incredibly stupid and dangerous folly.”

*adjusts collar,sweats nervously*

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Valancourt-Books-feature-image

If the mention of Valancourt Books sounds familiar to you, well no doubt that’s because you’ve an excellent memory and you’ve seen an interview with them on this blog before! (With many thanks to my ghostly blogging partner of yore…!)  

As the mornings grow chilled, and the days shorter; when the nights are impossibly dark and very possibly haunted–we must acknowledge that the time has come to pack away our blithe, breezy summer beach reads in favor of material more in keeping with the pall of gloom that has been cast by the season’s brittle, dying days. I know that none of us are particularly unhappy about this.

We yearn for those books whose spines hint at an eerie atmosphere of mystery, and titles encompassing all the metonymy of melancholy and strangeness and horror! Pages upon pages encrypted with ancient prophecies, ominous portents, infernal curses! Ghosts, phantoms, and strange sinister spirits! Abandoned monasteries, isolated castles, unquiet graves! Dreams, illusions, obsessions, and murders! And if the book’s cover art features ridiculously over-the-top visions of fiendishly cavorting ghouls and disembodied eyeballs glowing with hellfire and horror…all the better.

The good news for us is that we can find all of these tales and more at within the cobwebbed, crumbling vaults of Valancourt Books. An independent small press located in Richmond, VA, Valancourt specializes in the rediscovery of rare, neglected, and out-of-print fiction, and I am over the (skull-faced, grinning maniacally, and dripping with blood) moon to share our interview with publisher, general editor, and co-founder James D. Jenkins of Valancourt Books. See below for a glimpse into what makes a title worthy of the Valancourt catalog, our enthusiasms regarding favorite authors and crazy book cover art, and to learn more about their current collaboration with the publishers of PAPERBACKS FROM HELL!

Unquiet Things: Valancourt’s beginnings focused on bringing forgotten, neglected, and overlooked 18th and 19th century gothic fiction back into the light, in a cost effective sort of way… which eventually led to unearthing the titles from the Victorian era — penny dreadfuls and the like, before moving onto excavating works of 20th century fiction. Most of these titles are works of horror or weird fiction, but other than classifications of genre, what is that special something a work must possess to capture your attention and cause you to exclaim, “ah, this is one for our catalog!” And is there any sort of common thread that you feel runs through the crusty titles that you exhume and bring to life again?

James: One common thread that runs through most of the books we republish is that they were once either very highly regarded by critics or else very popular with readers but nevertheless somehow mysteriously fell out of print at some point over the years. These days, we’re focusing mostly on horror/supernatural/weird fiction, although we also have a secondary focus on LGBT-interest literature, and we also reprint a small number of great books that don’t fit in either of those categories.

In terms of more recent authors, I think we share some beloved favorites! I adore both the strange, disquieting writings of Robert Aickman, as well as Michael McDowell’s unpretentious but thoroughly imaginative and sharply-crafted stories. What is it about these author’s works that resonates with you? And if one admires the works of Aickman/McDowell, what else from Valancourt’s catalogue might you suggest along those lines?

Aickman and McDowell are obviously very different sorts of writers, but one thing they have in common is that their reputations have been kept alive over the decades by a group of devoted fans, even when their books were long out of print or, in Aickman’s case, only available as expensive collector’s editions. I think you put it well: Aickman’s works are strange and disquieting, oddly unsettling even if sometimes their precise “meaning” seems to elude us. McDowell, on the other hand, said he never aspired to posthumous fame or to be considered a “literary” writer: his only aim was to entertain and frighten readers, and judging from the responses we’ve gotten to our reissues, it’s pretty clear he succeeded!

Those who enjoy Aickman’s more literary style might want to give our reissues of Forrest Reid’s subtle supernatural fiction a try, or possibly David Case’s books, which are not as subtle as Aickman’s but are written in a traditional, more literary style with vocabulary that will have you frequently reaching for a dictionary. And, obviously, you’ll want to read the Victorian-era horror fiction we’ve published by Richard Marsh, who was Aickman’s grandfather! Fans of McDowell’s fiction should find our reissues of Ken GreenhallBernard TaylorMichael Talbot, and Alan Ryan — all of them (like McDowell) neglected masters of ’80s paperback horror fiction — to their liking.

You recently signed a deal with the publishers of PAPERBACKS FROM HELL[reviewed in our September 2017 installment of Stacked!] to publish a PFH series of reissues of titles featured in the book, which I believe will be edited by Grady Hendrix and Will Errickson? You guys + those guys is the dreamiest dream team I could ever imagine! Can you share how this came about? How did you go about selecting the titles you’ll be reissuing? And I have to ask…what are you going to do about the cover art? Because some of those covers are bananas!

That’s definitely a project we are really excited about! Grady has written introductions to a couple of our books (HELL HOUNDTHE AUCTIONEER), and we’re longtime followers of Will’s TOO MUCH HORROR FICTION blog, where we’ve discovered a few books that we went on to republish, so it was sort of natural that we’d team up. As far as how the series came about, I think we here at Valancourt, like everybody else who bought PAPERBACKS FROM HELL, were flipping through the book and thinking how great some of those out-of-print horror novels looked and what a shame it was some of them were unavailable!

When we teased the series on social media, the response was huge, and as far as the cover art goes it was unanimous: people want the original covers! So we’re going to do everything we can to use the original cover paintings. For the first book in the series, Elizabeth Engstrom’s WHEN DARKNESS LOVES US, the original cover painter, Jill Bauman, has kindly allowed us to reuse the art, and we’re hoping to be able to get permission to reuse others. There may be some cases where we can’t locate the original artist or otherwise can’t get the rights (and at least one of the titles we’re planning for the series didn’t have an interesting cover the first time around), so in those cases we’ll be coming up with something new that hopefully retains an ’80s feel.

What can you tell us about our giveaway title, Valancourt Book of Horror Stories Volume Three?

We’re giving away a copy of our new Valancourt Book of Horror Stories because the series has been one of the most popular things we’ve done over the past few years. The mix of rare and seldom-reprinted older stories with some new and unpublished material has gotten a great response from readers, and, above all, the books are a great introduction to Valancourt and what we publish. For readers who are just discovering us and wondering where to start with the 400+ books in our catalogue, our Valancourt Books of Horror Stories are the perfect place to start: Volume 3, for example, includes contributions by 16 different Valancourt authors, so you can sample a lot of different writers to see whose works you might like to read more of. One thing that’s great about our Horror Stories books is that many of the authors featured aren’t typically thought of as horror authors and aren’t often featured in horror anthologies, so you’ll find tales by literary and mainstream authors like Christopher PriestIsabel Colegate, and Nevil Shute alongside contributions by well-known horror writers like Michael McDowell and Bernard Taylor.

Thanks very much to James and Valancourt Books, and please be certain to leave a comment below in order to be entered into the giveaway! A winner will be chosen in one week’s time. This giveaway is open to our U.S. readers

Find Valancourt Books: website // instagram // twitter // facebook

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AHS2

These two fabulous creatures are the only thing that is making American Horror Story watchable for me this season. Also: Madison Montgomery in ugly black leather shorts, nonchalantly smoking a cigarette whilst examining a skull is A LOOK and I am here for it.

AHS3

AHS1 AHS4

AHS7 AHS5 AHS6

 

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darkness-within-6

This week at Haute Macabre, we indulge in the shadowy marvels of the “Darkness Within”, a new collection of art and objects curated by The Creeping Museum and inspired by Shirley Jackson’s The Haunting of Hill House.

The Creeping Museum’s new collection, Darkness Within is inspired by Shirley Jackson’s much beloved novel, the exquisitely unsettling The Haunting of Hill House. Comprised of the works of twenty artists, each offering from “Darkness Within” artistically interprets various different eerie passages from the book for the collection, combining to create an “illustrated edition” of sorts.

Read more: Darkness Within At The Creeping Museum

darkness-within-2

 

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It would indeed be a difficult matter to find anything which is productive of more marvellous effects than the menstrual discharge. On the approach of a woman in this state, must will become sour, seeds which are touched by her become sterile, grafts wither away, garden plants are parched up, and the fruit will fall from the tree beneath which she sits. Her very look, even, will dim the brightness of mirrors, blunt the edge of steel, and take away the polish from ivory. A swarm of bees, if looked upon by her, will die immediately; brass and iron will instantly become rusty, and emit an offensive odour; while dogs which may have tasted of the matter so discharged are seized with madness, and their bite is venomous and incurable.
-Pliny the Elder

“The copper tang of blood musk, swept by a cloud of dying bees & red poppies of madness, glammed up for fall with a swirl of cozy gourd-enhancing spices.” 🎃

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If you’re in the Los Angeles area, on Saturday October 20, stop by Black Phoenix Alchemy Lab at 12120 Sherman Way in North Hollywood, CA 91605 from 4-7PM and help fight “period poverty”. For every tampon/pad donation of $20 value dropped off at the event, you’ll receive one free 5ml bottle of the the above, exclusive fragrance – a seasonal variation on the bloodiest winner of all pumpkin spice scents, Pumpkin Spice Sanguinem Menstruum.

Not local? You can still help the do-gooders at The Lab and be entered for the opportunity to win the limited edition scent, by mailing in donation of a disposable menstrual product donation of $20 or more into the Lab (c/o Beth, at the address listed above). More details on the Haute Macabre blog!

I myself just donated $60 worth of tampons through Amazon, mailed straight to The Lab—it was super easy!

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Dark Autumn by Nelleke Pieters

October’s Ten Things is brought to us by Amanda Lynn of Ghoulish Delights Bath Shop. Amanda Lynn, a licensed Esthetician, blended her passions for skin care and horror in 2016 to create Ghoulish Delights Bath Shop, a venture melding science, nature and the macabre and which focuses on body and facial care with a dark twist. (Read more about Amanda in our Haute Macabre interview earlier this June!)

Today, Amanda shares with us her ten things she is loving for for fall. Read more below!

bonfire tea

  1. Tea

I joke that my life revolves around tea but it really does. There’s something therapeutic about it and I really get into it. Bitters, flavored sugars, elixirs, and whatever else I can find gets thrown into the mix. It’s my little sip of self care sitting patiently waiting for my tea to steep. I’m a huge fan of Adagio teas (they have killer autumn blends like Bonfire and Candy Apple). Adagio offers some of the best fandom teas created by others and their house blends are super tasty.  Why yes, I’d like t a tea inspired by Hobbits, please and thank you.

socks

  1. Wool Socks

Hear me out! They are majestic in their scratchy thickness and I literally wait all year to bust out my precious Russian handmade socks with robins and deer on them. They’re big and floppy and everything you’d hate about normal socks but for some reason they turn magical once those leaves start turning.

orb

  1. Eyeshadow

I barely wear makeup during the summer, so once it turns cool I feel energized and ready for some serious eyeshadow time. I’m currently loving the Rust Stack and The Gemini Palette by Melt Cosmetics and the Orb of Light Full Moon Palette by Black Moon Cosmetics. These have some of the best formulas around, plus they boast some serious fall color stories (which make my green eyes pop something fierce).

scary stories

  1. Scary Stories on YouTube

My mind goes 100 mph when I’m trying to sleep, so listening to scary stories via YouTube helps calm me down. I light candles, rev up the fake fireplace ,and hunker down to listen to collections that I randomly pick. Some are duds, some are nightmare inducing,  but I love the randomness of them. Bonus points if they have a video of thunderstorms playing while they narrate.

bbw candle

  1. Candles, all of them

I sadly admit I’m addicted to Bath and Body Work Candles. I can’t help myself. Give me all that pumpkin sweetness wafting into every crevice of my house (Pumpkin Pecan Waffles everything). I light candles daily but autumn makes me light up an additional 3 and saturate myself in pumpkin and dirt. My current favorites from small businesses are Sanctuary Candle Company’s Samhain, Witch City Wicks Sleepy Hollow, Laughing Crow Candle  Get Out  and Reel Life Candle Company Rick’s Garage.

farm.pumpkins.2013.sm_

  1. Local Farms

While I frequent my local farms all year, I get extra giddy when I see the corn fields being carved into mazes, acres of pumpkins, hot apple cider, and bumpy gourds. Being born and raised in Massachusetts, all of these things remind me of my childhood and make me feel both joyful and reminiscent. I look forward to these feelings every year and I’m always on the hunt for the perfect pumpkin or apple dumpling.

foxcroftfairgrounds5ml

  1. Perfume

I adore perfume and wear it every day, but some of my favorite blends just smell better when the leaves are orange. I layer Foxcroft Fairgrounds and Cellar by Solstice Scents pretty regularly during October. I’ll douse myself with Vlad Dracul by Sixteen92, Vampire Vanilla Bat by Nocturne Alchemy or The Old Hag With A Golden Spinning Wheel by Blooddrop. [EDIT: Blooddrop has closed, but you can find the perfumer’s new venture at Astrid Perfume!]

steeped offerings

  1. Facial Steams

My first run in with a facial steamer was when I was a teenager and my mom bought me this contraption from Conair that made my nostrils burn when I inhaled. Since then I’ve dialed it down and opt for a big bowl, a kettle, dried flowers and a fluffy towel. Towards the end of September my skin goes sideways and gets dry and lackluster from all summer’s abuses. I grab my bowl of herbs and spend 15 minutes inhaling the fragrant steam in my makeshift towel dome.

Adam Burke

  1. Art

My art purchases always spike during autumn when artists are creating beautiful and dark pieces that have all my favorite colors; burnt oranges, mossy greens, flecks of yellow, blood red smears, and dark, earthy browns. One of my favorite recent purchases was from Adam Burke called “Emergence,” which is perfect autumn in my eyes.

Night-of-the-Demons

  1. Horror Movie Parties

These evenings are some of my favorites as we gorge ourselves on horror-themed snacks while throwing our hands up as the protagonist trips yet again. It’s always fun to see what scares people and it’s such a great bonding experience. I love introducing people to new films and this is the perfect time to share the love of horror and tasty snacks. These evenings usually end with us playing horror VR games, screaming bloody murder, and high fiving each other for not tripping over the dog.  My watch lists usually include: The Possession, Scream, Young Frankenstein, The Exorcist, Wishing Stairs, Sinister, and Ju-on

Find Amanda Lynn and Ghoulish Delights: website // facebook // instagram

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11 Oct
2018

for a thousand years I have known from ghoulnextdoor on 8tracks Radio.

Track list: Fever Dreams by Emma Ruth Rundle | Cross by Louise Lemon | Woman by Cat Power | Sky Full Of Song by Florence + The Machine | Blue Vapor by Marissa Nadler |  Mariners Apartment Complex by Lana Del Rey  | Lovely by Billie Eilish With Khalid | Black Lagoon by Still Corners | Alpha by Anna Calvi | Dancing And Blood by Low | Stundum by Hekla

image: Katie Eleanor

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This interview was originally published at Haute Macabre on October 11, 2018.

Jason Blake’s sepia-toned portraits, humming with wistful yearnings of phantoms from yesteryear, feel like peeking into a dusty old chest of fragile flotsam and eerie ephemera, filled with things crumbling, transient, and vulnerable, but which also evoke a dynamic and powerful sense of timelessness and immortality. You could be gazing across the centuries to boldly meet the eyes of a ghost who died long before you were born, or you could be trying in vain to catch a glimpse of a misty, half-hidden face captured on film just a week ago. These photographs are mysterious portals to indistinct, obscured places and times, the precise destination of which you may never be able to quite work out for yourself, no matter how frequently you visit.

And…  I’ll stop myself there. Typically when introducing the subject of an interview, I take a moment to write up a paragraph or two describing their work, my perceptions of it and how it makes me feel, a memory it evokes, a story it brings to mind, or maybe even a creative endeavor of my own it inspired. But, you know, today I may forgo my usual rambles and let the man’s work–and his own brilliant words–speak for themselves.

Read further to learn more of Jason Blake, a photographer who coaxes phantoms from timeless realms, and of Jason’s own history, influences, yearnings, and truths.

What can you share with us about your passion for creating the appearance of a bygone, ghostly era and the melancholy nostalgia of antiquated photography?

Jason Blake: It’s hard to pinpoint where the fascination with an older era comes from…most likely, it’s an amalgamation of many influences and instances that I stumbled upon throughout my life. First, in general, I feel most people have a connection to a certain period or era that they feel an attachment and most comfortable with – a sort of identification and belonging. And not to say that doesn’t or can’t change over time, but I feel it’s something one goes to for a sort of inner peace or enjoyment.

For me, older eras, especially the Victorian, have such a lush and fantastical element to them, filled with a sense of mystery. The elaborateness of everything also holds a fascination – from the wardrobe and art, to architecture and interior design. And of course all of the obvious metaphysics that were prevalent at that time are wondrous. And in all of the art there’s such a flair to the themes and poses, something more magical than what you find today. All of these things make the perfect backdrop to some amazing narratives that I want to take part in.

And speaking purely photographically, I have always loved being intrigued with images whose origins, context, and purpose are disguised. Images that you’re not really sure when, how or why it was made. I feel like the intrinsic properties of older photographs have the ability to hide a modern hand, giving an image a more magical feel. It kinda gets back to the old adage “the camera always tells the truth”. If a woman is floating in an old looking black and white photograph, it is more believable to the viewer that it actually happened, and was not manipulated by other more contemporary means.

And also, quite simply, a lot of my favorite films, literature and artists throughout my life have always been older than modern.

image credit: Annette Fournet
image credit: Rudo Prekop

I’ve read that you studied in Prague with several well-known Czech photographers, I’m curious– not just as to how their processes and techniques may have influenced your work– but also how the rich history and culture of the city itself may have found itself influencing your eye and your lens.

Hmm, well first, after reading this question, it makes me want to go back to the bio on my website and change some wording around– I wrote it years ago and hope it doesn’t come off as pretentious as it does now sounds when I read the phrase aloud to myself! [HM EDIT: no, we think it sounds amazing!] I was lucky enough to spend a month and a half studying in Prague under two Czech photographers and one American. I also had the chance to take part in a studio visit to another Czech photographer, who almost immediately became one of my all-time favorite artists.

Initially, an early obsession with the work of Kafka, which I’ll touch on later, and along with aspects of your first question, brought me to search out ways to make it over there. All together, the city seemed like one of the few remaining places in the world where you could get lost and utterly immersed in the old world. In fact, the city itself is laid out in such a way that it is conducive to getting physically lost wandering through its small cobblestone streets.

By this time, the summer between my junior and senior year at the University of the Arts, I had taken several darkroom photography classes and a few studio classes. Up until this point, most of the formal education revolved around the basic principles and technical information of learning how to develop and print film, and how to use and control lighting. I had the itch to travel and once I found the program in Prague, I was fascinated with some of the teachers and classes that were offered.

Annette Fournet was the director of the American based program. I was previously familiar with a little bit of her work and was obviously attracted to her dreamy black and white holga landscapes. But what really interested me was a Staged Photography class taught by Rudo Prekop and Miro Švolík. Again, most of my education was technically based, and I was thrilled to take part in something that sounded like it fostered a teaching of ideas and concepts – and not in the pragmatic way, like in other realms of photography, such as journalism and editorial work.

During the program, the class was taken to visit the studio of another Czech photographer, Václav Jirásek. I was immediately enthralled with his work. There were always photographers whose work I enjoyed, but there were only a few handful that I felt a deep connection to what was going on in the images. He was one of them, and one of the first where I truly understood the concept of portrait as narrative – not really in the obvious way we all know with straight forward photographs, but one that describes a metaphysical or otherworldly narrative; a portrait that can transport you to a completely different realm. I’ve always been fascinated with this principal and is something that is still a huge facet of my work. It’s also something that I search after in other aspects, such as literature and film – and is probably the main working element as to what interested me in Kafka to begin with – communicating so much with so little.

There were also plenty of other major artistic influences that I finally had the chance to see in person or discovered during my time there. Jan Saudek who created these wondrous worlds and stories in his small room was another conceptual portrait photographer whose work I admired. I was lucky to see one of his huge hand painted photographers in a gallery. Outside of photography(in a way, because he did take some photographs that are lesser known), I was also able to see the work of Alphonse Mucha. Even to this day, I still hold a fascination and connection to Czech art and culture – I just recently bought Severin’s Journey into the Dark which has been on my reading list for some time and have enjoyed other literature such as Erben’s A Bouquet.

And outside of the arts, just being there was an influence. I’m an escapist at heart – always have been and always will be. As troublesome as that can be, I feel it is almost necessary and vital to an artist in a way. For a whole month I got to wander lamplit cobblestone streets, explore small Renaissance towns, have strong drinks in dark cavernous jazz clubs and lay in fields in southern Bohemia.

I learned a great deal from my UArts professors and I value both the knowledge they imparted and the relationships that grew from it– but I cannot deny that my time in Prague, learning under these incredible influences, and exploring the city and its countryside was a formative time for myself – not just professionally, but personally, as well.

Your website points to a division of your work, between that of dark and light. Can you speak to the importance of this duality in your work?

As far as website goes, there is actually a somewhat simple, pragmatic and un interesting answer – mostly it’s to guide a specific audience in the right direction. When marketing myself to prospective clients, I really only have a very limited window to grab their attention. Depending on who I’m marketing to, I might send them a link a to more colorful work, and some people want to see heavier, darker stuff that might fit their project better. Some people want to go straight to see examples of band photography. I originally designed it to be as direct as possible to help aid in getting any jobs. Most art and creative directors only spend a few seconds with your work before moving on to the next. If at all I can make it more simpler for them, and they see something they like, they will spend more time going the rest of my work.

That said, besides the technical aspect of why I arranged it how I did, I do find not only pleasure, but importance in keeping a duality in my work. One, it keeps the mind fresh, and I think it’s wise for everyone to keep themselves open to different facets in life, not just art. Once you pigeonhole yourself into a certain style of way of life, I feel you begin to lose perspective and risk a sort of internal monotony.

I’ve always been interested in a mix of influences; some cross paths, and some are polar opposites– but I feel it is good to have the skill and headspace to move freely between realms, take what each has to offer and bring it back to adapt it to yourself and own personal style. There’s an obvious common ground that is centered in almost everything I do– fantasy, magic, spiritualism, other worldly, decadence –all of these exist in dual realities. Even physically speaking, I believe, or hope, that holding up both of one of my darker images and one of my lighter images, one would be able to tell they were both created by the same person. It’s just a slightly different subject matter and artistic voice that I use to convey an idea. Some ideas just work better with a certain color palette, or lack thereof. I’ve also been fascinated with work that is bright physically but has dark undertones.

I love your Wondering Soul series of small vignettes, depicting fleeting summer flowers, dim-lit woodland idylls, and even ships at sea. Can you tell us a little about this series?

Thank you for your compliments on that! I think you might be the first that has ever asked me about those images. It was something quite different for me, and something I never bothered to look into or give that much attention to until I kept coming back to one or two pictures and then started grouping them together.

Most of my focus has always been on people, it’s always what has interested me when looking at art. But as a photographer, I would always take photos wherever I go… even if the subject matter was never too personally interesting, it’s hard to pass up a moving landscape or the way the light hits a certain area in a room. A lot of these photos were just taken with my cell phone and never given really that much thought – just shot, and put away. But then I would notice things later and feel the presence of a story in some of them. Or if they had a semblance or quality of being from a different reality or time period or have a sense of travel or abandon….something that would speak to my escapist personality… And then that’s when my interest would peak. Maybe something was already there and it just needed some tweaking with color or exposure to put it in a dreamscape. Idyll is the perfect word, and I take it as huge compliment that you chose that as a description.

I understand that you derive a great deal of your inspiration from mediums outside of your chosen artistic vocation, such as literature, painting, film, and philosophy. I’m curious as to what’s inspiring you at this moment in time, and how these passions and enthusiasms may have evolved or changed over time.

Indeed, I have always, for the most part, paid more attention to other mediums. I have always been surrounded by photography and photographers since college, and of course spent a great deal of time studying the field, it’s history, and its artists, but I was always curious in a lot of other creative fields. I dabbled in a lot of things in high school and quickly knew my future was in the arts and when I got to college, I was very much interested in creative writing (I’ve always been an avid reader). I took some classes in that, as well as, a very exciting course in existentialism. I also took a painting class, but quickly realized it was not for me. Basically, the medium didn’t matter so much as how successful I could be in creating these visions and narratives that I felt the desire to express.

I can easily answer what’s inspiring me currently, but I struggled with trying to accurately describe my core influences and how everything is connected and interweaved. I feel like I need a big sheet of paper to write out all these circled words, items and ideas with a bunch of lines and arrows connecting everything and weaving back and forth over a timeline.

One of the major things at play, which I touched on briefly, is a sense of escapism. Not necessarily in the traditional sense of avoiding tasks, but more of a desire to live in a world of fantasy or leave behind the banal. I’m definitely a daydreamer at heart and attribute a lot of my ideas to that. It can obviously be problematic as well.

Absurdism and existentialism have also had a long standing fascination and influence for me in the way of inherently trying to find meaning in a world that offers none. And in quite the opposite spectrum, but I feel somewhat relatable in the whole scheme of things, religious and divine ideology are also present in my realm of influences. Magic and mysticism are also a major inspiration. I believe both are real and very powerful, but in a way that is not so straight-forward or obvious. Not necessarily in a way that is commonly thought of or portrayed, but something a bit more disguised, sort of how knowledge and creating/manifesting ideas are both forms of magic. Witchcraft and Shamanism are also interesting to me for these same sort of aspects. And for awhile I was very curious about insanity and madness with the idea that they are a passage to the truths of the world. Another sort of obvious offshoot of this, and what fits in with a few other interests of mine, would be Spiritualism.

In a somewhat buddhist point of view, it’s hard for me to talk about and organize these things, for once I try to they seem to lose some meaning and I can’t express them how I want – they are more of a nebulous feeling. And actually I think part of my work is trying to figure these things out.

All these aforementioned things somewhat, crossover, manifest and express themselves in a variety of ways and mediums. And when I find something that touches on any of these elements I am immediately drawn to it or want to know more and explore new ideas.

This is gonna seem messy, but here’s some major influences and inspirations in my past and what currently is stirring me…

In literature, Kafka was one of the first major ones. I was immediately enthralled in his shorter work – a sense of mystery and magic… and how just a few paragraphs contain multitudes and that you’re kinda exposed to just a small part of a much bigger story that exists between the lines, and possibly outside of this world–I strive for my images to have the same quality. Something that someone can view, and have their own take and complete the story in their head. Since then I’ve always been fan of some shorter works. In college I read some Marquez and the shorter work of Borges. I just recently, somewhat randomly, picked back up some South American literature. I’ve been slowly reading and savoring my time with The Adventures and Misadventures of Maqroll by Alvaro Mutis, which very quickly became one of my all time favorite novels and fulfills my urge for travel and adventure. Also, going back to shorter works, I’m also picking through a collection of somewhat surrealist works by Silvina Ocampo. And when I was younger I was a big fan of Paul Bowles collected short fiction, which also fits with the travel, but also has a sense of some dark, underlying motifs. During that time I was also very much into Carlos Castaneda too – a very different sense of travel, but also because of the search for knowledge and meaning. Another, much different influence at the time was Antonin Artaud which relates back to magic and madness. Michel Foucault wrote an amazing, massive tome, titled History of Madness that I, embarrassingly, have yet to finish. And another very current inspiration is a tiny collection of surrealist fiction called The Cathedral of Mist by Paul Willems .

As far as the visual arts go, Caravaggio was a major influence. His sense of light was outstanding. Rembrandt for the same aspect too. I’ve been spending a fair amount of time within the past few years in the Catskill Mountain range which has fostered an appreciation for Thomas Cole and the Hudson River artists – their use of light is also jaw dropping. Andrew Wyeth, whom I overlooked when I was much younger, now is also one of my favorite artists. He also fits in with the love for creating a strong narrative out of a somewhat simple portrait. His landscapes and stories also have a strong idyllic sense to them and have a close personal connection to me, as I grew up about a 10 minute drive from where he lived and have experienced his setting first hand in the Brandywine River Valley in Delaware and Pennsylvania. But what I would say that is really currently inspiring me is Pre- Raphaelite art. The dreamlike quality of the colors, settings and narrative make me wish I could live in that world and explore it. It also goes back to my fascination with the juxtaposition of a somewhat dark underlying theme, but with a use of bright colors. There is a sense of danger and foreboding, even in this enchanted setting.

And even though a lot of my influence comes from outside photography, there are definitely a few artists and experiences worth mentioning. The first real photographer whose work I saw that blew me away was when an old college professor exposed me to the work of Francesca Woodman. Up until that point I was interested in photography enough to go to school for it, but I never saw any work that truly piqued my interest one hundred percent. Most of what I was exposed to were the classical, more well known photographers that you would find in a text book. At that point I had no real shape or direction, and her work spoke to me in a way that was kinda like “hey, this is what is possible”. I still remember after first seeing her work of immediately going to the university library and finding a small European printed collection of hers. I remember exactly what it looked like and what shelf it was on in the library. This was before any of her current, easily available books were published. I think I kept checking it for almost a whole semester. Shortly after this time I found a wealth of photographers whose work greatly inspired me to keep going in the medium. While still in college I discovered the work of Robert and Shana Parke-Harrison as well as Louviere and Vanessa. I also spent a great deal of time and money going through fashion magazines looking for work that sparked my interest and gave me ideas. Also during college we all took a trip to New York to visit a bunch of different galleries and one of our last stops was at the MMA, and unknown to me, and I like to imagine by some sort of divine intervention, happened to be when they had their exhibition, The Perfect Medium: Photography and the Occult. Walking into those rooms and seeing those images was another eye-opening experience that I remember vividly. And currently speaking, I’ve just recently gone back and spent some time exploring Pictorialism. I just found a book by Lady Hawarden, which I recommend to people because her work is gorgeous and she happens to be one of the lesser known artists from that period. I’ve also very recently started looking a lot more at Autochromes, the first real color photography. They have a strong Pre- Raphaelite feel to them. And lastly some other past but still current inspirations are Eugenio Recueno, Ellen Rogers, Chris Anthony, Paolo Roversi, Tim Walker, Sarah Moon, and Neil Krug.

Another one-off huge influence throughout my life has been the music of John Zorn. His whole catalog and career are breathtaking that I could speak at length about, but the idea of music and song as spells or incantations is very appealing to me and I like to think that applies to all arts. There’s also a bunch of his work that has a very transportive effect that interests me in a different manner.

I feel as though I’ve blathered on too much, but there are a few close people in my life who are huge inspirations to me. Firstly, my now fiance, Melissa has been a huge inspiration for me over the years. There’s the obvious plethora of inspirations any two people in love have over each other, but she’s also played a special role in the work we create together. Just even spending so much time with another person, you begin to feed off each other and have a silent connection when it comes to ideas. I’m a quite, anxious and most times socially awkward person, so it can be hard and take a lot out of me working with people I don’t know – a lot of my personal favorite images have been taken with Melissa, and most were shot so easily that its taken only moments to get something we are both pleased with. But she also challenges me to try to things and think of different approaches. She can also talk me down or relieve me when things don’t work how I think they are or don’t come out to my desire. She also comes up with so many wonderful ideas. I also have her sense of styling and design to thank for helping set up our home to be a perfect little escapist hideaway.

Jess Schnabel and Bloodmilk have been another wonderful inspiration and influence. I’ve been aware of her work, writing, blog, and over all presence within the community for a long time now and am thrilled things aligned how they did that I can work so closely for her. I’m very fortunate to have gotten to work on some amazing projects with both her and Jenny. Not only are the images some more of my personal favorites, but it does not go without saying that they have also opened other doors for me creatively and I am endlessly thankful. I’ve also met and photographed some of their amazing clients whom I can now call friends. I’ve enjoyed seeing how ideas and projects that we started some 2 or 3 years ago have grown and elaborated.

Most importantly my father, who recently passed, has been a major unspoken influence over me who has shaped and carried me throughout my life. His importance of kindness and and to be a good soul, I hope, reflects in myself. He was an international salesman and his strong work ethic and client relationships are something I aspire to and hope played a role as to where I am today.

Your celebrity collaborations are so cool! Patrick Stewart! And the International Associate of Culinary Professionals, of all things! How do opportunities such a these come about? Any favorites thus far?

Thank you! These images are a great personal accomplishment. Sort of like a confirmation that all the years I put into the field, career, and passion were not in vain. Or rather, that I do have it in me to be able to do some of the jobs that a younger, hopeful photographer dreams of. There’s a plethora of personal work that I am wildly proud of and find as major accomplishments, but this sort of fulfilled a personal goal in a different realm of the field for me.

It also sort of reaffirms the notion that I heard wherein a lot of overall success and jobs in this field can be a result of who you know and your connections (which, this one can be good and bad). However, I’ve always been a huge proponent that work begets more work, and that it’s good to try to say yes to as many situations and opportunities as one can handle –so I hope that some of those jobs can be accredited towards that.

The celebrity work came through Emily Assiran. Emily was first recommended to me through an old college classmate who was completing his master’s. Emily was an undergrad who just graduated and was looking for assisting work and reached out to me. I, myself was still working part-time as an assistant and working on my own stuff on the side. I told her I wasn’t getting to many of my own paid gigs yet, but could use some help promoting my work, finding prospective clients, and creating promo materials to help get more jobs and clients. She came and helped when she could and we both learned and helped each other out for some time. She eventually found some good consistent jobs but within a year or two she landed a new job as the photo editor for the New York Observer, which she ended up hiring me for these celebrity jobs. We still talk and help each out with questions in the field.

The jobs were intense, in many ways, but I learned a lot and found them very much personally rewarding. Most, if not all, were shot with very little crew. They were the first really big jobs that I did on my own. I commuted by myself to NYC, so the car ride was just me panicking and nervous for 2 hours. You also really only get a very, very small window of time with a lot of them (with Richard Gere I only had 5 minutes) so you need to be on top of your game to make them feel comfortable and relaxed. Luckily, for someone such as myself who can often be an introvert or have social anxiety, these celebrities have more than plenty experience of walking onto a set and delivering what needs to be done to make a great image. I’ve often told people that I had no idea what was coming out of my mouth when shooting them. I’ve also thankfully had a lot of experience on set working as an assistant with some celebrities years ago.

Are you working on anything right now that you’d like to share? Any exhibitions or galleries where one might be able to view your work currently?

I don’t currently have any shows or exhibitions, or any slated for the future. I had a big solo show two years ago at a local photo gallery. It was a wonderful experience, but the prep for that was extremely intensive and I don’t think I have it in me to do another for a bit– or at least a show on that scale. I’ve been included in a few group shows, and would gladly take part in another, but I just need to be invited first, haha.

I’ve got a couple personal projects in the pipeline, some fresh ideas, and some that I’ve had for awhile but just struggled with having the time to start production or organizing. What I’m most excited about is hopefully being able to get back into a darkroom after more than a decade. Luckily, Philadelphia has a great photo scene and there are a couple organizations that foster analogue classes and studio/equipment rentals as well as space for alternative processes.

It’s been a crazy year, and I’m just looking forward to having some time and headspace to be more creative, wherever that takes me, after being in a sort of lull and swamped with day to day work.

Find Jason Blake: website // instagram // tumblr

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image: Felipe Ribon / Musée des Arts Décoratifs

A gathering of death related links that I have encountered in the past month or so. From somber to hilarious, from informative to creepy, here’s a snippet of things that have been reported on or journaled about in or related to the Death Industry recently.

This time last year: Links of the Dead {September 2017} | {September 2016}

💀 I will be plastinated when I die
💀 Do Animals Experience Grief?
💀 A Baroness, Her Skulls and a Macabre Exhibition
💀 Talking Out Loud To A Dead Loved One Is Actually Good For You
💀 A dying woman calls emergency services, is callously told ‘everyone’ dies
💀 Care And Feeding Of Your Grieving Person
💀 How to Talk to a Grieving Customer
💀 Sarah Chavez On Death Positivity, Grief, & Intersectional Feminism
💀 Morbid Anatomy will explore mortality with Green-Wood Cemetery exhibition
💀 “My father is dying, and suddenly a show I never cared about has become vital”: This Is Us Is My Grief Counselor

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Image credit: Håkan Strand

Black and White Analog Photographs Explore the Serenity of Long Meandering Roads

World’s Greatest Gallery of Mushrooms That Look Like Butts

How to Keep a Zibaldone, the 14th Century’s Answer to Tumblr

In Dutch Still Lifes, Dark Secrets Hide behind Exotic Delicacies

Live Your Best Sloth Life With THis Giant Realistic Sloth Suit

Every Trap Door Is In Good Repair: An Addams Family House Of One’s Own

It’s Better Light, Not Worse Behavior, That Explains Crimes On A Full Moon

Writing Prompts Inspired By Fairy Tales

A Master Class in Women’s Rage:Reading List & Syllabus

The Season’s Fabrics, Animated by Dancers

Bezoars: From the Belly of a Goat to the Mouth of a King

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