Red White n Bluebeard (acrylic mediums and oil pastel on wood) SOLD
Red White n Bluebeard is a painting created during the first presidential campaign of Teflon Don of the Wild Rumpus. It is based on the folk story of Bluebeard, a cautionary tale for wives who dare to disobey their husbands, from the days when women were considered little more than property. Sadly, this is still the case in many countries, daughters are basically sold off to the highest bidder. Imagine the fear, not knowing what awaits, whether your new husband, often a complete stranger, will be kind or a demon. (It’s how new pets feel, too).
detail
Bluebeard is a magician of sorts, he gives his new bride a set of keys, upon leaving for a voyage, telling her open any door except one. Of course curiosity gets the better of her, and she discovers hanging in the forbidden room are the bloody corpses of his 6 previous wives. And the enchanted key is now permanently bloodstained. Innocence forever lost, forbidden knowledge akin to death. Fortunately her brothers end up arriving just in the nick of time to kill Bluebeard before he can make her number 7.
Red White n Bluebeard (different light/with frame) SOLD
Acrylic mediums and oil pastel on wood, set in an authentic, hand cut, antique folk wooden frame all the way from 1930s Poland. SIZE: about 15 x 20 inches.
With frame, colours in natural lighting…
The painting is not a portrait of the (soon to once again be) president, but rather a personification or allegory of the rage and racism that had begun rearing it’s ugly head in the US – permissible and encouraged – during his rise to power. The figure wears a mask that has become melded with his face. He both hates and fears the screaming people caught in his red white n blue beard. Inspiration was drawn from the contorted victims in Picasso’s Guernica, to illustrate those without rights or power, caught in the hairy flames and begging for mercy.
detail
Recently, Rumpus has made ‘jokes’ about Canada entering into an arranged marriage, shall we say, with the US, which I won’t repeat here. Many have noted his characteristic, tactical trolling, bullying, belittling. But it is also a form of hexing. Rumps is a magician skilled in word sorcery (Gemini Sun/Uranus). He well understands that all that is required is for a thorny little seed or egg to be planted in the collective mind, hypnotically repeated as a command to the subconscious, and it will grow there like a parasite until it bears ugly fruit. Rather like that frienemy who casually insinuates your spouse might be cheating. (How interesting his new health minister literally had a brain worm). This is how subliminal advertising has always worked, and he is a walking advertisement, set to (once again) head TV Nation. Don’t buy it, Canada. You know what’s behind that door.
These were sketched last October, after we’d lost my Mum the previous month. I hadn’t yet begun to process the overwhelming grief and shock.
She lived and died in Mexico, and the black paper I was sketching on was from there, so maybe some of the spirit of Dia de Los Muertos came through.
The photos are of local spirits that start coming out about now. ~rb
Back in 1994, when I made decent money as an editorial illustrator and had extra for personal projects and crazy promotional material…in the days before digital files, websites and steampunk, I created this little ‘deck’ of illustrated Fortune Cookie cards. It was indeed meant to evoke Victorian Orientalism, but was also inspired by Max Ernst collages and Edward Gorey, mixed with my own, somewhat goth-infused sensibility, for which I was then recognized.
I had at my disposal only J. G. Heck’s ‘Complete Encyclopedia of Illustration’, some 1960s Letraset stock imagery, a Xerox machine, scissors and a Rotring Rapidograph. Oh yes, and a bag of fortune cookies. It was actually one of my Aries Mum’s whim suggestions pulled out of her magic hat, and I thought it sounded like a hoot.
Perhaps it was an early prototype of sorts for the Tarot deck I would begin work on 4 years later, which also uses mixed media, old art, scissors, paint instead of ink and has turned into a Magnum Opus. But the two have little else in common. (I had also completed a deck of illustrated cards (non-Tarot) in 1988, which I may get around to posting at some point).
Maybe in the future (had better see what the crystal ball says), I will do a real deck of ‘fortune telling’ cards, it seems to be a popular thing and might be fun.
One thing at a time. ~rb
Lately I’ve been digging through my old art, trying sort out what’s sellable, what’s garbage and what’s just fun to share. This is of the latter category.
A looong, long time ago, I’d endeavoured to rewrite Struwwelpeter (a childhood favourite) for a modern audience. Things to be avoided on pain of terrible consequence would include all forms of disobeying convention, such as doing drugs, self-pleasuring and feminism. Shock-headed Peter himself was a rastaman with an enormous mane of dreads.
Here’s my favourite piece, The Dreadful Passion of Harriet, based on The Dreadful Story of Harriet and the Matches. Enjoy!
[Please click on images to enlarge and hit ‘pause’ to stop the slide show.]
This iconic image was created for The Progressive Magazine’s calendar in 1992 (beautifully designed each year by Patrick JB Flynn). It illustrated this quote by Marge Piercy:
I will choose what enters me, what becomes flesh of my flesh. Without choice, no politics, no ethics lives. I am not your cornfield, not your uranium mine, not your calf for fattening, not your cow for milking. You may not use me as your factory. Priests and legislators do not hold shares in my womb or my mind. This is my body. If I give it to you I want it back. My life is a non-negotiable demand.
Original t-shirts for The Progressive, 1990s
I’m now making this image FREE to use for non-profit, pro-choice organizations to fundraise for supporting women being denied their basic, human rights. Personal use is also fine. Adding/tweaking colour is fine.
The opening image is a high res (300 dpi) jpg. Click on it, pause the slide show, and lift the image onto your desktop.
The image may not be used freely for personal or corporate profit, advertising, or other commercial exploits.
Examples of permissible use (copyright free) :
– pro-choice t-shirts, prints, posters, stickers, etc to fundraise – public mural – tattoo – small run of T-shirts/product for you and your friends – a nice print for yourself or a gift – signs for pro-choice rallies
Any for-profit, commercial use that does not donate the profits to such organizations will still require my permission and a negotiated contract/usage fee, as is usual for re-use of my work – i.e. if you want to use it on an album or book cover and keep the coinage, please contact me to discuss terms.
*Note that the original quote is not included, so please clear with Marge Piercy and/or her publisher for any use other than personal. (Alternatively, one could just put something simple like CHOICE or I WILL CHOOSE, or go wordless).*
In writing the previous post about the Tarot de Marseille Devil, I’d become interested in Typhon as a mytho-alchemical archetype. The deep-delve into research and ‘essay’ writing had also provided a needed Sherlock distraction from still-too-recent bereavement. You’d think grief might fuel some kind of creative expression for an artist, but often it is just too dense a material to work with. Sometimes all one can do is be in the blackness.
Classic Typhon
Down here, at the bottom of the bog-womb, far away from rational thought, gelatinous, amphibious beings are secretly spawning the makings of renewal. That is their sole business. At the deepest, pitch-black ocean levels, creatures deemed monstrous by ‘above’ standards float embryonically in conditions that would kill us, creating their own phosphorescence and exerting as little energy as possible. This is no longer the realm of Neptune and his entourage of Nereids, but of Typhon and his posse of Gorgons.
Amphibious Typhon
Having no luck with my more sophisticated art attempts, I decided to just linger here and sketch the monster. As children, isn’t that one of the first things we draw? Because these embodiments of our young emotions and fears also serve as guardians of our budding imagination and creative process. Who would dare question them on why they have 7 heads or spit poison barf? And in the psychology of myth and fairy tale, the only hero who will ultimately be able to overcome the monster is the one who created it.
Demonic-Draconic Typhon
As it happened, in doing these initial studies, the juices of inspiration began to flow again. Researching and writing about Typhon in relation to the TdM Devil was enlightening, I came to understand the archetype as a primal, hermaphroditic, self-reproducing creative force, as well as the alembic itself. But intellectual understanding is not enough, one has to experience the process. And the heck, drawing monsters is fun. ~rb
Am going to try and stay on top of things and post original artworks for sale, regularly. But also try and keep them current, at least topic-wise.
In lieu of latest news, here are a few of my personal favourites, which I’ve decided to part with. They deserve to be framed and seen, not just stored!
Also, the stars are saying now is a great time to invest in artworks, which never depreciate in value. Win-win for all!
My scanner needs replacing thanks to obsolescence, so the ‘actual’ art pics were taking with point n shoot, so they might look a little dark. The paper I use is is bright, warm white.
Please click on first images of each piece for details.
Use contact form for inquires. Thank you!
‘It is I Who Styles Donald Trump’, The Walrus Magazine, 2017
This piece was for a fictional work by Lynn Crosbie, which described in wondrous detail the styling of the hair ritual of you-know-who, from the point-of-view of the First Lady. Melania and her Mel-lamia assistants concocting the (ex)President.
It is I Who Styles actual piece
Do Tell, Rethinking Schools Magazine
I forget the exact topic of this piece for Rethinking Schools, but it had to do with openness about discussing gender/sexual identity in school. Uncle Sam is transformed into the Blue Angel, and at least one student gets it.
Do Tell actual piece
Phoenix Rising, National Post 2003
This piece was for a story about leaving an abusive marriage, if I recall. A phoenix rises from the burning bed (who remembers that Farrah Fawcett TV movie?). But the illustration can stand alone as symbolic of waking from complacency or transformation in general.
Last year I was contacted by Aaron Louis, New York recording artist and head of audiovisual at the MoMA, to see if I’d be interested in illustrating the cover for his upcoming album. Aaron had first seen my work via the Flannery O’Connor book cover series, after Everything That Rises Must Converge was featured on the TV series LOST, and we’d become Facebook friends.
Flannery O’Connor book in ‘Lost’
I’ve retired from commercial illustration, but since Aaron was a fan of Flann and has plenty of artistic ‘street cred’ himself, I had a good feeling about it and agreed to have a listen. Immediately, both the first and second songs had me bopping out of my chair. Aaron not only has an ear for all kinds of musical genres (though he says his base is punk rock) but is a talented lyric poet as well. His songs are original, tight and fresh. I was excited for him and agreed to take on this gig, an honour.
As this was my first album cover (better late than never!), I came up with about 10 initial ideas. A video of an owl flying around with a stick horse had appeared on my news feed, which I took as a sign we’d be going with the stick horse idea, but he chose a different one to take to final. It wasn’t quite right, though, and in the end, augury proved correct. This time, I preserved the initial sketch, developing it more, rather than risk loosing the spontaneity by doing the whole thing over as a final. Piama Habibullah, the designer then tweaked the colour to make it more neon, for a vintage 1970s punk/new wave look.
The Clamor LP package (photo courtesy Aaron Louis/The Clamor)
The inspiration for the piece comes from an illustrated poetic manuscript from the beginning of the 14th century, would you believe. I do a lot of image researching for my Tarot studies, and had discovered this book by Francesco da Barberino called ‘I Documenti d’Amore’ in the Vatican digital hoards.
You’ve probably heard of the ‘big three’ – Danté, Petrarch and Boccaccio – but da Barberino for some reason didn’t achieve the same level of fame. (Probably because he didn’t seek it). But his highly original ‘personifications’ certainly influenced the work of his contemporaries. Perhaps his ideas were just too wacky. This claw-footed ‘Amor’ (note the word is in ‘Clamor’) spearing and collecting trophy hearts is a bit more ‘punk rock’ than the typical cupid.
Personification of ‘Amor’, from Francesco da Barberino, early 14th c (artist unknown)Amor (detail)
A lot of The Clamor’s songs are relationship-inspired. It’s said that all songs fall under two themes; love and war – sometimes both – and indeed, da Barberino’s ‘Amor’ almost seems to be a conglomerate. Another of my ideas was this simple image of an angel and demon as heart and spade, which ended up being used for singles and the center sticker on the LP. It has more that simple, symbolic Flannery O’Connor cover look Aaron initially liked. (The black background version more so).
The Clamor Heart and Spade logo
I also drew bunch of little, ink line pieces for the inner sleeve, to go with the printed lyrics. It’s an homage to bands/albums of our youth, such as The Ramones or The Clash – notice Piama even made the words diagonal, reminiscent of ‘London Calling’.
You can hear some of the singles on The Clamor band’s official website, find out where to stream, plus buy the album and some cool, RB tees!
Concept for Disney’s Snow White by Gustaf Tenggren – alchemy much?
With chthonic ‘dwarf planet’ Pluto at 29 Capricorn and opposite Black Moon Lilith at 29 Cancer, I was reminded of the ‘alchemist mining the earth’. In fact , this theme, I *believe* was central to Snow White and the Seven Dwarfs. ‘Hair black as ebony, skin as white as snow, lips red as blood’ happen to be the three ‘distinct’ phases of the Magnum Opus; nigredo, albedo, rubedo (sometimes there was a 4th, citrinitas, between the albedo and rubedo). These were also enumerated to seven stages, corresponding with the seven planetary spheres…or dwarfs. Not to mention that glass ‘coffin’.
Here is the clip I was rereading from my files, and apologies, I don’t remember where I originally clipped it from, but it is a quote (must be old, as it uses ‘man’, maybe from Jung?):
“The alchemist mining the earth. Mining or going inside the earth is the first step in the alchemical process. The earth is the body or oneself. Going inside the earth is equal to going into your inner self. Thus we are invited to descend into the earth, into the underworld, or the unconscious. The earth is the symbol of physical man. Man needs to become conscious of his inner world, who he is, what he is doing, what his motives are, and so on. Once attention is directed inwards, a whole new world opens: the underworld of Hades, the dark realm of shadows and monsters.“
And this is from another source, regarding the black phase or ‘nigredo’:
“Here, we are being asked to let go of all within us and outside of us that is false, inauthentic, and not in full alignment with the truth of who we are. This is a truth as it exists on a soul level, far beyond the ego and its limited ideas or illusions about who we “should” be.”
Is it possible that we’re now collectively getting ready to ‘birth’ out of the ‘nigredo’ stage? We began descent into fermentation blackness when Pluto entered Capricorn (feminine earth sign) back in 2008. About a year and a half prior, Pluto had been “demoted” to ‘dwarf planet’ by a handful of young astronomers who thought they were clever by disempowering the planet-god. Clearly, Pluto was in fact operating through them from that unconscious, Hadean realm over which he presides. [Side note: I bet Pluto will take its former status back once it is securely in Aquarius.] As it is, too, with Black Moon Lilith, who loves the freedom of darkness and invisibility of night. In Cancer, the sign of the Moon and mother, she represents the ‘uterine’ blackness itself, the void people desperately try to to a-void but that must be traversed. Our fear of death likely has much to do with our memories of that messy and shocking business of rebirth.
When Ishtar descended into the underworld, she had to leave a veil or some such trapping at each of the seven gates she went through (i.e, stages/planetary spheres). Even then, she had the hubris to want to sit on her sister Ereshkigal’s throne, and for this, she was hung up on a meat hook until she learned her lesson. We can also think of the Hanged Man in Tarot, Odin, and the Freemasons’ weird hanging upside down ritual, meant to instill that same sense of emptying out the false self so as to receive true knowledge that is the ultimate unification of self with world knowledge. The mystery ‘cults’ of Ancient Greece and Rome likely had similar purpose (though originally based on fertility/seasons).
These types of healing and initiation rituals are as old as we are, and are related to vision quests. I am sure paleolithic humans/shamans weren’t so much concerned with ‘self and non-self’ but nevertheless, soul-loss or theft was considered a cause of sickness and their work involved traversing into other realms, perhaps through a pitch black, uterine cave passage, to set things right or be instructed by other beings, ancestors, animal spirits, etc. We exist in more than just this one, as we know simply from dreaming.
Dali Tarot Hanged Man
What happens much of the time is, people start going through this ‘inward’ process unconsciously and are either unaware or resistant. All one knows is the depression, self-loathing or other emotional unpleasantness that arises. This is a calling from deep in the soul, but thinking that it is abnormal and needs to be ‘cured’, one fights it, is taken over by substances used to quell it, or fears losing control, which is akin to death. Because how can one function in this world, with all its glaring eyes, while descending into another? But there is no choice. If we ignore this call, Pluto will then bring about an outer event that will force us inward. That is what has been happening, collectively. The three outer planets are ‘the three alchemists’; Uranus shocks, burns and blows up, Neptune dissolves and dissipates, and Pluto pressure-cooks us into change that is permanent. Their transits are long, affecting entire generations.
Artists, poets and musicians of each generation are modern shaman-alchemists of sorts, who traverse the deepest chasms to bring back healing for the rest of society (you’re welcome). But it’s not exclusive, by any means.
Pluto will be leaving earth and entering air starting March 23 (with two retrogrades back to Cap), followed by Uranus leaving earth and entering air and Neptune leaving water and entering fire, both in 2025. Use the next couple of years, with Saturn in Pisces and the alchemists still submerged or partly submerged, to do your spelunking. If you are hearing the soul’s call, don’t be afraid to descend, to enter the labyrinth (you can leave a golden thread to guide you back out). Perhaps you are already in one of the stages or nearing completion, as many of my Saturn Pisces brethren must be.
Point is, you are full of hidden mysteries and treasures to be mined!
