Occult as Inspiration.

A review.

"We like the idea of creating a hidden language, as if we were communicating with other places and dimensions, as if it were our own private religion." - Luke Frost


     I read an article a few months ago (from May 2012) about a growing group of designers that are inspired by the occult. Having forgotten about it, I recently read it again and was pleasantly reminded that I'm not the only one with the belief that a nice sliver of hidden meaning is what makes an illustration worth looking at.

     The article makes endless reference to symbolism and how, by implementing symbols, one can hint at meaning or convey "transcendent realms or experience".
     It is also suggested that the use of said symbolism brings more to the table than simply creating an image: "the occult is additive in its use of imagery. It always offers that little bit more, which you might describe as 'chaos', but in reality, produces an intense, visual indulgence." This seemingly superfluous addition of imagery brings with it further insight into the "meaning" of the piece as a whole. Though these symbols may not necessarily be decipherable to the viewer, the mere fact that they are present alludes to an 'unwritten', unknown subtext giving the image a sense of depth and integrity that provides a powerful spark of intrigue 

     This fusion of integrated yet separate elements within illustration is described as being the descendant of collage; a medium in which narrative and message can be created simply by juxtaposing two elements: "as if images placed side-by-side point to some new, unconsidered history." This notion of creating something entirely new from preexisting elements is of course reminiscent of alchemy; where magic and science convene to question the limits of mother nature to the point of breaking. 

      For me, this article sums up everything I love about illustration, imagery and art as a whole. The ability to capture that which is ethereal in nature, to allude to the auratic and mysterious by making the viewer pose query and search for the concealed, is something I am keen to explore within my own practice.

1,2,3.. Advice.

     Back in November, Charlie and I had ourselves an arduous adventure to the idyllic little town of "Lon-don" to (among other things) visit our favourite illustrator/ tattooer at The Circle Tattoo Studio in Soho. Despite being too busy trying to pretend that I wasn't in pain to ask the questions I'd thought of in advance, most of the answers naturally cropped up in conversation.
     Of all that was discussed, one thing in particular stuck in my mind: 'Keep going in and just ask loads of questions. Be annoying.'. 
     Though this was originally said in the context of pursuing a career as a tattooer (which is something I am definitely interested in) I feel it can be applied to life in general. If there's something you're interested in or passionate about; pursue it. Find out all you can about it and don't be afraid to pose questions.

     Over the course of the year, usually as one brief ends and another begins, one piece of advice has been given to me from multiple sources, time and time again: "Just go for it!".
     I've heard this so often in fact, that it has become a sort of mantra for approaching each new body of work. My working practice is usually rather labour intensive and tedious, with hours upon hours of work put in to even the smallest of drawings. So meticulous is my approach, that I  would often dive straight in to producing a finalised piece of work rather than taking the time to experiment with and jot down ideas that would be better than or an improvement to the outcome. Since being told to "just go for it", I've found myself being more loose in my approach to work; I'll often sketch out and experiment with smaller versions of a bigger piece without giving in to the compulsion to render each one into a "finished" piece.

     Given the almost identical nature of these two quotes, it would be almost rude to not include another that has a similar gist.
     After recently purchasing and listening to some new records I came across a song that left me feeling unnaturally motivated to go after the things in life that I wanted. I'm not going to sit and type out the whole thing but the song is titled "Keep On Keepin' On" by Seasick Steve, which I'm sure will give you some idea as to the message in it.

The Mark of Cain.

A documentary on Russian criminal tattoos.

     Having been interested in the cultural traditions of tattoos for a while, I found this documentary immensely interesting. It is filmed on location in several notorious and incredibly overcrowded prisons in Russia, involving interviews with guards and prisoners alike.

     The film documents the vast and complex visual code that was commonplace within the Russian penitentiaries up until the late 80's. Criminals during this time, would wear tattoos so that others could determine their rank within the prison. These would consist of tattoos signifying past crimes and the nature of their sentences, number of sentences (including time served for each), drug addictions and their outlook; such as a willingness to kill for pay and a disregard towards authority.

     This system of tattoos reflected an undertone of honour amongst the convicts. For example should an inmate acquire a tattoo that he was undeserving of, he would be beaten and have it removed by cutting off the skin.

     Although tattoos and the system in which they are earned, applied and understood is the main focal point of the film, it also gives insight into the bleak lives that these men and women are forced to lead. The way in which interviews are conducted and the unbiased approach to the information that is presented has a poignancy that resonates so fervently that you are left with a sense of unanticipated empathy, and indeed even respect, for some of Russia's most violent and hardened outlaws.

I wish I'd done this.

     Combining tattoo traditions from across the globe, Guy Le Tatooer is without doubt a veritable pioneer; through his own artistic pilgrimage to perfect his own timeless style he is pushing the boundaries of the medium and taking it to new and unexplored places.

Guy Le Tatooer - Tattooed arms, 2012

     In mid 2012, on the walls of Paris' Gimpel & Muller gallery, hung a series of box-frames. Within these frames were arms, reproduced in the unsettlingly realistic medium of silicon which had then been graced with the privilege of having tattooed upon them the unmistakable modern twist of folkloric imagery that is Guy Le Tatooer.

     The arms themselves are reminiscent of the animals and body parts preserved in formaldehyde in days of yore and bring with them the macabre aesthetics and morbid intrigue of specimen jars. Coupled with tattoo (a medium which has fluctuated in terms of class association over the past hundred years between valiant monarchs and thuggish peasants) these works, grouped together as a body of work, give off an air of forbidden interest, and from within the walls of the gallery, present this long standing taboo as if it were any other high art.

     The work exhibited was a study of how images "fit" the body. How they flow with the contours of the human form. As well as this, within the context of the gallery, Tatooer was providing a literal and undeniable interpretation of the tattoo as art.
     The composition and placement of tattoos and how they interact among each other when placed on the human body is something that interests me greatly. Carried out properly it can enhance a tattoo to beyond mere imagery and propel it on into something more. It is in itself a feat and through Tatooer's exhibition, can be truly appreciated.