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.

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.