Ran into some technical issues with this one that the few solutions I came up with just didn’t cut it visually. So there’s sorta two parts, the first, if I were to use a singular image, would be the one I’d select. The second could stand on its own as a separate work in the series, or perhaps as part of a diptych.
And just to see how they work together:
Update: Managed a stitch-together of the two parts that’s remotely acceptable, but I’m undecided which I like better.
…. aaaand the line is crossed, the shit hits the fan, and the borders start to fall apart.
Well more appropriately, night 2, I guess these should be “the ten nights of Cthulhu”
The bright blue window behind me belongs to a dude working in his garage; we’re wondering how many nights before he comes over and asks what’s going on.
My bro seems hellbent on being as frightening as possible – as frightening as one can be holding a plush Cthulhu. Not gonna write a whole lot about these at this point, I sorta wanna see how the series plays out over the next week.
New work; it’ll be a touch on the long side, 140″x36″, and that could be approaching … difficult, hanging-wise. I am open to suggestions. I wonder if you can get glass that long.
Something of a start of an exploration of memories that don’t exist, through a pilgrimage to somehow make them exist. The series will expand/extend from Crossroads to a fair degree.
Just a working title, will probably change if the next sets hammer themselves into some kind of series. Bit of a flexible exploration of a single space, over a fixed duration, colliding two separate conceptual histories I like to play with – the Hoodoo crossroads ritual, and H.P. Lovecraft’s Cthulhu mythos. Complete with plush Cthulhu effigy.
I have spent the last couple of weeks writing, submitting, and then recovering from a rather heavy job application, to which apparently over a hundred people have applied, so I can only pray I get an interview. I also got another rather large print finished, which I’ll post here shortly.
In other news – welcome to the Ten Days of Cthulhu, an unofficial holiday that might have been made up by someone else already, but I’m at least highlighting here and to some degree claiming it as my own.
In H.P. Lovecraft’s The Call of Cthulhu, the principle character encounters a young artist who, during the period of March 23rd to April 2nd, 1925, dreams endlessly of the sunken city of R’lyeh, where the ancient one, Cthulhu, slumbers in waiting. Many others at this time share the same nightmares, culminating when suddenly this artist takes to a feverish coma of sorts – and when, halfway around the globe, certain other dread happenings raise R’lyeh to the surface and awaken the elder god from his sleep.
So, to celebrate, apart from some other dorky revelry involving a Lovecraft-inspired board game and a good deal of reading, I do believe I will take it upon myself to engage in a ‘durational project’ involving a bizarre fusion of crossroads rituals and Cthulhu mythos. It could be wacky.
“Ph’nglui mglw’nafh Cthulhu R’lyeh wgah’nagl fhtagn.” (“In his house at R’lyeh dead Cthulhu waits dreaming.”)
And I have a couple other applications to get done. So who knows what will come out of this ten/eleven days of darkness! Enjoy!
Ok so I cheated multiple times this week, didn’t take long did it?
This is a composite pano, sort of a prototype for another work I shot at the same time but requires a great deal more tweaking because, well, I think it’ll actually be a piece proper. I must credit Aaron Hobson for inspiring a new tactic to further compress the space in this kind of work, although panos with a definitely-not-wide-angle lens was quite the pain in the ass. Still, I think the compression of space in terms of distance, combined with the panoramic compression, may well aid in that whole fictional projection thing I seem to be hooked on lately. And I’m almost happy with exploiting the depth-of-field here.
Re-reading some Barthes lately; I wonder if the late author would find David Hilliard‘s use of depth of field / tilt-shift focus satisfying to his sensibilities of studium/punctum – Barthes didn’t otherwise seem very satisifed beyond a superficial interest in any photo exploiting such things (a perspective with which I tend to agree, but Hilliard’s work for me is a giant exception).