PESUGIHAN - Nyupang Pocong @Sawangan Of Darknes (Depok)

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Sublimation

small pencil sketch from cropped photo, 'cause I wanted to see a big picture here

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Nothing personal...

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I had me a right ponder on the throne this morning. The value of conceptual knowledge. Would we sense what's good to eat and what would kill us without conceptual knowledge? Could pure senses tell the difference? Moot point since everything coming in through the senses is filtered and translated by already existing knowledge. That's what tells us there's a thing separate from us at all. Manifest reality - or nature, if you will - is not nice, or mean, or indifferent. It doesn't produce pscilocybin shrooms to thrill us, nor Deadly Nightshades to kill us. It doesn't extend one life a century and end another in minutes because of who they were. When I die, it won't be about me. It happens whether you're ready or not. If death is impersonal, doesn't it follow that life is?

 1/21/16

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Corporate Espionage (muah-ha-haaa!)

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Back in the 80s I worked in a rice processing plant. Cameras weren't allowed but one day, since I had the top floor mostly to myself, I saw fit to smuggle in a little instamatic (a type of camera so old that spellcheck thinks it's not even a word). It was small, fit in a jacket pocket with ease.
My job up there on the "cooking floor" was pretty easy, and slow, so I was always wandering around out on the roof (5 stories/80 feet up) taking in the views.
Here are a few of them, plus an oil sketch I did some years later from this one.

Added sort of as an afterthought, this is a 20x24" oil on canvas I did from sketches I made out on the roof one other day.

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"Druid" "Necromancer" "Old stump in a lake"

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Pencil drawing in 6x4" sketch pad, based on the photo below, taken out at Craighead Lake years ago.
I have nothing new at the moment so until I do, maybe I'll trail out my old stuff, keep the blog-o alive, and have some fun with it.

I don't know. It's hard to muster enthusiasm for this form anymore. What I do falls under the heading of a sub-genre of the blog-o-sphere, at best. At one time, one report I read, ranking blog types by popularity, called us - the largest number, but least in popularity - the "stream of consciousness" bloggers. There were, and I suspect still are, jillions of us out here, but you gotta reach out a little. Something I'm decreasingly inclined to do, obsessed as I am  with my "psycho-spiritual" conundrum.
Oh, I don't have the moxy on me to go into that. Not just yet.
So for now, I guess I'm predicting (and we all know how painful that can be) that I'll just keep posting old stuff, and see what happens (that's the best part of predicting anyways ain't it?).

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We are all...

"We are all ordinary. We are all boring. We are all spectacular. We are all shy. We are all bold. We are all heroes. We are all helpless. It just depends on the day." - Brad Meltzer(via whiskey river)

Shirt on a hat on a bedpost

Dirty Harry on a tee shirt

 real donkey I met once

Elepeoall

Video0.3gp

This is an experiment with a $15 go phone I've had for about 3 months, and just discovered it has a camera, and video. Who'd a'thunk it?
 That's my finger flitting back and forth in front of the lens. Psychedelic huh?
It also has audio, so I'm liable to be singing at you before it's over. No. No. I won't do that. (Be relieved, very relieved.)
But I am intrigued by the potential. It's a medium I haven't really considered before.
Mua-ha-haaaaaaaa...etc.

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H.R. Giger, 1940-2014

~This is on Netflix now. I watched it last night, very much enjoyed, and recommend that it's well worth poring through a few subtitles - about two thirds of it is in German - but one of my favorite parts is in English, that being the analysis/commentary by Stanislov Grof, who sees Giger's work as expressive of the perinatal journey, which makes a lot more sense to me - makes his work relatable to all - than any of the other (more speculative and personal, imo) interpretations offered by others in the flic.
You get to see his home, how he lived and worked. There are great scenes showing him at work, a real treat, daunting and inspiring at once. He was a Master.
The filmmaker, Belinda Sallin, clearly loved Giger and his work and imparts a mood and feeling that fits the subject well.

Enlarge these. It's worth it. This one's from his "Biomechanical Landscape" series.

OK, a little hambone here. A sketch I did shortly after seeing "Alien" back in '79.

I don't know the name of this one, but it's probably something Ridley Scott saw that moved him to approach our man about working on the movie.

Another in the "Alien Monster" series.

Cover fold-out from Danzig's 1992 album "How the Gods Kill." A slightly modified version of "Master and Margarita," shown in it's original form below.

Notice the difference?

"The Spell" He has a whole room in his house dedicated to this one.

Giger's biomechanical take on Arnold Bocklin's "Island of the Dead."

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