darkartandcraft

[darkartandcraft]

Upcoming Event and Sneak Peek: Metalsmith Hvnter Gvtherer's Newest Collection Iron Age

This Saturday, we enter the Iron Age. Hvnter Gvtherer's newest collection will be debuting Saturday, June 30th at 7:00 pm at Black Oak Tattoo. The show features a tour de force of live performance, readings and of course, a new collection of apparel and metalwork. Photos in this story are a sneak peek of the new Iron Age lookbook out June 30th. 

“Iron Age is a two-year project in the making. It’s the most directly political collection I have,” says Laura Prieto-Velasco, owner/creator behind Hvnter Gvtherer.

  Traditionally, this website features two-dimensional artists in the low-brow realm. But after learning the story behind Hvnter Gvtherer’s newest collection, we knew we wanted to feature them amongst our growing collection of dark artists.

“My husband and I have been trying to conceive for the past few years, last year I had a brutal miscarriage during the period when I was also conceptualizing the themes of Iron Age. I thought it was really fitting: themes of fertility and expectation (metaphorical as well having an idea and how to nourish it). That’s what held me up during that time I needed time and space to heal and not push myself further.”

Prieto-Velasco elaborates further into her haunting, horrific dreams that began informing her creation process.

“Prior to the miscarriage I had dreams that informed the spears. There was a party at my house and I went down to the basement to create something for them – something I commonly do when I need a moment to myself in a social situation. Instead, I found an overweight white male downstairs who was pleasuring himself by shoving a spear I had made up his ass for sexual pleasure. I was like what are you doing that’s my magickal spear! That day the school I work for was doing an iron pour. He (my husband who worked at the University) asked if I wanted to create a mold for this Iron Pour. So I decided to start making these spears that I dreamt of.”

   The collection itself is comprised of a variety of media: Prieto-Velasco creates her first series of dresses and multi use garments, hats and headwear, steel masks, leather gloves with human hair extensions and simple nail necklaces. All of these items informed by the conceptual foundation of Iron Age.

“The political landscape is specifically related to Iron Age. One example is the trade tariffs and how they are going to put a 25% tariff on steel. Its wild! There’s so much happening that its’ contradicting itself politically. Reading the news is a constant guessing game of whether or not it’s fake science fiction or reality. Science fiction has been a way for us to understand our current reality.”

Hvnter Gvtherer began in 2012 as wearable art inspired by ancient Etruscan aesthetic minimalism, transcending the barriers of fine art and fashion.

“Once I started teaching I began questioning my relationships with galleries, and my wearable art pieces. Then, I discovered Instagram and the whole community on there and decided to give it a try and make wearable jewelry. I was really interested in freedom that a brand affords compared to creating under your own name: it allows you to conceptualize an idea in a larger framework. Art under an artist name is so limiting – I liked the anonymity that design affords.”

    It’s always interesting how individuals both inside and outside of the community conceptualize Dark Art. We asked Prieto-Valesco how she perceives the phrase “dark art.”

“Dark art conjures up the occult and other ways of perceiving and interpreting the mysteries of the world. Just from my own personal hobbies and passions I think a lot about flamenco as an art form that was traditionally oppressed by the Spanish government. It wasn’t until later that (the government) realized they could make money on it by putting it on stage. Originally creating by the Romani people who were metal smiths and were accused of witchcraft.”

Iron Age premiers at 7 PM on Saturday, at Black Oak Tattoo Studio in Logan Square. We asked Hvnter Gvtherer what she hopes others take away from Iron Age.

“I want people to entertain the ideas I’m presenting and see how they resonate in their own lives, if they do, at all. If it’s pure entertainment: that’s okay too! Some of the pieces are going to be for sale, all of them are one-of-a-kind artistic garments. All entry fees are going towards the models.”

  If you’re in the Chicago area, make sure Iron Age is on your list for this Saturday. For those of you who can’t make it, Hvnter Gvtherer has a variety of items available for presale, including new limited custom printed tees and bandanas:

https://www.indiegogo.com/projects/hvnter-gvtherer-iron-age-fashion-show-design-jewelry#/

If you don’t, make sure to give them a follow on Instagram and check out her website for more of her work from past series such as Bronze Age, Origins and Exitium.

Look Book credits

Design by Eileen T. (@ileensan) of OTHER studio (@_otherstudio)

Photography: Mateo (@fotodemateo) 

Styling: Laura Gordon (@logordon_)

Model: Cara Molitor (@thedollyfox)   

#Hvnter Gvtherer

[darkartandcraft]

Don't work for Pennies and Other Advice: an Interview with Heavy Hand

Mark Richards aka "Heavy Hand" is a classically trained illustrator who found his way into metal illustration. He has gone on to become one of the most prolific contemporary artists in the metal community, working with artists such as Aborted, Agoraphobic Nosebleed, Artificial Brain, Funebrarum,  Iron Reagan, Revocation, Pig Destroyer and many, many more. We got the distinct opportunity to discuss partying with Dan Seagrave, illustration career advice, and his music with the California-based artist.  

 Tell us the Heavy Hand creation story. How did you become a metal album illustrator?

As I’m sure is the same story with most metal artists, it started in elementary or middle school, recreating my favorite bands’ logos and album covers; Black Sabbath, Slayer, Metallica, Megadeth, etc. Metal imagery looked so cool and different, and I wanted to know how it worked. When I eventually started playing in bands in high school, I would do the art, and friends wanted art for their bands. When I went to college I found any excuse to make metal-centric art for projects and it just kept snowballing from there.

What does the phrase dark art mean to you? Why do you think you gravitated towards it?

To me, dark art is anything creepy, grotesque, evil, or terrifying. Strong dark art should be able to evoke and portray concepts, ideas, and emotions people would prefer to dismiss because they feel unsettled or disgusted. I think I gravitated towards dark art because I acknowledge that there’s a lot of darkness and morbidity in the world. Instead of ignoring the fact that we’re all going to be fertilizer one day, I’d rather embrace it and have fun. I’ve been exposed to horror movies and death metal album covers for as long as I can remember, so it could just be that dark imagery has been a constant in my life. And really, demons, hell scapes, skulls, and rotting flesh are way more fun to draw than anything else.

Do you take on commissions that aren't dark art related? Why or why not? If you do, why don't you show them?

I’m always willing to take on commissions outside of my usual subject matter, as long as it’s a challenge, or at least fun. As much as I love drawing all sorts of messed up stuff, I also want to draw a portrait of someone’s puppy, dammit. It’s important for me to get out of my comfort zone sometimes; it helps create balance, allows me to grow as an artist, and makes me really appreciate the work I’m lucky to be doing. I’ll show some of the lighthearted stuff here and there, but only if I believe it’s up to par with the rest of my work. Sometimes clients prefer to keep their commissions private. This type of work gets lost in my usual shuffle of carcasses and creatures, so some of it gets overlooked easily.

What is your top ten list of greats that have inspired you?

My inspirations change daily depending on what I’m doing, but the artists who have made the longest lasting impact on me are:

1.     Hieronymus Bosch

2.    Gustave Dore

3.    Bernie Wrightson

4.    Zdzislaw Beksinski

5.    Dan Seagrave

6.    Sam Kieth

7.    Wes Benscoter

8.    Mark Riddick

9.    Ralph Steadman

10.  Florian Bertmer

What was the moment you realized you could be a professional artist?

To be perfectly honest, I don’t think I’ve become a professional artist yet, at least in terms of my expectations for myself. There have been many moments in the past 5 or so years when I thought, “This is what I can and should be doing for a living,” then almost immediately realizing all the things I would need to improve before making it happen. That said, the moment I realized I should drop everything and focus on becoming a pro was last July, shortly after getting pins put in my drawing hand due to breaking it in a mountain biking accident. I had to cancel a lot of work that I needed to fund a move across country in September, so it really put me in a shitty situation. Luckily my doctor cleared me to put some pressure on the hand once I got a hard cast, so I started to get back into drawing. It was painful and awkward as hell, but I managed to make an illustration for an Eyehategod poster that became my most popular piece at the time. Within a week or so I had accumulated 2-3 months worth of commissions, so I was feeling more confident than ever to quit my soul-crushing job and just draw forever.

  How did you start illustrating for metal bands? How do you think you went from your first illustration to making the genre your bread and butter?

In the beginning, it was just creating art for bands I played shows with, friends’ bands, and my own bands. It helped that there weren’t many other metal artists in my general area, and no social media to make it easy to find a million artists in a second. I became one of the go-to guys for a lot of bands via word-of-mouth, mainly for logos and simple t-shit designs. Making metal art has always been the most fun for me, so I just didn’t stop, let bands know I was available, and made sure to evolve however I could. I never really thought it would become my bread and butter, but I’m happy it happened and continues to work for me.

What is a sure fire way to piss a potential client off as an illustrator?

Since no one has ever told me straight up that I’ve pissed them off, I can only speculate, haha. I’ve heard bad stories from friends and clients about artists not acknowledging their ideas at all, not showing progress when it’s been requested, and ignoring strict deadlines. Something I’m sure that would piss off anyone is poor time management; I have to admit I’m guilty of taking a lot longer than I usually expect (mainly because I don’t envision myself doing things like drawing a full head of hair on a corpse for 4 hours), but I do my best to communicate that and not drop the ball completely.

Let's do the opposite - how can a potential client burn their Heavy Hand Illustration bridge?

There are many ways to burn the bridge into Heavy Hand Land. Being undervalued is probably the biggest thing that fills me with art nerd rage. When a potential client hits me up with tons of praise, saying they love the piece I did for this band or that band, name my price, blah blah blah, and then try to lowball me with some ridiculous “offer” that’s a fraction of my quote, I see red. I can’t tell you how many times I’ve heard something like “well so-and-so said he could do the same thing for $25.” Fuck. Off. Fuck off as far as you can, and then fuck off some more. There’s usually a good reason that idiot is only charging $25. Money isn’t everything, and I’m not greedy, but this is my job and I’m not working my ass off for pennies. Another surefire way to piss me off is undermining my skills and vision, or expecting me to try emulating someone else’s style. The main reason people should be coming to me for work is because they enjoy what I do, and how I do it.

What are some of your career highlight clients that you've worked with?

I would have to acknowledge Scott Hull of Pig Destroyer and Agoraphobic Nosebleed first and foremost. Scott is one of my favorite riff-writers, very down to earth, and trusts me to do pretty much anything I want. Of all the bands I’ve worked for, I’ve been listening to PD and ANB the longest. They’ve also consistently had some of the coolest visuals, so I feel honored to be among some of my favorite artists (Paul Booth, Florian Bertmer, John Dyer Baizely, Chris Taylor, etc.). There are a solid handful of other large, well-known bands I’ve been able to make art for, but in terms of my own personal musical preferences, Ghoul, Horrendous, Internal Bleeding, and Funebrarum were big highlights for me.

If you had your own chance to make your own homage to an album that's been influential as fuck to you, what would it be?

Broken Hope’s Loathing, without question. I vividly remember scouring the used section of Newbury Comics in Hyannis, MA when I was maybe 15 or 16, and Loathing really stood out. I had never heard of them, but I loved the logo and I couldn’t mistake the Wes Benscoter cover art. It was only $5.99 so I had to take the chance, and I was blown away. Joe Ptacek’s inhuman gutturals were terrifying, the lyrical content was creepy, dark, and creative, and the riffs were so groovy and brutal. Almost 20 years later, it’s still my favorite death metal album and cover art.

What is one of your most memorable experiences from your career - funny, surreal, wild, totally open interpretation!

I can’t really think of anything “funny” happening, but I’ve definitely had some surreal experiences. The first thing that comes to mind was Dan Seagrave coming to the Path Of Dissent show at Eridanos Gallery in Boston. It was an amazing time getting to talk with a hero, but it was even better when he offered me a beer, then later wanted to hang out and drink more. It was like the first time I shared a beer with my dad, if my dad painted the coolest death metal album covers. I have to credit Steph of Dark Art & Craft with making that moment happen! Oddly enough, the other strong memory I have was a few months later when Path of Dissent was installed for a one-night show at St. Vitus in Brooklyn. The night before, I had been busting my ass to finish one of the absolute worst commissions I’ve ever taken on. When I was maybe an hour or so away from finishing at something like 5 AM, my desk collapsed, sending numerous bottles of ink and watercolor flying. The art was destroyed, I was out close to $100 worth of supplies, my apartment was a mess, and a few hours later our buddies Joe Gettler and Michelle Dugan were on their way to pick me up to go to the show in NY. I think I got an hour and a half of sleep that night (or morning I guess I should say), and only another 2 hours of sleep the following morning before heading into work at 6:30 AM. I also broke up with my girlfriend at some point in the night, so it was a really good time. Overall, the worst/funniest part was having to redo that awful art, which I’ve never shared on social media and will regret making for the rest of my days.

Not only are you an illustrator, you also have been active as a musician in the New England metal scene. You working on anything currently?

At the moment I have a ton of stuff written for various projects, but almost no time to really get anything off the ground due to all these damn illustrations, haha. Before I moved out to San Diego, I had a lot of stuff written for my last band Bacterial Husk, which will now be used for a death/thrash project in the same vein, tentatively called Carrion Vessel; Kyle, also formerly of Bacterial Husk, will be handling lead vocals. In addition, Kyle and I are working on a grind project called Infinite Loss. I’m hoping to get some sort of dirty, creepy-crawly death metal band going out here so I can play some shows again, but it’s tough since I don’t really know anyone from the metal scene.

How does working on music affect your illustrating? Averse? Positive? Can you tell us a little about that?

Making music is a huge positive. Music and art are like yin and yang for me. When I’m feeling frustrated or need a break from one, I can bounce over to the other to clear my head and avoid any long stints of creative block. The only negative is that I can’t do both at the same time!

What is the weirdest piece you've illustrated?

There are so many to choose from, but I did a shirt design a few months ago for UK band Gurt. They wanted a design for their song “Battlepants,” which is about a scantily clad barbarian. Part of the request was, and I quote, “we want the character to be wearing studded denim hot pants please!?” Runner up would be a butter-melting dragon for Seattle-area band Butter Boy’s album Melt.

You've been doing this for a while now. What do you think is the most over requested subject matter you get?

Post-apocalyptic/dystopian cityscapes and zombies are probably tied. There was a point a few years ago during which I was turning down jobs left and right because it seemed like every band wanted the same thing. I don’t get as many requests anymore, but when I do I have to make sure I either offer up a unique approach or alternative. I don’t mean to diss anyone who wants these elements in their art, but an important aspect of my craft is to make sure I don’t make anything too generic. Not only do I want my art to look sweet, I want the bands I work for to stand out in a crowd.

What is the most difficult illustration you've ever had to do? Why?

It would have to be the piece I referenced in the funniest experience question. I don’t want to openly talk shit about a client, so I won’t release the name or go into any specifics. The subject matter was extremely generic and boring, and the client just did not want to entertain any thoughts I had that would make the art better. I even showed him several pieces that had been released in the previous year or 2 that were almost identical to what he wanted. I powered through it reluctantly and even tried to sneak in some extra stuff to make it worth my while, but he still didn’t budge. When I was nearing completion of the first version and the desk collapsed, I was so shocked and defeated that I couldn’t even react. The second version ended up taking way longer than the original, mainly due to the client wanting to see an unnecessary amount of changes and adjustments. It got to a point where I had to stick to my guns and firmly say no. One of the most frustrating parts of this whole experience is that I did make several changes he wanted to see, only to come back and say, “you know on second thought, you’re right…go back to the last version.” Once the illustration was finally locked down, what I thought would be a very simple layout turned into the nit-pickiest shitfest I’ve ever endured. One specific question I received was, “do you think there’s too much space between the T and H in ‘the’ in that song title?” I’m way too nice in situations like this because I want to be as professional as possible, and it took me every ounce of willpower I had to not Hulk out and throw my computer through the window. I think what made this whole situation the most difficult in the long run is that a lot of people actually loved the piece when the band released it. It made me angry for the first time that no one would say my art sucked.

What are some of the most important things an illustrator can do to become successful?

Having a strong foundation in all the basics is definitely a huge part of success; not all art has to be masterfully crafted, photorealistic, or hyper-detailed, but if you don’t have any technique or compositional skill, you’re not going to get far. The number one thing beyond the basics is being critical. If you can’t be critical of your own work, you’ll never get better. You can be happy with your work, but you have to be able to see where you can improve. I can’t think of a single piece I’ve created that doesn’t have several aspects I wish I did better. Instead of looking at it as a negative, I remember that stuff when I start the next piece and do my best to improve. This not only applies to skill and technique, but to concept, subject matter, and how you present yourself to the proper demographic.

You moved across the country recently from the east to the west coast. How has this move affected your career as an artist?

My move to San Diego has been mostly great for life in general, but there’s been a great indirect effect on my career. It seems like it shouldn’t matter since I get the vast majority of my work from the internet, but being in this type of environment helps drive me forward. I was really feeling stressed and beaten down in the northeast. The inclement weather, destroyed roads, completely unpredictable stints of heavy traffic, unreliable public transportation, aggressive driving, shitty attitudes, cost/quality of living, and luxury condos replacing pretty much every square inch of the Boston area all crushed my spirits more and more everyday. Out here, it’s almost the exact opposite; people in general have a lot more positivity, drive, willingness to support their peers, and general pleasantness. The weather is 99% perfect, which I think has a huge effect on quality of life; the roads are in tact, cars aren’t falling apart on the highway, there are no huge storms slowing everyone down. I’m sure I could be criticized for going soft or some shit like that, but it’s a lot easier to get into the right frame of mind when your surroundings are calm, welcoming, and full of other creative people who want to see you succeed.

What's on your drawing table right now? Are you at liberty to discuss some upcoming releases featuring your work that we should keep our eyes out for?

At this very moment I’m completing a mini-tour poster for Boston-based bands Upheaval and Ritual Blade. I don’t know how specific I can get on other stuff, but the most exciting project is an officially licensed Army Of Darkness-related piece. The Evil Dead movies are my favorites of all time, so I’m shitting bricks over here. Another thing I’m very excited for involves Napalm Death, the band that really got me into underground metal/grind. I’m also working on several pieces for some well-known repeat clients, and of course drawing a shitload of skulls.

  What is your advice to the budding artists out there?

If art is truly what you want to do with your life, dedicate as much as you possibly can to it. Half-assed effort doesn’t work for anyone in any walk of life, so you have to be in it to win it. It’s going to suck a lot, you’ll probably be broke for a while, your hand, wrist, and forearm are going to hurt all the time; you’ll fall asleep at your drawing table and miss out on a lot of socializing with your family and friends. You’re definitely going to put countless hours into something that you end up trashing, or no one else likes. None of this sounds glamorous--because it isn’t--but it becomes rewarding when you see improvements, and other people start to notice the good, hard work you put in.

Make sure to follow him on Instagram, and check out his website for news, upcoming releases, and originals, prints and merch you can snag!

#interv #metal artist

[darkartandcraft]

Trapped in the Dream of Death - Interview with Illustrator and Tattoo Artist Revolting Worship

We were honored to sit down and talk to Columbus, Ohio resident Nate Burns, aka "Revolting Worship" about his artwork, his transition to the tattoo realm and a little bit about his success with social media. 

So, can you tell us the story behind Revolting Worship? Why did you decide on that handle? How long have you been revolting worship?

The pen-name “Revolting Worship” was birthed mostly out of my entrenched metal nerddom; sort of harkening back to the history of artists/musicians of the genre utilizing pseudonyms to “brand” their creative output. It was a fun exercise that honestly ended up sticking more than I imagined/intended it to. 

Please summarize your illustration style in 3-4 words. 

Line & texture obsessed canoodling. 

You saw pretty prolific growth before Instagram started tangoing with their algorithm. What sorts of actions do you attribute your success?

Lots of time spent drawing to always have something at least halfway worthwhile to show for the efforts. Basically pouring in time to honing my craft was the primary goal (as it always should be as far as I’m concerned) but it just so happened to work in my favor that the old social media algorithms benefited those with speedier working processes ie. always working means always having something you could show means being pushed into feeds more often. The constant flux in algorithm changes hasn’t effected my working process or the amount of time I’m working, however. 

Did you always want to be an artist? What made you decide that's what you wanted to be?

I’d say in some form or another, yes, I’ve always wanted to make art for a living. Some of my earliest memories were drawing my own bootleg Batman and X-men comics, haha!

Okay, so here's one of our topical questions but get into it. Who are your top five greatest influences into your artwork (not that we can't guess some of them - cough DORE cough)?

Haha, well, Dore is in there for sure. Dürer, Harry Clarke, Joseph Clement Coll and Bernie Wrightston would probably have to round out the rest of that line-up. 

What creators should everyone reading this article follow on social media? 

Ooo hmmm. Some personal faves are Henrik Uldalen, Becky Cloonan, Little Thunder, Allison Sommers, Mike Moses, Brian Ewing, Randy Ortiz, Brandon Holt, Mike Sutfin, James Jean, Eric Fortune, Michelle Konczyk, Allen Williams, Adam Burke, Alessandra Maria, Jeremy Hush, all the artists I have the pleasure to work with in my American Crow family, the list goes on. 

How long have you been illustrating? About three years ago, you began tattooing. Why did you decide to do that? 

I’d say I’ve been illustrating in a professional capacity for about 7 years now? Looking back, I’m hesitant to call anything from the first few years very professional but I suppose that’s the ever present “your own biggest critic is yourself” that a lot of artists have haha. 

As far as making the leap into tattooing; it happened pretty organically. I had been getting tattooed for years and developed a friendship with the David Boggins, whom had been doing the majority of my tattoos at the time. We had had art nights every once in a while together so he became acquainted with my illustration style, etc. and over the years of getting tattooed and becoming more and more exposed to other artists and the industry in general, I started finding the idea of tattooing more interesting. I ended up asking David if he was interested in taking on an apprentice and it all started from there! 

How has tattooing influenced your illustration work and your illustration work influenced your tattooing? 

They’ve both influenced my drawing style subconsciously. The way I make marks and compose things has definitely changed (for the better, I believe) the more I started approaching a piece from the perspective of tattooing. Now, the only glaring difference between how I handle an illustration vs. a tattoo project is that when it comes to an illustration I can cut loose on a lot more detail, etc. simply due to working on paper and it’s possibilities compared to flesh. 

Has tattooing affected the amount of illustration commissions you take on? If it has, how has it made you selective and what are the projects you take on now as a result? 

Its definitely made me more selective on what illustration projects for the sake of finding the time to work on it.

How has tattooing changed your artwork? Now that you tattoo, do you find yourself exploring different subject matter or imagery than you did when you just illustrated

I’d say its influenced the sizes I like to work at? I’ve found myself really enjoying working larger and “stretching my creative legs” when I get a chance. 

What are some of your favorite illustration projects you've ever done for yourself? For someone else? 

I’m really excited about a personal piece I’m working on currently for the gallery show at the upcoming Midnite Communion in November. I really enjoyed the “Wraiths” series I had a chance to do last year; 13 5”x 7” pieces that gave me a chance to explore creating different environments, etc. 

Favorite project done for someone else? Hmm. If I really had to boil it down; I had a lot of fun with and enjoyed the end results for the album art I had a chance to do for Chrch’s “Light Will Consume Us” as well as Northern Widows’ “ Way of Suffering.” 

What would be your ideal commission? 

I pretty much love any chance I get to make gross, macabre shit for bands I really enjoy. I know that’s pretty vague but there’s nothing quite as satisfying as making some filthy art for equally filthy music. Filthy being a pretty subjective term here. 

Okay let's talk about your upcoming travels and artwork. What are some of your upcoming guest spots so people can get some of your tattoos? 

I’ll be visiting Ritual Tattoo Gallery in Denver this June from 5th-7th and White Willow Tattoo in Pittsburgh on July 29th-30th, both of which are currently booked up. So that’ll be a lot of fun! As mentioned earlier, I’m currently working on a large (for me) 11”x14” illustration for Midnite Communion in November our in Long Beach, CA. Hoping to possibly have another piece ready to go for an unannounced Chicago show in October. 

How can people buy your original artwork or prints?

I will sometimes post original pieces for sale on my social media but, otherwise, interested parties can  contact me and inquire as to what I have around. As far as prints go; I normally always have some availed at the shop (American Crow Tattoo) and sometimes will upload a small number of them for sale via online, it’s just a matter of watching my IG for announcements. 

How has digital media affected your artwork and your ability to be a professional artist?

Digital media has definitely made it light years easier to get your work out there and viewed by a wide audience. Having prints and merch made has also never been more seamless. 

What are Revolting Worship's top three points of advice to younger, less experienced artists?

 If you have time to complain, you have time to draw. You get out what you put in, meaning; you can always be improving on your work. The more time you pour into your craft, the better your skill set will be. 

Finding your style takes time and unfolds naturally as long as you’re putting in the work mentioned in the previous point. Learning what you like about certain types of art, artists, techniques, etc. and WHY you like what you do will subconsciously guide you. Don’t get too caught up on/stress out about finding your style, it will happen organically. Be more focused on learning. 

There’s a big difference between “taking inspiration from” or “emulating” and completely ripping off another artist. Please don’t do the latter. By all means, learn from the artists you admire but please become familiar with the difference between learning and stealing. 

What do you want people to know about you and/or your artwork? 

I feel beyond fortunate that people give a shit about what I do and allow me to do it for a living. Everything I do is made possible by the supportive people I’ve surrounded myself with and whom continue to be my patrons. All of my work is hand drawn and it warms my heart that the time poured into the traditional methods of making art still have an audience that appreciates it and are more available to see it in an increasingly digital world. 

Make sure to give Revolting Worship a follow on Instagram.

#revolting worship #illustration #blackworkers #tattoo artist #metal artist

[darkartandcraft]

Philadelphia, Fungus, and Feminism: A Conversation with Fred Grabowsky

It's been years since we last had the chance to talk to Fred Grabosky, the Philadelphia based artist and illustrator. As part of our latest collaboration, we caught up with him in his Pennsylvania studio to discuss album covers, art supplies, and how to stay grounded in the Instagram age. 

Are you a native of Philly?

I moved to Philly when I was around 18 and started going to school at University of the Arts, but then I moved back to Jersey. I wanted to change my studies so I jumped out of school for a while, but then I came back for illustration. The first time around I did video, but it didn't speak to me the way it seemed to speak to the other people that were there for it. The first time around, I just didn't know what I was doing yet, you know? 

Philadelphia is one of America's oldest cities and it has a somewhat gothic and macabre history. Has that influenced your work at all?

I would say yeah. It has definitely influenced the work around me and that in turn has influenced my artwork. There is a lot of enthusiasm for dark art out here. I'm just a walk down the street from The Convent gallery and I've always loved Jeremy Hush's work, so it's cool to be a part of his gallery shows. As far as the music scene goes, there's been a really good metal scene out here for years now. I'm very influenced by the metal that I listen to when I make the art that I do.

Did music lead you to art, or was it vice versa?

Yeah, music is a big part of me being interested in the kind of art that I make. It took me a while to bridge the gap between the punk music that I listened to and the album covers on that stuff. I just started to study who all these different artists were and where they came from. Like Pushead and even going as far back as Virgil Finlay, who was a scratchboard artist doing a lot of pulp stuff. Music was a huge push in the right direction.   

Which album covers do you really love? 

When I really started to do illustration work for bands, one album cover that was a huge influence on me - and this sounds like a very kid thing to say now - but when I saw the cover for Baroness' Red Album, it just made me really excited. It made me think about what I could do with ink if I started to take it seriously. I was also listening to Kylesa around then and diving into weird Southern sludge metal. Seeing (Shaun) Beaudry's work on those covers made a connection because I realized he was probably pulling from Pushead, and Art Nouveau, and Alphonse Mucha. That was a good jumping off point for me.

Can you tell us about Decay is a Womb and the inspiration behind it? Yeah, I started making that piece because of my fascination with the parasitic fungus that takes over an ant's brain (Ophiocordyceps). It's a whole cycle; it takes over the brain, tells it where to go, eats away at it, spores new life, and that new life takes over and destroys more ants. I related it to things that happened to me, not necessarily other people trying to control you, but how depression can become a controlling force in your life. There is a lot of fear and insecurity that can start to eat away at you. So that is the idea for the body of work that I'm creating now, which will have a solo show in July. It also ties into what I'm doing with my band God Root, we're writing an album right now. We're doing a split with some other bands and one of the title tracks is called Decay is a Womb, so I'm really fixated on this theme right now and it ties into my art as a whole.  What are some of your favorite art supplies that you use and recommend? Definitely Ampersand, they're the scratchboard paper that I use and I'm also going to be using their boards. Always the Pigma Microns from Sakura, I'm always using those. A friend out in South Carolina that goes under Dark Heart Tattoo, she works at Indigo Rose, her name is Chelsea Owen; she showed me Canson Mixed Media paper and I've been swearing by it for 3 or 4 years now. This paper has always been good too because you can ink on it, you can make finished pieces on it. Speedball ink too, their screen printing ink, I love their metallic gold and their metallic silver. 

Is your process very regimented or do you just work when the inspiration strikes?

So lately, I just sit the fuck down and say I'm going to make something and it is going to be great. Back when I was doing ink, it was whenever I had the time and I had to force myself to do it, even when I wasn't feeling it, because you have to try to stick to your deadlines. It really becomes a destructive thing because you start to devalue what you are doing and beat yourself up for not working harder. But the process has changed since I started doing scratchboard. Now, I just take the time that I need and don't worry about much else. It feels good because when it's done, it's done, but with ink, you never know when to stop. Like, if I want a black background but it's white paper, you have to plan out all the weird techniques you could use to make that background black. You could scan it in and make the outline, but that can look cartoonish and cheesy. You could go all around the perimeter making dissipating black dots but that takes an incredible amount of time and it's a huge process for something that might not turn out right. With scratchboard, I'm starting with a black background and I'm making white lines and that is it. That's a much more exciting and freeing thing.

Is scratchboard your preferred medium?

Right now, it really is. Scratchboard has made a huge difference in my turnaround time. When it was ink, it could take months to complete a piece because you have to know for sure where you want to make every line and every dot. It was frustrating and I was just like, fuck it! I can't sit here and look at the same piece for months. Scratchboard is really freeing because you just sketch it out. It's more my style, more of a punk rock style, you just go for it and see how it comes out. You can go with how you're feeling in that moment because it only takes an hour or two to complete.

With a more time-consuming medium like ink, did you ever run out of inspiration before you could finish the piece?

Yes, sometimes I would really just hit a wall. There are a lot of ink artists out there in the dark art scene and I don't want to do the same thing everyone else does. It was a good starting point because a lot of ink artists inspired me, but I'm doing something different because I can embrace scratchboard and translate it in weird ways, like in stained glass.

The last time we talked, you were working in a stained glass studio. Do you still work there?

I probably just started that job when I did the first interview with you guys. I've been there for almost three years now and I really love it! It's very interesting, I get to work with beautiful pieces from the 1800's and 1900's. There are not many places that have on-site painters. I feel very fortunate to be a part of that.

Do you work with a lot of iconography or religious stained glass? 

 Yeah, I work with a lot of iconography pieces. I don't have any religious ties myself, but I appreciate it for what it is. Some of it has had a bit of influence on my work, but I try not to copy it because I feel like it's been done a million times. 

You mean that ironic mix of Judeo-Christian images and Pagan themes?

Yeah, there are a lot of people who just do renditions of religious art and make it grim or evil or Satanic.

There is a lot of non-western spiritual imagery in your work. Do you consider yourself to be a spiritual person?

A lot of that imagery came from research I was doing for the thesis I did in 2013, the Sacred Geometry and Symbolism series. I was just fascinated by the idea that the universe shares a connective tissue with mathematics. At the time I thought, if I'm not going to believe in a god, sacred geometry is the closest thing I can hold to a higher power. It's just really powerful imagery and it makes sense that it's in everything; logos that you see every day to religions that all share these same symbols.

We've talked a bit about the artists that you look up to. How would you define artistic success?

There are a lot of artists that I would look at as a textbook example of success, but if you asked them, they would probably say that they've had successes in the past, but don't consider themselves to be successful. They are their own worst enemy and they beat themselves up. I definitely do that too. You have to make sure that you aren't comparing yourself to other artists because everyone has their own story. Little triumphs are something that should be appreciated more. You have to show some self-love and be happy with what you've accomplished.

Do you think social media has made it easier to share and celebrate those little triumphs? Or are people crippled by constantly comparing themselves to other artists? 

It's hard to feel like you can be successful without integrating social media into your process. There's just so much content flooding the internet and you have to fight for space with other artists who are trying to make a name for themselves. It's daunting and we have to really try to not let it become that. But even as I sit here feeling good about what I just said, in the back of my head I hear those fears and insecurities, "You know you don't really think that because everyone wants that big online following." But that's just me comparing myself to other artists. It's very overwhelming if you don't know how to put the phone down and tell yourself to just keep making your artwork and keep going. People are always crushing it out there and you just have to see what they've got and use it as inspiration to push yourself forward, but know that your story might be different. 

Speaking of online perils, you've spoken very passionately about the struggle women face and how that inspired Strength and Divinity. Would you consider this to be a feminist piece? 

I actually wanted to put the word "FEMINIST" on the bottom of it, but I put it out there to my friends and I had a lot of women say that could be misunderstood. That I could be speaking for women and that takes their voice away. So, I decided not to put any text on it. But I'm pretty fucking pissed off about all the things that women have to go through. It took me a while to understand why I didn't see it before. I think as a society, we adhere to these social norms. There are so many male power-hungry norms that have been out there a long time, so you just don't think about it right away. You just think, ok, that's how life works. The man does this and the woman does that. You don't even realize that you're assigning them these roles. You don't think you are doing it because you aren't consciously thinking anything negative about women, but it's still damaging. I started to realize that I have a lot of things that I want to work on. I'll fess up that this piece was originally created just as a commission for The Midnight Collective. I didn't plan it out and think, "I'm going to do a piece about the power of women." I just felt it, and made it, and came to the realization afterward that subconsciously that is where my thoughts were. I think it's important to address just how many things are fucked up about the way that women are treated and people need to recognize those little unfair things that women deal with every day. Like catcalling, or saying those weird aggressive pickup lines, or touching women when they don't want to be touched, or paying them less than men... There's just so many different things that people don't realize, or at least I didn't. I feel like I can speak for a lot of men when I say that we didn't realize it until it was shoved to the forefront and it sucks. It sucks that it took that much for people to realize just how many crazy things happen to women, and they don't even mention it. Why would they mention it when someone is just going to tell you that you're wrong, or misinterpreting it, or that you're just making it all up? It's fucked up. It was a starting point for me to become more involved in feminism, but I can't say that piece was intentionally made for feminism. Sorry, I went on a tangent there. What do you think about that? 

I think that's pretty accurate. It's easy to address overt sexism because it's more objective, most people can agree that it's wrong even if it does have to be shoved in their face first. It's the subtle things that aren't so easy to address because, you're right, women are told that they're misinterpreting what happened or exaggerating or just making it up.

That sucks.

The process you're describing is how a lot of artists work. I think most artists work at a subconscious level and it's only in hindsight that you're able to reflect on how it was representative of where you were at that time.

It's hard, I feel like I'm a more scatterbrained individual because I don't think it is all there waiting for me to pull from it. It started because I wanted to create something with the face of a woman because I haven't done many pieces featuring women in them. That was the start but then I wanted to tie in something strong like the skull of a warthog. I always try to represent power and nature in my pieces because I hold nature in high regard. It's what I choose to be spiritual about. I mean, I'm not out in the woods praying to trees, but I can appreciate nature while I'm still struggling to understand what human nature is. ...I'm already thinking of all the ways I could have said all this stuff better.

You'll drive yourself nuts doing that. I drive myself nuts every day.

You can find limited edition prints of Fred Grabowsky's work in the Dark Art & Craft store.  For more of Fred's work, visit his website and follow him on Instagram.  Events and Exhibits: 07/13 - Grindcore House in Philadelphia, PA. This solo show will run for 2 months.  07/14 - Gristle Art Gallery in Brooklyn, NY. A Phobos & Deimos group exhibition. 09/21 - Shadow Woods Metal Fest in Whitehall, MD. God Root will be performing. 10/04 - Portside Parlor in Philadelphia, PA. Month-long Halloween themed exhibit.    

#Fred Grabowsky #FTG Illustration

[darkartandcraft]

Spend Your Lives on Sin and Misery: a Conversation with Bailey Illustration

Twenty-five-year old Matt Bailey of Cheltenham, England has gained international fame from his stark black and white illustrations oozing with cryptic one-liners. His haunting illustrations are tense with vulgar sensuality played out by the living supple flesh of the living and the brittle bones of the dead.

While his panels initially started as illustrations, Bailey has began transferring his pen and paper pieces to human skin and now is a tattoo artist at Parliament Tattoo.

I counted myself fortunate to sit down and exchange some words with Bailey across the cyber-sphere about his artwork, Instagram’s algorithm, his budding tattoo career and his opinion of the saturated market of blackwork.

Sum up your work in one sentence.

Self-indulgent skeletons and women.

When did you decide you wanted to be an artist?

I don't know if it was that I decided, exactly. I do remember being around six, and someone at school challenged me to draw a better butterfly than he had made. Being naturally competitive, I did, and found that I enjoyed it.

You have a few figures that appear in variants throughout your work. Can you tell us a little more about this decision/is there a narrative behind these figures?

There's not an express narrative for most of my characters. I have a little secret story for the Skeleton King, but I keep that to myself. At least, for the moment. I might tell it eventually.

Your work is marked by cheeky, cryptic one-liners. Describe your thought process on that creative decision and how you want your viewer to interact with those messages.

While I was at university, I was debating with one of my tutors on whether the title of a piece can be included in a discussion about merits of the artwork itself. He was of the opinion that it could be, whereas I preferred to judge a piece by the artwork alone.

This prompted a long think from me. I didn't name my pieces, and most people I knew didn't. I posted artwork on Instagram and Tumblr, where titles had almost zero meaning. Half the people who see something on those sites don't bother to read even a little of the caption.

I do believe that the title of a piece can change how you perceive it however, and so I decided to start taking my own words, or more often using lyrics, to change how people see my work and make it more engaging in the process.

Congratulations on hitting 250k on Instagram! In your opinion, what aspect of your work resonates with people? What do you attribute this level of visibility and success?

Thank you! Crazy number, right? I remember reading somewhere that human beings can only mentally visualize up to roughly 200 people as individuals, so a number that big blows my mind a little bit.  

How I got to that number is a combination of factors, I suppose. Keeping my work focused and consistent ensures that people who like my type of work will enjoy most of my pieces. That further insures a level of user interaction (likes and comments), which I believe then rises your profile via Instagram's algorithm. All that means that more new people will see your work, your user base will grow, and the whole thing ends up snowballing.

The crux of that process, however, is putting out a good quality of work consistently. The secret is, it doesn't even have to be great work. There are hundreds of amazing artists on Instagram who just aren't getting noticed because they don't upload new content frequently enough. People consume any kind of media extremely quickly.

I produce an image that people enjoy for (maybe) a few moments on average on a daily basis. As long as the work is of a good quality and regular, people will keep coming back each day to see more. At least, I hope they will.

Blackwork illustration and tattooing has taken off over the last few years. How do you feel about a) being a part of this saturated market and b) how do you think you stand out in a sea of tattoo artists and illustrators?

It's pretty easy to spot the tattooers who are just jumping on the trend through their boring tattoos marked by shoddy linework, and inconsistent black. Repetition of ideas is something that comes naturally to tattooing, and I think that what shows a good artist is being able to take a classic idea or image and give it their own stamp.

Ideally, that's how I'd like to stand out. I'm lucky to have been apprenticed by a shop (No Regrets, Cheltenham UK) that values quality over everything. Every artist working there produces extremely high-quality work within their own fields, and it's very humbling to be allowed the space to enrich myself, and my work.

What inspired you to start tattooing? How will this change or not change your work?

If I'm honest? I thought it would make me money, and I thought that I could do it well. Since then, I've come to really enjoy the process and direct customer interaction. It's a much better way of involving people.

(Continued below)

Learning to tattoo has already changed my work massively. To train as an apprentice, I was sat down with fake skin and a machine and told to trace geometric patterns for 8 hours a day. It definitely makes you draw a straight line a bit easier.

What's next for you, stylistically or career wise?

Hopefully, a lot more tattoos! I'm excited to expand more. Try new techniques and mediums. Eventually get out to the USA and stab ink into a lot of yankee flesh.

For more of his work, check out Bailey in instagram as @baileyillustration and his website www.baileyillustration.com.

#Bailey Illustration

[darkartandcraft]

Q & A with Catherine Matthews of Ars Memoria Chicago

Please tell us your name and what you do.

I'm Catherine Matthews, and I am the co/owner and gallery curator at Ars Memoria.

What does dark art mean to you? Does this meaning transcend mediumship?

I have a love/hate relationship with the term dark art. I think the type of work that typically falls under this umbrella term is much more deeply rooted in the balance/counterbalance of life than the word “dark” may, at first impression, portray. The artist and artists of this genre I most deeply relate to (and admire) are all on a journey of personal exploration; a sort of excavation into the heavier, more serious parts of themselves and the world around them. They are willing and in many cases elated to explore the darker parts of themselves, but not to the exclusion of the lighter side entirely. There can be an abundant amount of joy in dark art as well!

I find zero limitation of internal expression, no matter the medium. I hosted a puppet show by Handsome Devils Puppets recently that made me weep, mourn, laugh, and find hope. Yes, a puppet show, and it was one of the most emotionally impacting things I've ever seen. It was DARK but it was also full of light and truth. That's art. That's part of why I love my job. There are no limits and I can show whatever artists and all the various mediums they work in and firmly stand behind the truth of the work. Often, that truth is dark! Ha! That's just part of what I commune with.

 What has the impact of dark art been on your life?

 I am not a visual artist. I lack the ability to visually describe, demonstrate or communicate internal processes or parts of myself that I may struggle with, find challenging to reconcile, or on occasion…maybe even access consciously. When spending time with some of the brilliant work I’ve blessed to exhibit, it has been able to queue off certain pieces of my psyche. I have been changed by art. I live with pieces of art daily that make me feel brave, or find beauty in the mire, or comfort me. Each piece that passes through the gallery, leaves a mark on me. 

 You mentioned that you're not a creator - what are some of the roles for non-artists in the art world? 

 I look at the non-artist’s role in the art world as being really crucial. Without an audience and the patronage and support they offer...what would artists do? What would the point be to releasing the work outside of the walls in their studios in the first place? It is our role to encourage and take in the work that is put out. To make it personal to ourselves and to give it value beyond the artist and beyond the monetary value. Art is to be adored. That’s our job. 

 What are five of your favorite contemporary artists right now?

 This is an impossible question! I have personal favorites of every medium! For instance, charcoal, I adore Sam Wolfe Connelly, Christopher Michael Hefner and Darby Lahger among others! Watercolor, Christina Tzani and Sophia Rapata spring to mind immediately. Papercutting…Ivonne Carley is slaying lately in that medium, hands down. Painting, oh dear, so many! David Stoupakis, Henrik Uldalen, Alessandro Sicioldr, David Allen, and John Airo are a few that I love following. The arcs in the works and phases in palates of painters always fascinate me. And jewelry… Burial Ground out of Salem, Bramble&Fern and Hvnter Gvtherer here in Chicago, arg, I want every piece! Then there are these incredible, powerful artists I know who work in multiple mediums each and nail them all, like Caroline Vitelli, Esther Garcia, Tine Defiore, Noelia Towers, Heather Gabel…true inspirations! I cannot manage the list of illustrators and sculptors that I love. It is late and my brain is scrambled but I will say this…I have a deep and unconditional love of art and of the brave people who create and step out on a limb to present it to others. There isn't any art that I don't respect or admire in one way or another. I obviously hesitate to go into the beautiful artists and tattooers I'm lucky enough to have on staff with me because it seems too self serving as an answer to this question but I would love to chat about them if time and space allows! They are all amazing. 

 How has Ars Memoria impacted the arts sphere of Chicago?

 I hope in a good way! I do know that so many people have met each other through attendance at gallery shows or other events we have hosted. Some magnificent collaborations and dear friendships have been a product of those meetings. One of my personal goals is to facilitate a stronger community and to provide a space for that community to commiserate so I have been so pleased to see that!

 Ars Memoria is a name prescribed to both the gallery and the tattoo studio. Can you speak a little bit on to how you made that decision and how the media displayed in the gallery relate to that in the tattoo studio, if any? 

 There is some cross over between the gallery and the tattoo studio although I consider them to be almost different endeavors. The idea to have the space to host both the studio and a gallery was based on the model Michael already had budding in his location in the UK. 

 Tell us a little bit about your curation project in this space. How do you create shows for this gallery? (Are they ideas that are brought to you, concepts you bring to fruition, or a little magickal mix of both?)

 For me personally, I love curating and exposing people to new artists. Its also a pleasure helping people see the work of artists they already love, but in person. Hanging a gallery show is one of the activities I enjoy most in my life so far! It's unpredictable and fascinating to see it all come together to create a unique mood and experience in the space. Each show has its own personality and I love getting to know it! However, the biggest pride I take in the gallery are the charity events. I think art is important. I think what it can do is important. If I can connect art with collectors who will cherish it while, at the same time, giving back to people or causes outside of that transaction…that's where my heart is. I thrive only when I believe in what I am doing and I believe in that mission. Sometimes ideas are presented to me, sometimes they come to me in some weird stroke of inspiration, and occasionally, I swear they just seem to materialize through fate!

 What are some upcoming events at your space? 

 We have some amazing events coming up! We are working on a show to benefit people with disabilities. We have The Exiled 2 next month which features the incredible Shawn Coss, Jay Ferguson, and Meagan Rodgers, in addition it will benefit a suicide prevention organization that we all support following the sad loss of Jed Leiknes last year. A local maker is working on producing skulls for a group show featuring different artist's take on the same canvas, which will be wild to see that variety there! We have a guest curator coming in to blow everyone's mind with an exhibition he is curating in August. My mind is simply reeling with what he's building!!! And I'm in some talks with an artist that seriously intimidates me for an upcoming event that I don't want to announce yet but that is keeping me up at night with excitement!

 How do you want artists to reach out to you? 

 It is always best for them to email me their work if they are interested in showing in the gallery. It a wonderful portion of my email inbox! That address is [email protected]

 What are some qualities that you look for in a potential showing artist in your space when they reach out to you? Does social media presence matter to you as a gallery?

 One of the first artists I reached out to had a social media following that was basically nonexistent but the work moved me. It stuck with me. I actually ending up buying the piece for myself because I loved it so dearly and she hangs in my home where I see her first thing every morning. I show what inspires me and sometimes what repulses me. It just has to have truth and content. There are no rules. I like taking a chance on lesser known artists. This is a terrible thing to say when you own a business but to me it isn’t about the money, it’s about the art. 

 More on that, what sorts of tips do you have for artists who are trying to show in more physical galleries? 

 It’s a tough game! I always strive to take the intimidation factor out of the equation entirely. Galleries have to make money and do play an important role in the art world but I try to take as little as possible from an artist while I’m simultaneously providing them with the best support and experience exhibiting that I can. Find a gallery that can make you feel comfortable and believes in you. Send out work. Don’t be afraid of rejection. It doesn’t matter. You will always land where you need to be it your just keeps making the work and pushing yourself. 

 What advice do you have to them as a creator, gallery owner, and curator to our readers?

 Keep making art. It matters!

[darkartandcraft]

Midnite Collective + Dark Art & Craft Long Beach

We are pleased to announce we will be curating an art installation at this year's Midnite Collective, imagined and executed by @midniteclv. Opening reception will be November 17 in Long Beach. To be considered, shoot an email with your name, location, website and portfolio to [email protected]. We have a lot of other shows up our sleeves so stay tuned! #darkart #darkartandcraft#midnitecommunion #midnitecollective#artshow #artinstall #losangelesartist#exhibition #darksurrealism #darkink

#Dark Art & Craft

[darkartandcraft]

Fred Grabosky 'Decay is A Womb' Giclee Print

Original Medium, Scratchboard

Grabosky describes his piece as, “Inspired by my fascination with ophiocordyceps, an ant is depicted being helplessly taken over by this specific parasitic fungus. It attaches and makes its way through its host, devouring it from the inside out.

It assumes complete control of the victim’s brain and has the power to assume total functionality. It moves the victim to chosen locations known as killing zones, where the infected will stay to rot and feed the fungus. The corpse of the victim then becomes a place for the fungus to spore and spawn new life, only to repeat the vicious cycle.”

This *limited edition print features an ant enslaved by a mind controlling parasite. Offered in a bold black and white contrasting palette.

Check our store for other exclusive prints from Fred Grabosky.

Features:

*Limited Edition

Restricted to a run of 50 pieces per size

**Museum Quality Giclée Print

Archival graded paper and inks

Print Permanence Rating of 150 years

Durable and smooth Somerset Museum Rag

100% naturally coated cotton fiber material

Heavyweight paper, 300 GSM

Available in 3 different sizes

Hand inspected prior to *shipping

***Shipping included in the purchase price

Printed in USA, paper made in UK

Made exclusively for Dark Art & Craft

**Print Quality:

Every print we offer is made in a single or small run and is made exclusively for Dark Art & Craft. We never purchase bulk or stock prints for resale. Learn more.

***Shipping:

Print ships from our Cleveland, Ohio facility. Print will arrive lightly rolled in a thick, protective tube. To ensure the protection of your purchase, print may be shipped and arrive separate from other purchases. Learn more.

#dark art #Dark Art & Craft #dark print #Fred Grabosky

[darkartandcraft]

Fred Grabosky 'Fatal Beauty' Giclee Print

Original Medium, Pen & Metallic Ink

Grabosky described his inspiration for this piece by saying, “Quite simply, I enjoy arachnids and flowers. But looking deeper, black widows have appropriately adopted quite a morbid and iconic presence over decades. They represent danger and those who are left to mourning their deceased lovers.

Roses are charming and beautiful, delicate and ornate. They represent passion and love before death takes you. I wanted to comment on love being a double-edged sword. It can be charming and beautiful, but the death of that love is always close by. It is a delicate thing to manage at times and you're not always ready for how things will end.”

This *limited edition print features a black widow spider crawling over a blooming rose. Offered in a striking black and gold ink on a crisp white background.

Check our store for other exclusive prints from Fred Grabosky.

Features:

*Limited Edition

Restricted to a run of 50 pieces per size

**Museum Quality Giclée Print

Archival graded paper and inks

Print Permanence Rating of 150 years

Durable and smooth Somerset Museum Rag

100% naturally coated cotton fiber material

Heavyweight paper, 300 GSM

Available in 3 different sizes

Hand inspected prior to *shipping

***Shipping included in the purchase price

Printed in USA, paper made in UK

Made exclusively for Dark Art & Craft

**Print Quality:

Every print we offer is made in a single or small run and is made exclusively for Dark Art & Craft. We never purchase bulk or stock prints for resale. Learn more.

***Shipping:

Print ships from our Cleveland, Ohio facility. Print will arrive lightly rolled in a thick, protective tube. To ensure the protection of your purchase, print may be shipped and arrive separate from other purchases. Learn more.

#dark art #Dark Art & Craft #dark print #Fred Grabosky

[darkartandcraft]

Fred Grabosky 'Goatmoon' Giclee Print

Original Medium, Scratchboard

Grabosky describes his piece by saying, “Whether it is representing the sexual, animalistic, and deviant nature of humanity or it’s connection to occult ideals and devilry; I enjoy goats and moons alike. I find them to be quite powerful and majestic, both symbolically and realistically. This piece married two of my favored items of metal subject matter. Hails.”

This *limited edition print depicts a horned and bearded goat framed by a sliver of crescent moon. Offered in a high contrast black and white palette.

Check our store for other exclusive prints from Fred Grabosky.

Features:

*Limited Edition

Restricted to a run of 50 pieces per size

**Museum Quality Giclée Print

Archival graded paper and inks

Print Permanence Rating of 150 years

Durable and smooth Somerset Museum Rag

100% naturally coated cotton fiber material

Heavyweight paper, 300 GSM

Available in 3 different sizes

Hand inspected prior to *shipping

***Shipping included in the purchase price

Printed in USA, paper made in UK

Made exclusively for Dark Art & Craft

**Print Quality:

Every print we offer is made in a single or small run and is made exclusively for Dark Art & Craft. We never purchase bulk or stock prints for resale. Learn more.

***Shipping:

Print ships from our Cleveland, Ohio facility. Print will arrive lightly rolled in a thick, protective tube. To ensure the protection of your purchase, print may be shipped and arrive separate from other purchases. Learn more.

#dark art #Dark Art & Craft #dark print #Fred Grabosky

[darkartandcraft]

Fred Grabosky 'Emanating Death' Color Giclee Print

Original Medium, Scratchboard

Grabosky describes his piece by saying, “Furthering my fascination with ophiocordyceps, this piece ties in representations of humanity in death with a human skull and a protruding fungal tendril. It touches on the direct connection of death brought on by cordyceps in insects and my idea of this phenomenon taking over humans in the same way.

The stroma is the main fungal node that is found in the middle of the main growth on the head of the victim. I resonate with this image and relate this feeling to personal mental strains that have catastrophic effects on me.”

This *limited edition print features a moth in flight and a human skull infected with a large fungal growth. Offered in an earth tone gradient that transitions from grass green, to honey yellow, to warm amber.

Check our store for additional color variations and other exclusive prints from Fred Grabosky.

Features:

*Limited Edition

Restricted to a run of 50 pieces per size

**Museum Quality Giclée Print

Archival graded paper and inks

Print Permanence Rating of 150 years

Durable and smooth Somerset Museum Rag

100% naturally coated cotton fiber material

Heavyweight paper, 300 GSM

Available in 3 different sizes

Hand inspected prior to *shipping

***Shipping included in the purchase price

Printed in USA, paper made in UK

Made exclusively for Dark Art & Craft

**Print Quality:

Every print we offer is made in a single or small run and is made exclusively for Dark Art & Craft. We never purchase bulk or stock prints for resale. Learn more.

***Shipping:

Print ships from our Cleveland, Ohio facility. Print will arrive lightly rolled in a thick, protective tube. To ensure the protection of your purchase, print may be shipped and arrive separate from other purchases. Learn more.

#dark art #Dark Art & Craft #dark print #Fred Grabosky

[darkartandcraft]

Fred Grabosky 'Cascading Romance' B/W Giclee Print

Original Medium, Pen & Ink

Grabosky describes his piece as, “Another depiction of cold and deadly love. This symbol of passion is known to fall to the earth, pedals first, all too often. By my own hand, by yours, by ours. These ‘bone-roses’ are weighted and can't stay upright for long. Not without a fight.”

This *limited edition print features a bundle of bones, each with a blooming rose, in a bold black and white palette. Check our store for additional color variations and other exclusive prints from Fred Grabosky.

Features:

*Limited Edition

Restricted to a run of 50 pieces per size

**Museum Quality Giclée Print

Archival graded paper and inks

Print Permanence Rating of 150 years

Durable and smooth Somerset Museum Rag

100% naturally coated cotton fiber material

Heavyweight paper, 300 GSM

Available in 3 different sizes

Hand inspected prior to *shipping

***Shipping included in the purchase price

Printed in USA, paper made in UK

Made exclusively for Dark Art & Craft

**Print Quality:

Every print we offer is made in a single or small run and is made exclusively for Dark Art & Craft. We never purchase bulk or stock prints for resale. Learn more.

***Shipping:

Print ships from our Cleveland, Ohio facility. Print will arrive lightly rolled in a thick, protective tube. To ensure the protection of your purchase, print may be shipped and arrive separate from other purchases. Learn more.

#dark art #Dark Art & Craft #dark print #Fred Grabosky

[darkartandcraft]

Fred Grabosky 'Emanating Death' B/W Giclee Print

Original Medium, Scratchboard

Grabosky describes his piece by saying, “Furthering my fascination with ophiocordyceps, this piece ties in representations of humanity in death with a human skull and a protruding fungal tendril. It touches on the direct connection of death brought on by cordyceps in insects and my idea of this phenomenon taking over humans in the same way.

The stroma is the main fungal node that is found in the middle of the main growth on the head of the victim. I resonate with this image and relate this feeling to personal mental strains that have catastrophic effects on me.”

This *limited edition print features a moth in flight and a human skull infected with a large fungal growth. Offered in a contrasting black and white palette.

Check our store for additional color variations and other exclusive prints from Fred Grabosky.

*Limited Edition

Restricted to a run of 50 pieces per size

**Museum Quality Giclée Print

Archival graded paper and inks

Print Permanence Rating of 150 years

Durable and smooth Somerset Museum Rag

100% naturally coated cotton fiber material

Heavyweight paper, 300 GSM

Available in 3 different sizes

Hand inspected prior to *shipping

***Shipping included in the purchase price

Printed in USA, paper made in UK

Made exclusively for Dark Art & Craft

**Print Quality:

Every print we offer is made in a single or small run and is made exclusively for Dark Art & Craft. We never purchase bulk or stock prints for resale. Learn more.

***Shipping:

Print ships from our Cleveland, Ohio facility. Print will arrive lightly rolled in a thick, protective tube. To ensure the protection of your purchase, print may be shipped and arrive separate from other purchases. Learn more.

#dark art #Dark Art & Craft #dark print #Fred Grabosky

[darkartandcraft]

Fred Grabosky 'Cascading Romance' Purple Giclee Print

Original Medium, Pen & Ink

Grabosky describes his piece as, “Another depiction of cold and deadly love. This symbol of passion is known to fall to the earth, pedals first, all too often. By my own hand, by yours, by ours. These ‘bone-roses’ are weighted and can't stay upright for long. Not without a fight.”

This *limited edition print features a bundle of bones, each with a blooming rose, in a cool purple and blue gradient. Check our store for additional color variations and other exclusive prints from Fred Grabosky.

Features:

*Limited Edition

Restricted to a run of 50 pieces per size

**Museum Quality Giclée Print

Archival graded paper and inks

Print Permanence Rating of 150 years

Durable and smooth Somerset Museum Rag

100% naturally coated cotton fiber material

Heavyweight paper, 300 GSM

Available in 3 different sizes

Hand inspected prior to *shipping

***Shipping included in the purchase price

Printed in USA, paper made in UK

Made exclusively for Dark Art & Craft

**Print Quality:

Every print we offer is made in a single or small run and is made exclusively for Dark Art & Craft. We never purchase bulk or stock prints for resale. Learn more.

***Shipping:

Print ships from our Cleveland, Ohio facility. Print will arrive lightly rolled in a thick, protective tube. To ensure the protection of your purchase, print may be shipped and arrive separate from other purchases. Learn more.

#dark art #Dark Art & Craft #dark print #Fred Grabosky

[darkartandcraft]

Fred Grabosky 'Cascading Romance' Gold Giclee Print

Original Medium, Pen & Ink

Grabosky describes his piece as, “Another depiction of cold and deadly love. This symbol of passion is known to fall to the earth, pedals first, all too often. By my own hand, by yours, by ours. These ‘bone-roses’ are weighted and can't stay upright for long. Not without a fight.”

This *limited edition print features a bundle of bones, each with a blooming rose, in a striking gold and pewter gradient. Check our store for additional color variations and other exclusive prints from Fred Grabosky.

Features:

*Limited Edition

Restricted to a run of 50 pieces per size

**Museum Quality Giclée Print

Archival graded paper and inks

Print Permanence Rating of 150 years

Durable and smooth Somerset Museum Rag

100% naturally coated cotton fiber material

Heavyweight paper, 300 GSM

Available in 3 different sizes

Hand inspected prior to *shipping

***Shipping included in the purchase price

Printed in USA, paper made in UK

Made exclusively for Dark Art & Craft

**Print Quality:

Every print we offer is made in a single or small run and is made exclusively for Dark Art & Craft. We never purchase bulk or stock prints for resale. Learn more.

***Shipping:

Print ships from our Cleveland, Ohio facility. Print will arrive lightly rolled in a thick, protective tube. To ensure the protection of your purchase, print may be shipped and arrive separate from other purchases. Learn more.

#dark art #Dark Art & Craft #dark print #Fred Grabosky

[darkartandcraft]

'Goat' Limited Giclee Print J. Meyers

Limited edition 50/qty giclee print of 'Goat' digital painting. Inspected for quality, clarity, and printed for Dark Art & Craft. J Meyers is a Cleveland, Ohio based illustrator, artist, and printmaker who creates predominately dark and surrealist subject matter. 

Features:

*Limited Edition

Restricted to a run of 50 pieces per size

**Museum Quality Giclée Print

Archival graded paper and inks

Print Permanence Rating of 150 years

Durable and smooth Somerset Museum Rag

100% naturally coated cotton fiber material

Heavyweight paper, 300 GSM

Hand inspected prior to *shipping

***Shipping tube included in the purchase price

Printed in USA, paper made in UK

Made exclusively for Dark Art & Craft

**Print Quality:

Every print we offer is made in a single or small run and is made exclusively for Dark Art & Craft. We never purchase bulk or stock prints for resale.

Each print is hand inspected for overall quality, image clarity, and color composition prior to ***shipping.

To ensure this Giclée print meets museum quality standards, we use only archival grade paper and inks. This print is PH Neutral and is Acid-Lignin and Chlorine free. This print has a Print Permanence Rating of 150 years. With proper handling, this print will remain crisp, vibrant, and durable for the rest of your life and into the next.

Printed on Somerset Museum Rag paper made of 100% cotton fiber from the St. Cuthbert’s Mill in Somerset, England. This archival paper is mouldmade giving it the quality of machine made paper with the feel and uniqueness of handmade paper, it’s the best of both worlds. This print is smooth to the touch, with a natural coating for durability, and of heavyweight stock rated at 300 Grains per Square Meter.

***Shipping:

Print ships from our Cleveland, Ohio facility. Print will arrive lightly rolled in a thick, protective tube. To ensure the protection of your purchase, print may be shipped and arrive separate from other purchases.

#Dark Art & Craft #dark art #dark print #J Meyers

[darkartandcraft]

Gustave Doré 'Vision of the Valley of the Dry Bones'

Date, 1866

“Come from the four winds, O breath, and breathe upon these slain, that they may live.” -Ezekiel 37:9

This blackened relief was plucked from one of Gustave Doré’s most prolific and influential works, the series of 241 wood engravings he hand etched for La Grande Bible de Tours. This wildly successful 1866 printing of the Vulgate, the Vatican’s latin bible, included the often banned and highly controversial apocryphal books of unknown origin. The influence of Doré’s wrathful biblical depictions is evident in everything from the fire and brimstone sermons spat by pulpit preachers to the blasphemous art house movies of Ken Russell.

This *limited edition print of ‘Vision of the Valley of the Dry Bones’ breathes life into the prophet Ezekiel’s nightmarish experience. The prophet looms over a valley of death, silhouetted by an ominous sky. He witnesses dried bones reconnect as a swirling wet mass of sinewy flesh engulfs each skeletal figure.

This print will be right at home hanging above the brutalist album covers in your record collection. More digital than analog? Nestle this vision of the undead between the other Gustave Doré prints available in our store.

Features:

*Limited Edition

Restricted to a run of 50 pieces per size

**Museum Quality Giclée Print

Archival graded paper and inks

Print Permanence Rating of 150 years

Durable and smooth Somerset Museum Rag

100% naturally coated cotton fiber material

Heavyweight paper, 300 GSM

Available in 3 different sizes

Hand inspected prior to *shipping

***Shipping included in the purchase price

Printed in USA, paper made in UK

Made exclusively for Dark Art & Craft

**Print Quality:

Every print we offer is made in a single or small run and is made exclusively for Dark Art & Craft. We never purchase bulk or stock prints for resale.

Each print is hand inspected for overall quality, image clarity, and color composition prior to ***shipping.

To ensure this Giclée print meets museum quality standards, we use only archival grade paper and inks. This print is PH Neutral and is Acid-Lignin and Chlorine free. This print has a Print Permanence Rating of 150 years. With proper handling, this print will remain crisp, vibrant, and durable for the rest of your life and into the next.

Printed on Somerset Museum Rag paper made of 100% cotton fiber from the St. Cuthbert’s Mill in Somerset, England. This archival paper is mouldmade giving it the quality of machine made paper with the feel and uniqueness of handmade paper, it’s the best of both worlds. This print is smooth to the touch, with a natural coating for durability, and of heavyweight stock rated at 300 Grains per Square Meter.

***Shipping:

Print ships from our Cleveland, Ohio facility. Print will arrive lightly rolled in a thick, protective tube. To ensure the protection of your purchase, print may be shipped and arrive separate from other purchases.

#dark art #Dark Art & Craft #dark print #Gustave dore