Archive for the ‘Books & Literature’ Category

A person’s life purpose…

April 19, 2013

“A person’s life purpose is nothing more than to rediscover, through the detours of art or love or passionate work, those one or two images in the presence of which his heart first opened.”

Albert Camus

in Just

April 14, 2013

I’ve mentioned here before about how much the poem “in Just-” has wedged itself into my imagination. I feel like posting it today. Every year at about this time, snippets surface right behind my eyes and I feel alright. Rain is falling, flowers blossom, trees are a-blooming, and the world is puddle-wonderful.

in Just-
BY E. E. CUMMINGS

in Just-
spring       when the world is mud-
luscious the little
lame balloonman

whistles       far       and wee

and eddieandbill come
running from marbles and
piracies and it’s
spring

when the world is puddle-wonderful

the queer
old balloonman whistles
far       and       wee
and bettyandisbel come dancing

from hop-scotch and jump-rope and

it’s
spring
and

   the

goat-footed

balloonMan       whistles
far
and
wee

Sailing to Byzantium

February 15, 2013

(I feel old today…)madabamark

That is no country for old men. The young
In one another’s arms, birds in the trees
—Those dying generations—at their song,
The salmon-falls, the mackerel-crowded seas,
Fish, flesh, or fowl, commend all summer long
Whatever is begotten, born, and dies.
Caught in that sensual music all neglect
Monuments of unageing intellect.

An aged man is but a paltry thing,
A tattered coat upon a stick, unless
Soul clap its hands and sing, and louder sing
For every tatter in its mortal dress,
Nor is there singing school but studying
Monuments of its own magnificence;
And therefore I have sailed the seas and come
To the holy city of Byzantium.

O sages standing in God’s holy fire
As in the gold mosaic of a wall,
Come from the holy fire, perne in a gyre,
And be the singing-masters of my soul.
Consume my heart away; sick with desire
And fastened to a dying animal
It knows not what it is; and gather me
Into the artifice of eternity.

Once out of nature I shall never take
My bodily form from any natural thing,
But such a form as Grecian goldsmiths make
Of hammered gold and gold enamelling
To keep a drowsy Emperor awake;
Or set upon a golden bough to sing
To lords and ladies of Byzantium
Of what is past, or passing, or to come.

by W. B. Yeats


									

The Force that Through the Green Fuse Drives the Flower

January 6, 2013
"Poetry London" by Ceri Richards, 1945

“Poetry London” by Ceri Richards, 1945

Some words I have been thinking about a bit this week…

The force that through the green fuse drives the flower
Drives my green age; that blasts the roots of trees
Is my destroyer.
And I am dumb to tell the crooked rose
My youth is bent by the same wintry fever.

The force that drives the water through the rocks
Drives my red blood; that dries the mouthing streams
Turns mine to wax.
And I am dumb to mouth unto my veins
How at the mountain spring the same mouth sucks.

The hand that whirls the water in the pool
Stirs the quicksand; that ropes the blowing wind
Hauls my shroud sail.
And I am dumb to tell the hanging man
How of my clay is made the hangman’s lime.

The lips of time leech to the fountain head;
Love drips and gathers, but the fallen blood
Shall calm her sores.
And I am dumb to tell a weather’s wind
How time has ticked a heaven round the stars.

And I am dumb to tell the lover’s tomb
How at my sheet goes the same crooked worm.

by Dylan Thomas

Art and Magick of Austin Osman Spare

October 28, 2012

The soul is the ancestral animals. The body is their knowledge.

- Austin Osman Spare

Austin Osman Spare was a magician and artist whose work and theories are very interesting to me because of the way he blends the two and finds a certain power there. He is definitely attracted to and influenced by the Symbolist painters of the ninteenth century, but Spare takes it to an even more personal level. He was born in Yorkshire, but moved to London at a young age. Trained as a painter and draftsman, he also worked as an illustrator and book-plate designer. Like a lot of his contemporaries, Spare became interested in Theosophy, and that was probably where his quest for occult knowledge began. He had a number of exhibitions in England, which were all well received, up to a point. There was a backlash, and some people thought his artwork was just too bizarre and unhealthy, as some people always do. Spare also began to publish his own books and grimoires. I first became familiar with Spare’s work through my interest in Surrealism, because there is a very strong and profound overlap, although I think that his theories and ideas developed independently.

Although I won’t go into it much here I am very interested in his ideas, philosophy, and writings. Artistically, his line work can’t be beat. I like most of his work, but am especially drawn to his automatic drawings and sigils. The way he blends text with imagery is very interesting, and his bookplates are exceptional.

The means used and the way it happens are simple, the inverse of scientific. I use a formula, created by instinctive guess and *arbitrarily* formed, not evolved by hypothesis and experiment. The law of sorcery is its own law, using sympathetic symbols.

- Austin Osman Spare

hermetic.com/spare

A conversation with Megan Kennedy

August 27, 2012

“St. Six”

Please enjoy the following interview I had with Salt Lake City digital artist, photographer and author Megan Kennedy, because I know I did.

ArtDuh: I was listening to Florence and the Machine this morning and I was like, “That’s what Megan’s stuff kind of reminds me of.” Have you heard Florence’s stuff?

Megan: Yeah, yeah.

ArtDuh: [The song] “Shake it Out,” with the demons and fighting them – you have a few pieces that focus on women and it always seems like they’re going through some sort of struggle or they’re fighting, but they’re also emitting a strong sort of presence.

Megan: It’s definitely something purposeful, but still subconscious. I’ve dealt with stuff in my life that has given me the kind of perspective where it’s all just a choice. To me, where you’ve got the abyss and you’ve got life and you just kind of have to make that choice every day to which one you prefer… What it’s boiled down to for me is that I just remind myself to choose the life anytime I feel that, because depression’s a scary thing to struggle with and anybody’s who’s been through it understands how heavy that can weigh on you. So pushing off of that is kind of a constant theme in my life now, just remembering it’s not anything that’s happened to you or about you; it’s just that you’re choosing to ignore it, whatever’s causing that darkness. So it’s definitely a theme that means a lot to me.

ArtDuh: Do you personally struggle with it, or do you have people close to you that do?

Megan: Yeah, I’ve got family members that do, but I’ve definitely struggled with it since I was a young adult, so it’s been a crappy presence in my life, but something that I think, you know, you go through stuff and you become a better person on the other end.

“When I Grow Up”

ArtDuh: Where else do you draw your inspiration? Right now you have a series that you call a fossil series or a dino series; where’s that coming from?

Megan: I just restarted school and I’m going in for history. I love old things. I love just that history, and how old the world is and that there was really such a time when there weren’t any people and it’s so hard for us to wrap our minds around it. I’m just really attracted to anything that represents this thing that we can barely really understand. Just trying to picture these things walking and that we can still dig them up and how lucky it was that the right circumstances made these bones survive because otherwise we would have had no idea.  Like, how old would we have thought the world was? So, just all the questions that something that old draws to my mind, it’s definitely why I like that series so much. It’s just fun. The museums did such a good job arranging them as well, so they do get credit for the awesome way they put them up. It’s awesome to go see them.

ArtDuh: Where do you grab your images? Some of them seem so surreal. The album cover you did for Arsenic Addiction and the skull, did you have that lying around?

Megan: Yeah, so basically what I do is either I’m taking the photos or just use them from stock photography (so people that take these pictures and then sell them or give them out for artists like me to utilize them). So, if there’s something I can’t take a picture of like, you know, I’m not in Europe, so there’s no way I can get a medieval castle around here to shoot, so luckily there’s these awesome photographers who take these shots for artists like me. And they’re artists in their own right, really. But usually I grab from that or pictures I’ve taken, pictures friends have taken, things like that. It’s almost a mixed medium, but not really.

ArtDuh: Do you work with other mediums?

Megan: I’m not a very good draftsman. I started school for art first before I switched over to history and it’s just, I love photography, I love the digital arts, but it doesn’t really translate to traditional forms. I’d really love to know how to paint and do it well, but that’s probably for another time.

ArtDuh: Are you self-taught?

Megan: Pretty much. I took those few classes at the University of Utah and it was 3D art, 2D art, and a kind of instruction drawing type thing. It wasn’t digitally focused. But no, pretty much self-taught. Like, I found this stuff, and it’s funny because I’ve never been into art, but when I was a teenager and going through probably the darkest period that I referred to earlier, writing… I’m a big writer, I’ve written my whole life, but it wasn’t doing the trick as far as therapy. So I found deviantART, I found dark art, and it was so new and it’s expression of darkness and how they were doing was exactly what I was looking for. And so it just compelled me to start trying to build my own.

ArtDuh: I find that fascinating because I don’t know if I’m drawn to making art in the way that I need it as an outlet for emotion.

Megan: It definitely is for me. I have a hard time processing emotion really just as a person, I think. I just get really uncomfortable with feelings, I don’t like them. That pushed-down stuff, this is where it comes out and I’m grateful for it; it’s really awesome the stuff that comes out. You know, watching people buy it at festivals, it’s just cool to actually connect with people and it’s a different kind of emotional connection and one that’s actually not uncomfortable for me.

ArtDuh: So when you’re at these festivals, what does it feel like when someone shows an appreciation for your art?

Megan: It’s powerful. It’s an acceptance. For somebody who has such a hard time connecting with people, it means a lot. Because I think especially dark artists or digital artists… every artist suffers some sort of rejection even in their art. So to have people like the one where it says, “When I grow up I want to eat the weak;” I made that as this dark joke, and I can’t believe the amount of people that responded to it, like old women and moms that buy it for their kids’ rooms and people want to put it in their office all the time. For something that was just a dark joke that usually some people would criticize me for and to have so many people just laugh at it with me, it’s just cool. It’s given me a whole new perspective on people. It’s hard not to judge people, but it gives me a whole new perspective on people who I would have never thought were into that. It kind of opened my eyes in how much art can affect people. There were people I otherwise would never have talked to, probably, because we share no interests, but in that one moment we shared that same joke.

“Wildling”

ArtDuh: You said you weren’t really attracted to art in the first place. Tell me about that.

Megan: Yeah, as a little kid, it was mostly science. Science and history. I’ve always been fascinated with history. I suck with numbers, but I can remember eras and I love storytelling. I’ve loved books my whole life. I don’t know, my brother was always (he’s not the hugest artist or anything now) the one doodling around or sketching and he was all very good at it. So we just always kind of thought he was the artist and then just this transition happened. (I enjoy art, especially CD covers, that’s kind of what got me into it. I love the art that comes with music.) But until I got this digital medium where, not that it was any easier to learn than say painting or traditional mode, but just whatever it was spoke to me as a person and the way my brain operated and it was easy for me to finally translate that stuff. For somebody that has never been that artistic outside of writing, it was a really awesome thing to discover that I could do. But yeah, logic brain, that’s where I’m comfortable.

ArtDuh: Do you incorporate history into your art?

Megan: I try to, yeah. I’ve always dabbled in the idea of doing some flat-out historical piece. But there’s something very flat about it, the way I’m approaching it, so if I can hit it in the right way, then absolutely. I got really into paganism the last couple of  semesters, just learning about what these religions  really were. I’ve incorporated a lot of that lately into my art. But yeah, if I can find the right, reason to use it, I will.

ArtDuh: What else do you do for work?

Megan: I work part-time, day job at a pet store. I love animals. I’m about to start school again at the University of Utah. I’d love to expand my degree into archeology so I can actually dig this stuff up and study it but for right now it’s about getting the degree first. I work for SLUG Magazine, and I’m covering Napalm Flesh which is the heavy metal side. It’s super awesome because I’ve been a metal head for a long time so it’s cool to be a part of the community. I’ve got the art and then the writing. I’ve had a couple things published and I’m working on novels and things like that. It’s fun. I like hobbies.

ArtDuh: I saw that you also photograph for SLUG, too?

Megan: I’m on the photography team, technically, but it’s mostly writing. I started with writing, and then I went and covered Mayhem Fest and they had an extra camera. Shooting bands is one of my favorite things to do. It’s so cool to watch people in their element and capture that happiness. And they’re never like that off-stage, it’s just that one moment.

ArtDuh: How did you get the inspiration for the album cover?

Megan: That was so much fun, because I was struggling. I’ve done their album art before. This was the first time where they were like, “We’re not going to be on the cover as a band. We don’t need to do any photography and this is all up to you. We’re just letting you do this. We trust you.” It was a lot of pressure. I don’t even remember my whole original idea, but it was something totally different and then I just thought, “You know, let’s just do something crazy.” And so I’d been working on it for 3 or 4 weeks already and it was so frustrating because it didn’t feel right. (And I’ve been getting better as the years go by, recognizing when it doesn’t feel right and to just abandon it. It’s hard to do that when you’ve been working on it for 15 hours already.) The one that came up, that album cover, I did that in 5 or 6 hours in a night because it just hit. It was something about the way the woman’s body was bent. It was such a dramatic expression. It came together and I got the colors right and I decided to make it that foreground focus thing because it felt like you were coming upon something that you weren’t supposed to see. It just popped.

ArtDuh: Tell me about your book.

Megan: It’s a horror novel. It started as a frustration project to get some emotions out, basically. I’m way into zombies, I’m way into horror picture. And more than that I’ve got this super fascination with anti-heroes and what means good and bad and the whole apocalyptic world view. You always wonder what would happen if it really did happen and what would the remainder of humanity be like. And the zombie movies, they’re entertaining, but it’s all of these good guys, these people that survived by banding together and everything. But nobody does a movie about just the bad guys. That’s who I think would survive; it would be a world of the worst people ever, because they would be cold enough to survive. So that’s the perspective I came from and I have a huge soft spot for the South, so I set it in New Orleans  so I could have some fun with that. And I just started building this story about this jerk drifter that’s the worst kind of survivor and coming across others who are just as bad as him.

I’ve had more downloads than they say you should expect as an indie e-book person. If it gets my name out there, awesome, but I have plenty of writing to do, so I’m not too worried.

Thanks, Megan! Look for Megan’s art at

duskblood.tumblr.com

facebook.com/abuseofreason

and her E-book, “Bury Me In Smoke” at Barnes and Noble.

Also, find more of Megan’s writings under her other name, Megan Dipo.

Osip Mandelstam

August 12, 2012

“The White Orchard” by Vincent Van Gogh

I keep thinking about the poem below, written by Osip Mandelstram. I can’t seem to shake it’s imagery, and certain lines float up into my mind without warning.

Mandelstein was condemned and hunted by Joseph Stalin because he recited poetry that was critical of the Communist state. It isn’t certain, but this may have been the very last thing that Mandelstein composed. If not his last poem, it was one of the final two or three.

by Osip Mandelstam (4 May 1937)

And I was alive in the blizzard of the blossoming pear,
Myself I stood in the storm of the bird-cherry tree.
It was all leaflife and starshower, unerring, self-shattering power,
And it was all aimed at me.

What is this dire delight flowering fleeing always earth?
What is being? What is truth?

Blossoms rupture and rapture the air,
All hover and hammer,
Time intensified and time intolerable, sweetness raveling rot.
It is now. It is not.

_________________________________________________

www.poets.org/poet.php/prmPID/698

www.fsgpoetry.com/fsg/2011/04/christian-wiman-on-translating-osip-mandelstam.html

Elements and Angels

July 29, 2012

Elements

I mentioned last week that I’d been thinking of self-publishing some of my work. Well, I’ve started by collecting a couple of series that I finished over the last year or so. If you’re interested in getting your own copy of either of these little ditties just send an email to toddpowelson{at}comcast.net and I will be happy to send it along in the mail.

For only $5, you can get a nice book reproduction of my series Angels, Demons & Animals (linked here and pictured below). This series is one of my personal favorites, and through it I’ve communicated some ideas that had been on my mind for quite some time. I love how it turned out.

I’ve also collected my Elements, which is another favorite series of mine. Check it out, only $4!

I’ve been working on other ideas too, so expect more soon!

Angels, Demons & Animals

Zines

July 22, 2012

A couple of weeks ago I made it down to the SLC Main Library for the annual Alt Press Fest. There were many fine artists and zine publishers and, although I was kind of rushed because I had some work waiting for me that I needed to do, I really enjoyed myself. I’ve been thinking about zines for a long long time, and I am planning on making something along those lines. As a matter of fact, I’ve started a few projects already and I’m pretty excited by them.

It was great to visit this festival, meet and catch up with people, and take a look at all of the fine work that is out there. Its always good to see the work of artists like Nic Annette Miller, Travis Gray, Evan Jed Memmott, Potter Press, Copper Palate Press, and many many others. I really enjoyed what I saw.

At the Alt Press Fest I picked up a book called “Whatcha Mean, What’s a Zine?” by Mark Todd and Esther Pearl Watson. Like I say, I’ve been thinking of zines and self publishing for quite a while now but, even though I work as a graphic designer and understand the technical side of printing very well, I still had questions. Questions about inexpensive materials and methods, distribution, and how to spread the word. I’ve found this book to be a very good resource and starting point, with some very good advice. If you have any interest in creating zines, maybe this book would be a good starting point for you too.

Some additional helpful links:

slcplaltpress.wordpress.com/alternative-press-resources

rookiemag.com/2012/05/how-to-make-a-zine

zinewiki.com/Main_Page

Begin it now

July 1, 2012

“Goethe” by Andy Warhol

Sometimes, when feeling discouraged or frustrated, it is necessary to hear someone else’s story or read encouraging words. I subscribe to Audible.com and on a whim I picked up the excellent book, the War of Art by Steven Pressfield. In his book, Pressfield quotes W. H. Murray, who is in turn quoting Goethe. I really like what they all had to say, and I need to remember it and move some projects and goals forward. I also like that there was so much quoting going on!

“Until one is committed there is hesitancy, the chance to draw back, always ineffectiveness. Concerning all acts of initiative there is one elementary truth, the ignorance of which kills countless ideas and endless plans. That the moment one definitely commits oneself then providence moves too. All sorts of things occur to help one that would never have otherwise occurred. A whole stream of events issue from the decision, raising in one’s favour all manner of unforeseen incidents, and meetings and material assistance which no man could have dreamed would come his way.  I learned a deep respect for one of Goethe’s couplets:

‘Whatever you can do, or dream you can, begin it.
Boldness has genius, power and magic in it.'”

W. H. Murray


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