The 2018 Hatha Yoga Calendar references a Panchangam for Portland, Oregon. A typical Panchāngam may state tabulations of positions of the sun, moon, and other planets for every
day of the year on a fixed place (longitude, latitude) and time of day (in 24-hour format IST). The users calculate the remaining data using their relative difference from th
is fixed place and time.
Yogis use an Indian astrology system of calculation (rather than a simple astronomy calculation). In this system, it is the period of time prior to the point the moon becomes exactly new/full that is considered as the ‘moon day’ (called a tithi in Indian Astrology). Further more, in this system, the day is considered to begin at sunrise rather than mid-night.
In India, where yoga comes from, the term ‘moon day’ is a loose translation of the Sanskrit term ‘tithi,’ and would be more accurately translated as ‘lunar phase’ rather than ‘moon day.’ Each tithi is the time period it takes for the the moon to traverse 12° in the sky thus making 30 tithis (or lunar phases) per lunar cycle. These tithis begin at varying times of day and actually vary in duration from approximately 19 to 26 hours. What loosely gets termed the full and new ‘moon days’ are actually the 15th and the 30th tithis of this Indian Astrology (Jyotish) system.
I see on your website that your preferred medium is pen and ink with low key colour. Is that still the case? What is it about this medium that works for you?
My work is usually seen in print form, which does call for a certain approach to color. Accessible reproduction tools like photocopying, screen printing, and letterpress have molded my general aesthetic, which for better or worse, relies heavily on the line work. Subtle earth tones usually compliment my work best and give the blackline room to breathe.
I appreciate that it’s not always easy to articulate, but how do you go about creating an illustration that harmonises most elegantly with the band you’re working with? Does any of it stem from a synaesthesic approach to listening?
Relationships vary. New ones usually start with a combination of initial ideas and studied sketches which are pared down to a workable composition. I do a lot of listening, digging into visual history, and sketching.
With bands that I am close with, such as Om, it’s a deep meditation on the essence of the band, humbly interpretedthrough my work.I am blessed to have their trust in my vision.
Synesthesia, a “union of the senses”, is a good word to describe a successful poster or album cover. My goal is that the image resonates with the listener’s experience within the music.
It seems as though meditation and deep listening feature heavily in your creation process. Is it important for you to feel a connection – spiritual or otherwise – with the band / artist that you’re working with?
The work that I feel this sort of connection to comprises the heart of my practice. The connection results in my most successful work both technically and spiritually.
That said, I consider myself not much different from a plumber or stone mason. Illustration is a trade and there are skills and processes that take a lifetime to hone. It’s honest and deeply fulfilling for me, though sometimes less about a spiritual connection and more about my skills as an Illustrator. I also love this part of the work.
Images pertaining to death seem to feature heavily in your work, although it doesn’t feel morbid exactly – there’s something quite regenerative and harmonious about the presence of death within your drawings. What is the allure within this incorporation of death?
I consciously try to represent death in the memento mori tradition, a positive affirmation that death is inevitable and a reminder to fill your brief life with creativity and love.
When there is a skull in my artwork it represents a spiritual or ego death, which can be terrifying, but ultimately positive and life-affirming.
“The skull at the foot of my cross is my own.” Daniel A.I.U. Higgs.
Are there any other recurrent images or ideas that you find yourself gravitating towards in particular?
You can detect threads in my work since my earliest stuff. I am very fond of the basics: death, rebirth, spirit as classically depicted by many artists and craftspeople over time. The cross is my favorite visual symbol both visually and historically.
There’s an awesome phrase on your website – the “psychedelia in nature”. In particular, those peacocks in the Om April 2014 tour poster come to mind as I read it. What is it about this idea that appeals to you?
A peacock feather is a fantastic example of the patterns and infinite microcosm all around us. The markings of a feather can represent the resonance of a bass note. The stripes of a tiger describe a drum roll. Nature is the ultimate muse.
The Om poster is my variation of an Indian “Tree of Life”. Peacocks have layers and layers of meaning in art and religious history. The eye-like pattern of their feathers for example, or the fact that they are renewed each year, representing rebirth.
What does your studio look like? How have you arranged/furnished/decorated it to create the optimum environment for you to work in?
My studio is in an old woolen mill on the banks of the Willamette River. The St Johns bridge spans overhead leading to Portland’s Forest Park which is the largest urban forest in the country.
It’s important that my studio environment harbors creativity and a space out-of-time, a sacred environment of sorts. I surround myself with work of contemporaries, 60s posters, paper ephemera from the turn of the century, books, records, and religious oddities. A portion of my studio is devoted to housing my Chandler and Price letterpress (1910) and other archaic printing paraphernalia.
What’s on the horizon for you?
While cleaning and oiling joints on my press, I recently discovered that I can see some gold paint peeking out from beneath the top layer of black. In its time, 1910, decorative pinstriping of industrial printing equipment was in vogue. I am working on restoring the original decorative patterns to refurbish the press while retaining its incredible patina.
Beyond that, Om, Sleep, and my first in-house record release on Samaritan Press, Empty Tombb/w Sepulcher Dub 7” by Al Cisneros.
During my Haven Press residency we decided to fit in a second project. Since Mark owns a laser engraver and was eager to put it to use, he suggested we try a relief print on the etching press. I handed over an image and after some tweaking and vectorizing we were watching as this incredible machine hypnotically engraved the image into a large piece of maple veneer.
Mark then mounted the veneer onto a magnetic sheet. This kept the “plate” in place on the giant etching press.
Each pass had to be hand inked very thoroughly and then cranked through. The results are astounding! The beautiful grain of the maple shows through in the solid areas giving the image a very unique reverberation. One of my favorite prints of my career thus far!
Each pass differed in density and darkness which makes for a varied edition of 25.
Mark Herschede is a printer. In my years of work in this field I’ve met many, but nobody has fully embodied the trade such as Mark. He’s incredibly knowledgable, kind, and just the right amount of obsessive. I knew this after working with him on the Astral Mind screen print in July, so when he invited me back for a residency I was sure to follow up.
My two weeks at Haven were a whirlwind of printing and Brooklyn energy, visits with my friends Arik Roper and Robert AA Lowe, and some late nights at the studio. It was fantastic.
I’ve always wanted to print on a larger scale with letterpress, so this was the core of the project. It evolved into an 11×15″ collection of 6 images with cover. And as you’ll see later in the post, we made a hand painted monoprint to be included with the book.
Mark has the equipment and knowledge to burn his own polymer plates. The oven-like unit exposes and washes the material with precise timing. Pictured below is Mark preparing one of the six resulting plates.
We used the Vandercook Universal 1 for the pages. The polymer is mounted on the base and printed with relative ease. This is how the six interior images were letterpressed.
The process for the loose print was very fun and experimental. The color was laid down by quickly painting with liquid acrylic and watercolor directly onto the screen. There were no exact guidelines, so it was a blind and gestural colorization. Once the paint was dry Mark was able to get 3-4 squegee pulls out of each. With a little transfer solution, the paint magically prints onto the Kitakata (Japanese Mulberry paper). Every transfer is different, from bold to subtle color. The blackline is then printed atop the color. This made for a very unique edition, exactly the type of experimentation that I love in printmaking.
The covers were printed on a larger Vandercook. We did a small black on black vignette on the front of the barrel fold and the colophon in silver on the interior back.
I then added a piece of vellum, did a simple hand stitch and tie, and signed and numbered the edition of 50.
As a kid rifling through my father’s record collection, The Crazy World of Arthur Brown was one of the albums that fascinated me with an otherworldly visual magnetism. My father’s record rack housed a modest variation from Richie Havens to Stones to Tull and he (like much of Arthur’s casual american fans) hazily recalls the hit “Fire” as a one-off phenomenon and most definitely the reason he possessed the record. In truth, The Crazy World of Arthur Brown has wove a web of psychedelic music, theater, and poetry that began years before “Fire” and decades after. He was an original Head, freaking out his audiences way back in 1964.
The Crazy World of Arthur Brown created a melding of rock music and theatre which influenced countless bands. Face paint, pyrotechnics, spoken word… it all reverberated while Arthur went on to form Kingdom Come (see my favorite album “Galactic Zoo Dosier”) and other incarnations of his mad theatre. At 74 years of age, Arthur is traveling North America with a set of classics and more recent material, the Zim Zam Zim Tour 2017.
I was beyond psyched to make a poster for his appearance at Psycho Las Vegas festival in 2016. It was a high point of style and energy in the festival, a one man psychedelic burlesque where Arthur’s unmistakable hip swaying and arm flailing out vibed the flaming Vegas strippers onstage. It was an amazing performance.
In person he was unbelievably gracious and vibrant, radiating creativity. I gushed about my influences and ideas of how to approach his poster. In the context of poster art history, the idea of working with Arthur Brown is mind blowing. He has shared posters with the greatest of legends… Jimi, Love, Soft Machine, most during an often overlooked UK poster scene at Club Ufo with design group Hapshash and the Coloured Coat. For me to think I’ve contributed in a small way to this collection is beyond wild. I was very happy to know that he was pleased with my vision.
On the heels of the festival appearance is the Zim Zam Zim Tour. I was asked to create another poster and apparel design, both an expansion on the original vision. Limited quantities will be available at the shows.
2/15 Los Angeles, Regent Theater w/ White Hills 2/16 Las Vegas, Hard Rock Hotel & Casino w/ White Hills 2/17 San Francisco, Slims w/ Acid King 2/18 Portland, Star Theater w/ Danava 2/21 Chicago, Reggies 2/23 New York, Le Poisson Rouge 2/24 Austin, Barracuda w/ Pallbearer 2/25 Austin, Barracuda w/ Acid King & Jex Thoth
Upon meeting in 2012, Jondix and D’Andrea discovered a shared reverence for illustration, transcendental pattern, and esoteric spiritual thought. They decided at this meeting to explore the path of collaboration by sending work between Portland and Barcelona.
Using additive and subtractive methods to ink over and under each other’s lines, they conjured the spirit of the “Astral Mind”, a term describing the unknown and unpredictable artistic entity which emerges out of true collaboration.
The collection centers on black and white India ink on panels, flanked by large mixed media work on paper and 3d elements such as painted paper mache masks.
The presentation will also involve editioned prints, portfolios and apparel.
July 8th 2016 : 7-10 pm : Three Kings Studio, 754 Manhattan Ave. Brooklyn, NY
December 14, 2015
Wonder Ballroom, Portland Oregon
Screen printed show edition of 100
14 x 24″ on Cougar Natural paper
Signed and numbered
3 color print with split fountain
I decided to hand color the “G” of each to give it a little more flair. Mailorder copies have been colored with purple.
Graveyard’s set was masterful as always, and has become a beautifully crafted selection of songs that span years of soul. I’ve seen them countless times, from the first Portland shows with Witchcraft to now, and they keep getting better.
And what can I say that hasn’t been said about Earthless? If you know you know.
Available at the shows and later via the Samaritan Press shop. *Please note the shop is closed until mid December, once I return from travel. Thanks.
November 14 @ Chapeau Rouge. Prague, Czech Republic
November 15 @ UT Connewitz. Leipzig, Germany
November 16 @ Bi Nuu. Berlin, Germany
November 18 @ Vera. Groningen, The Netherlands
November 19 @ Le Guess Who. Utrecht, The Netherlands
November 20 @ Jubez.Karlsruhe, Germany
November 21 @ Rocking Chair. Vevey, Switzerland
November 22 @ Divan Du Monde. Paris, France
November 24 @ FZW. Dortmund, Germany
November 25 @ Trix. Antwerp, Belgium
November 26 @ Electric Ballroom. London, United Kingdom
November 27 @ ATP Festival. Prestatyn, United Kingdom
November 28 @ Button Factory. Dublin, Ireland
November 29 @ Mutations Festival. Brighton, United Kingdom.
Death Posture refers to the yoga asana commonly known as savasana or corpse pose in which the senses are turned inward and mind open to visual inspiration.The term, as defined by illustrator Austin Osman Spare, is a threshold crossed via an induced state of gnosis. Meditation, breath, candle gazing, and automatic drawing may be utilized to remove the ego from the line.
The images in this selection of David V. D’Andrea’s work were birthed from this space of death to exist in the medium of ink on board. Many of the pieces were created for bands such as Om, Sleep, and Godspeed You! Black Emperor, and some specifically for the exhibition.
There will be for sale a large collection of band related screen prints spanning D’Andrea’s career and a limited edition set made specifically for ATAK San Francisco.
Wrekmeister Harmonies ( J.R. Robinson and Esther Shaw) will perform a piece entitled “The Legendary Map of the Universe” utilizing piano, synth, violin, guitar and voice.
During my cross country trip I had the pleasure to spend a few wonderful productive days with Burlesque of North America and Ben La Fond. The opportunity arose when I was headed towards Chicago where my friends Wrekmeister Harmonies were preparing to hold their bi-annual event (including Fountainsun and Hide) in the Bohemian National Cemetery. When these stars aligned I knew that the event deserved a grand print via Burlesque.
While I’m loyal to my fellow west coast shops Monolith and Broken Press, I’ve always admired Burlesque’s work. They regularly print with contemporaries like Aaron Horkey, John Baizley, and Arik Roper. Ben la Fond himself is a photographer who translates his work via screen printing wizardry. It was a treat to see his work amongst all the other design history contained within the walls of Burlesque.
Ben was on press for two solid days, resulting in an “art print” edition of 150 and a show edition of 50.
The show edition includes text and is cut slightly larger. If anybody is particularly interested in this version please email me. I have a short stack of them but will not list them in the shop due to quantity.
I had a fantastic time getting to know my host, Erik Hamline, a fellow whose Risograph obsessive and screen printer. His shop Steady has a great vibe and puts out incredible work. Erik *tinkers on vintage motorcycles too. I painted a Sportster tank for him a few years back which I was honored to see displayed on the dining room wall (!).
* meaning half his shop and entire garage is filled with beautiful vintage bikes in various states of restoration. Erik’s skill and determination brings them to life over time and they are beautiful.
On July 19, 2013 Om performed at the Metropolitan Museum of Art, New York City. They set up in the shadow of the Temple of Dendur and played an extended version of At Giza plus a few from Advaitic Songs.
Since the carvings represent the Egyptians’ natural world, I chose to reflect the scene back onto it by depicting the temple as it might have looked when the waters of the Nile crept up to its front porch. An ancient Ibis stands guard amongst the papyrus reeds and blue lotus. He clutches the staff of Osiris, greeting visitors while barring their entrance. A sacred scarab ascends the steps to the astral level where it pushes the moon across the night sky.
Broken Press ran an edition of 150, 100 of which were sold at the event.
From the Metropolitan website: Egyptian temples were not simply houses for a cult image but also represented, in their design and decoration, a variety of religious and mythological concepts. One important symbolic aspect was based on the understanding of the temple as an image of the natural world as the Egyptians knew it. Lining the temple base are carvings of papyrus and lotus plants that seem to grow from water, symbolized by figures of the Nile god Hapy. The two columns on the porch rise toward the sky like tall bundles of papyrus stalks with lotus blossoms bound with them. Above the gate and temple entrance are images of the sun disk flanked by the outspread wings of Horus, the sky god. The sky is also represented by the vultures, wings outspread, that appear on the ceiling of the entrance porch.
On the outer walls between earth and sky are carved scenes of the king making offerings to deities who hold scepters and the ankh, the symbol of life. The figures are carved in sunk relief. In the brilliant Egyptian sunlight, shadows cast along the figures’ edges would have emphasized their outlines. Isis, Osiris, their son Horus, and the other deities are identified by their crowns and the inscriptions beside their figures. These scenes are repeated in two horizontal registers. The king is identified by his regalia and by his names, which appear close to his head in elongated oval shapes called cartouches; many of the cartouches simply read “pharaoh.” This king was actually Caesar Augustus of Rome, who, as ruler of Egypt, had himself depicted in the traditional regalia of the pharaoh. Augustus had many temples erected in Egyptian style, honoring Egyptian deities. This small temple, built about 15 B.C., honored the goddess Isis and, beside her, Pedesi and Pihor, deified sons of a local Nubian chieftain.
In the first room of the temple, reliefs again show the “pharaoh” praying and offering to the gods, but the relief here is raised from the background so that the figures can be seen easily in the more indirect light. From this room one can look into the temple past the middle room used for offering ceremonies and into the sanctuary of the goddess Isis. The only carvings in these two rooms are around the door frame leading into the sanctuary and on the back wall of the sanctuary, where a relief depicts Pihor worshiping Isis, and below – partly destroyed – Pedesi worshiping Osiris.
My two and a half day print session with Burlesque has been the highlight of my road trip so far. Printmaster Ben LaFond manned the press and the rest of the crew couldn’t have been more accommodating.
There are three versions of the print. The main edition is an art print with no text, 24 x 34″ on French Charcoal Brown. The show edition of 50 is the same image with text, 24×36″. Lastly, we ran about 20 variants on French Starch White.
The show edition, entitled Beyond the Gate, is for July 2nd in Chicago. Wrekmeister Harmonies, Fountainsun (Daniel Higgs and Fumie Ishi), and Hide (fronted by an old friend of mine, Heather Gabel) will perform in the Bohemian National Cemetery. Heather, Daniel, Fumie, and myself will also hang artwork.
I’m very pleased to be showing work at Inner State Gallery in Detroit. Alchemy was curated by my dear friend Monica Canilao, whose work and craft has inspired me since we met years ago. She stitches together art and life in a beautiful way that few others of my generation have and I’m happy to call her family.
I’ll be showing a sequential triptych depicting the alchemical Prima Materia and birth of the creative spirit.
Here is an excerpt of a fantastic article (full article here) by Paul Levy that really nails the idea I hope to describe:
To the extent that the alchemists realized they were projecting outside of themselves their own divinity so as to recognize it within themselves, was the extent to which the alchemists were unlocking the key to their own self-empowerment. If an alchemist realized the reflective and revelatory nature of what he was experiencing in his miraculous lapis, which he himself equated with Christ, to quote Jung, he would “have been obliged to recognize that he had taken the place of Christ – or, to be more exact, that he, regarded not as ego but as self, had taken over the work of redeeming not man, but God. He would then have had to recognize not only himself as the equivalent of Christ, but Christ as a symbol of the self.” Compared to Christ, who, as the Word made flesh, was the full-bodied incarnation of the Light, each one of us are instruments for the reunion and re-uniting of the paradoxical God which contains both light and dark. We are the alchemical vessels prepared by God expressly for the purpose of uniting the opposites intrinsic to Its nature.
Jung reflects that, “Whereas in Christ God himself became man, the filius philosophorum [the son of the philosophers, i.e., the stone, analogous to the son of man] was extracted from matter by human art and, by means of the opus, made into a new light-bringer [interestingly, the archetypal “light-bringer” is Lucifer]. In the former case the miracle of man’s salvation is accomplished by God; in the latter, the salvation or transfiguration of the universe is brought about by the mind of man – ‘Deo concedente’ [God willing], as the authors never fail to add…Man takes the place of the Creator” The sacred, meta-physical art of the alchemists was to liberate the creative spirit of the cosmos, which they could only accomplish with the blessing of the creative spirit which is God. Creative artists of and for the soul, the alchemists were being a channel for the universe to autopoetically re-create itself in a uniquely evolutionary way. In Jung’s words, “…man is indispensible for the completion of creation; that, in fact, he himself is the second creator of the world.”
In exploring their unconscious through the material world, the alchemists were potentially waking themselves up to the dreamlike nature of reality. In becoming lucid in the dream of life, they were realizing how they could transform the world by transforming themselves. We are all potential alchemists-in-training to the extent we are consciously participating in giving creative expression to our experience of the unconscious. When enough of us become accomplished in the sacred art of alchemy, we can connect and “conspire to co-inspire” each other, I imagine, to activate our collective genius and create real magic, changing the world in the process. As the alchemist Gerhard Dorn proclaims, “Transform yourselves into living philosophical stones!”
Recently my friend Ian Lynam and I were talking of how we love Barney Bubbles / Colin Fulcher’s work. With Nik Turner’s Hawkwind headlining the approaching FiD Festival, I saw the perfect opportunity to collaborate with a long time compadre. Ian and I published a few collaborative zines back in the day and have kept close contact in later years. He has since become a world renowned type designer. Ian lives and works in Japan. See his work at Ianlynam.com.
We chose to reference the cover of In Search of Space specifically. Nik seemed genuinely pleased with the result and he was so kind to pose for a photo.
Bands that performed at Fall into Darkness 2013:
Day1: Hedersleben, Billions & Billions, White Manna, Nik Turner’s Hawkwind
Day 2: Lazer/Wulf, Lord Dying, Holy Grail, Orange Goblin
Day 3: Eight Bells, Botanist, Behold…the Arctopus, Agalloch
Day 4: Mike Scheidt, Uzala, Hammers of Misfortune, The Skull
My friend Todd and I share a deep appreciation for the visual history of punk/hardcore. We’ve spent countless hours recalling and referencing pieces, many of which are lost to analog history or dusty record shelves. It’s so difficult to create a compelling album cover, something that stands out in the stack but can be produced within the means of the underground. I love the conversation and the challenge.In the midst of a studio visit, Todd spotted a series of pieces that stood out stylistically, though I hadn’t used them for any particular project. At the time, Tragedy was searching for a cover of their upcoming album, Darker Days Ahead. We used one of the pieces for the cover, one for the label, and Todd created an interior and hand written lyrics.
The printing took the design to another level, a rare and welcome occurrence in album packaging. The LP has a tip-in cover. To create a tip-in, the print is made separately and then adhered to the jacket. In this case the translucent and fiber laden paper made for an odd construction. The process lends itself very well to the piece and the tactile quality of the end product is perfect.
The cd digipak shares a similar quality but the band name is letterpressed.
I am so proud to have worked on this release. Tragedy is an incredible band and Darker Days Ahead is my favorite release thus far. They are a great example of my ideal collaborators in that they show care, attention to detail, and integrity in their output.
Prior to 2011, if I had made a list of bands and artists I’d aspire to collaborate with, Godspeed You! Black Emperor would crown it. Their inclusion would’ve been void of expectations or reality, especially since they had not been an active band since 2003. Their sprawling, crashing surges compelled my work via headphones and vinyl for years. In 2011, when they posted a type-written note proclaiming their reformation, I was ecstatic. I purchased a ticket well ahead of time for the Portland show. One day soon after they reached out to me. The email sat in front of me flickering on the screen. I read it and re-read. I even had Andy read it over my shoulder to confirm what I was seeing.
Godspeed’s past visual aesthetic was quite minimal. The chipboard sleeves and spot color printing certainly established a feeling, but aside from a few illustrations by Efrim, all was ingeniously cryptic. I don’t think there had been official posters.
As an illustrator, there is a strange challenge in working with material that you have lived with for years. Godspeed had already formed visual epiphanies of alchemical eyes and divinely inspired charts of man’s micro and macrocosm, images that bore fruit on the astral plane but harnessing them into the physical would be a bit intimidating and very exciting.
My usual edition tops off at 150-300, with an occasional larger run. In the case of GY!BE, the first run of the 2011 poster sold out by the end of the west coast shows. Since the tour was to continue to the east coast and Canada, and the fact that we had a two week
window, we ran another batch. In addition, there was a European edition (on different paper and colorway) printed by Seripop (Canada). Since the total number of the first poster was so large, it was not numbered. I actually do not know how many were made, though my guess is around 4500.
I was later asked to create a second piece to commemorate a string of California shows. They began with an absolutely incredible night in Big Sur where the band played outdoor in a field followed by camping. Then there were 5 sold out nights at Great American Music Hall in San Francisco.
I continued with the underlying theme in the new composition. This time the figure was grounded, illuminating, searching for truth. Though the figure this time is not ascending physically, a reference to the upcoming album’s title “Don’t Bend, Ascend” is featured at top.
Wall to Wall was a Converse sponsored project which called for an outdoor mural in Southeast Portland. The fact that I’d be working within a 15 x 25′ space was merely one factor that put me in over my head. The sketch translated in scale would be no problem. It was the actual execution that caused me to be a bit intimidated. I relished the challenge and dived head first.
As you can seen in the video, we printed my preliminary drawing in about twelve 3 foot panels. We then cut the design to the edges and pieced it together with wheatpaste.
The site’s measurements changed drastically when we found out that the marquee above was not going to be moved as planned. This is why the piece cuts off at the ground, shortened by about 3 feet.
The other major hurdle was, of course, the rain. At points, the wall was absolutely soaked with rainwater streaming down from the roof. This made it difficult to apply the paint and caused an underlying fear that the wheatpasted paper might peel off the wall. In the end, we learned to live with the rain’s streaked effect on the paint, found enough dry pockets in the two days, and forged ahead.
When I was in high school, Neurosis represented an apocalyptic monster of progressive thought, crust, psychedelics, and visual art. It was a strange foreign cocktail that I absolutely yearned to tap in to. In fact, if one was to find a Bristol Eastern High yearbook on a dusty Goodwill shelf and turned to the awards page, I could be seen wearing the classic ying-yang fetus t-shirt in an awkward class artist pose.
During my years in Oakland (94-2010), I was fortunate to see Neurosis throughout some of their most memorable stages. Every performance lived up to my original expectations and then some, pummeling my psyche so terribly throughout the years that I can forever call them my personal (and arguably many of my peers’) Pink Floyd.
When I was presented with the opportunity to do a Neurosis poster for a New Years Eve show in my forsaken home of Oakland, I looked to the classic ying-yang design for inspiration. My goal was to reference the old design while updating and changing the details a bit.
The show edition of 100 sold out at the blow-out event. I kept a stack to sell via my website, a number of which are still available in the shop.
Because of the special occasion and its significance, I went to my old friends at Monolith Press for printing. The result was a powerful 4 color oversize print on 26 x 26” paper.
Letterpressed prayer cards printed in-house at Samaritan on the Chandler & Price old style.Text from the Om album “Advaitic Songs”. The song, Addis, features a vocal rendition of the Mahamrityunjaya Mantra by Kate Ramsey.
OM. We worship and adore you, O three-eyed one, O Shiva. You are sweet gladness, the fragrance of life, who nourishes us, restores our health, and causes us to thrive. As, in due time, the stem of the cucumber weakens, and the gourd if freed from the vine, so free us from attachment and death, and do not withhold immortality.
I’ve finally finished the hand painted edition of the Om Williamsburg print.
The overall project was a bit of an experiment. A one color blackline was printed on a handmade round Indian Khadi paper. This was executed by Broken Press. The one color edition of 100 was sold at the show.
I then took a few months to create the painted edition, using a combination of watercolor, acrylic inks, and Copic markers. There are 32 in the hand painted edition.
The result is a one of a kind piece.
Jared Metzner and I grew up together in a place called Bristol, Connecticut. Through our high school years we spent nights collaborating on zines and comics, searching for new means of expression through crude photocopies and screen prints.
Now, some 20 years later, Jared resides in Chicago as a tattoer and painter. His cast plaster objects and large abstract landscapes are a deep inspiration to me, revealing notions that can only be understood through of a lifetime of shared lines.
I’ll hang a collection of originals inks and will have posters and small print sets for sale. I printed a new three card set on the letterpress for the occasion.
The event is one night only, so Chicago, if you hear me please come out!!!
SLEEP’s upcoming caravan spans Boston to southern California and Arik Moonhawk Roper and I split the visuals. Arik created a poster for the first half and I took Chicago (2 shows), Pioneertown, and Los Angeles.
My piece has been printed (Monolith Press) in two separate editions: 300 Show and 100 Artist. They will be signed and numbered separately.
The only difference between the editions is the paper, show copies being on Cougar Natural and artist edition on French “Aged Newsprint”.
Size is 18 x 36″, full bleed.
I will be working the table at all four shows, where the price will be $30.
The artist edition will be available here directly following the tour, some time within the first week of September.
A 20 page zine of hypnagogic mask-forms by Robert AA Lowe (Lichens, Om)
Printed in-house at Samaritan Press on a Riso GR3775
One color print and rubber stamp on French Paper
5 x7″, Stapled bound, Edition of 100
Includes a 5×7″ screen print of cover image and a button of one of three random images from the zine
Plans for Samaritan Press 001 began in early 2013, shortly after the imprint was founded. Releasing the first official catalog number with Al was important to me, as the creative relationship we’ve built with OM has made for some of my best and most fulfilling work. Al’s intention in music and words deeply resonates with me as an artist and friend.
My interpretation focused on the story of Elijah, as mentioned in the lyrics:” “And rise Elijah. From death through the ghost field. The empty tomb electric. From sepulcher flows the stream. As siddhas roam the mountain. Jonah.”
The depiction of Elijah (back cover) is fairly traditional with some slight twists. To me, Elijah is representative of a contemplative life and the song evokes a specific period of isolation as described in the biblical narrative.He is crouched in a cave on Mt Horeb. Ravens gather with bits of God’s nourishment. I feel that those who live hand-to-mouth must believe in a sort of providence as illustrated in the story. I included a skull atop the tree stump as a symbol of rebirth, a trust in God and nature.The image of the raven (insert) is a further elaboration on the scene. This time I imagined the tree full grown, having enveloped the human spirit/skull.
The chipboard sleeve was printed on my Chandler & Price press (circa 1910). The press is powered by pumping a foot pedal (treadle) to rotate a large flywheel which powers the press to print with a “clamshell” type of motion. Though an edition of 1000, the jackets were printed in two passes.The dust sleeves were also printed on the C&P.This called for many, many hours of printing and contemplation and,as a good friend once pointed out, manually powering a sort of wheel of dharma (dhammachakra) to imprint the image. The image is physically pressed into paper as the grooves of the record are imprinted into the vinyl, an overall archaic and laborious process, which embeds an intention and energy in the object. I hope that the final object conveys the reverence for music and art that Samaritan Press represents. The main insert is a 3 color screen print along with various other ephemera that I include with mailorder copies.The matrix labels were hand stamped and the jackets were then manually folded and numbered.
I want to thank everybody who has purchased the release so far. Your interest and support has been extremely encouraging and a sure sign that I will continue the series of music releases. I have a few proposals out there and I’m certain that the next release will be very exciting. More details to come.
Hexvessel’s songs are magical tapestries of forests, fungus, and sacred entities. Their reverence and love for nature deeply resonates with me. Aren’t the Northwest trees around me connected to Finnish forests via spores and sky? Regardless, the spirit translates.
In working on their second album, No Holier Temple, I immersed myself in the wondrous world of Finnish folklore. I attempted to depict a sort of amalgamation of the entities such as Tapio, with beard of moss, or the forest guardian with birch mask and staff. The importance of the bear ancestor in Finland prompted me to include the skull. I am fascinated by the traditions surrounding bears.
From Wikipedia: Karhunpeijaiset is a celebration after a bear hunt. A bear was never hunted; it was merely brought down. A single man could claim to have hunted and killed a bear, but in a community effort, the bear simply died. The ceremony was always a much more elaborate affair than the most influential member of the community would have merited. In eastern Finland it would have copious mourners and wailers, and the people would address the bear as a relative or as the son of a god. Its flesh was not eaten — that would have been cannibalism — or, if it was, an elaborate show was made to symbolically render the meat into that of another animal, e.g. venison. The bear’s head was usually mounted on the top of a young tree, or on a pike. Carrion-eaters would then eat it, leaving only the skull, which would then become an object of veneration. A courtyard would also be cleared around the skull. Traditionally, only bears were sanctified thus. Sometimes the ceremony was held as a sacred marriage rather than a burial. In such cases the bear was either propped up inside a frame or strapped to a cross. With all due ceremony, the chosen bride would marry the bear.