Visceral Visionaries: The Cloisters, Vol. 2

Christ Child with an Apple. Willow with original pain and traces of gilding. Michel Erhart, Germany, c.1475.

Four long years ago--my, how time does fly--I paid a fateful visit to The Cloisters, one of NYC's best-kept secret and a haven for rare and often creepy-as-hell medieval European art. If you don't believe me, you can read about it right here. Anyway, ever since then I've been haunted by the beautiful and disturbing things I saw on that day, and so it was only a matter of time before I returned.

Thanks to a collection of free passes acquired by my daughter Zombelina, I was encouraged all the more to make the return trip to the northernmost tip of the island of Manhattan a couple of months ago to once again immerse ourselves in the twisted imaginings of the pre-Renaissance Western world, when the oppressive yoke of religion forced its will upon everything, and turned men's minds to thoughts of a most bizarre nature.

That's not to say that there isn't a lot of pleasantness here, as well; although I chose to pictorialize only the most frightening imagery for the purposes of this rather single-minded blog, I would encourage a visit to The Cloisters for many other reasons, including the peaceful herb garden (don't eat the hemlock) and the magnificent views of the might Hudson River.

Sadly, we were ousted abruptly due to an earlier-than-expected closing time, and so I'm proud to say we returned once again a mere few weeks later. Two visits to The Cloisters in one summer! It gets no better. Well, enough of the wistful musing! On to the gloom and doom...

 Saint Michael. Tempera, oil, gold and silver on wood. Master of Belmonte, Spain, c.1475. The detail on Lucifer is quite gruesome, indeed.

From Panels with the Crucifixion and the Lamentation. Tempera on wood with tooled gold ground. Master of the Codex of St. George, Italy, 14th century.

House Altarpiece. Oil and gold on wood; metal fixtures. Germany, c.1490. That's St. Anne, holding both her inexplicably diminutive daughter Mary and her grandson Jesus. 

The Lamentation (detail). Walnut with paint and gilding. Spain, c.1480. Originally found in a Benedictine monastery, the intense emotion was meant to urge the faithful to imagine themselves present at the death of Christ.

Altarpiece with Scenes from the Life of Saint Andrew (detail). Tempera on gold and wood. The Master of Roussillon, Catalan, c.1425.

Altar Frontal with the Man of Sorrows (detail). Wool, linen and metal thread. Germany, c.1465. "Man of Sorrows" was a common medieval euphemism for J.C. himself. Note the amount of blood, consistent with passion plays of the Middle Ages.

Wooden sculpture of a lamenting woman, presumably Mary. Sadly, I did not get the details on this one.

Lurking in the herb garden...

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Visceral Visionaries: Jennifer OZe

It's been a while since Visceral Visionaries has reared its eerily beautiful head here in The Vault of Horror, but this time I'm bringing you a particular creator whom I've been planning to interview for many months now. And now, it's finally come together, so it brings me great pleasure to bring her work to you.

Her name is Jennifer OZe (a.k.a. Ozehoski), and she is the mastermind behind Concocted Curioddities, a line of truly unusual and striking dolls and other toys that are just catnip to a fan of the bizarre such as myself. Described as "the marriage of a doll/bear maker and a certified special effects/makeup artist [Jennifer's husband Randy] who hope to bring a little strangeness to your world," Concocted Curioddities provides a delightful glimpse into a truly creative, horror-oriented mind--which is what Visceral Visionaries is all about...

How did Concocted Curioddities get started?
C.C. has gone through many ups and downs--rising from the ashes, so to speak. It started out simply as creating to keep myself busy, a hobby. Friends and friends of friends started noticing; soon, more people outside my circle wanted my concoctions. So it started off as presents (Handmade is way better than store bought, I think.) Then I actually had people offer to pay for what I created! So with a simple hobby comes product, then comes fans, they become customers and that starts business. That creates demand, and BOOM Concocted Curioddities was born!

What inspires you? Whose work do you admire?
There isn't enough space to blog on what inspires me! But, I'd have to say mainly it's scary stories--fairy tales like Brothers Grimm with their macabre morals and twisted views, half in fiction half in reality. They were the first horror writers! Legends, myths, vintage toys, taxidermy, old discarded stuffed animals, skeletons, flea markets. Pretty much anything I can do to evoke someone's inner child and bring sentiment or nostalgic thoughts back just by looking, feeling, or being around my creations, makes it well worth the effort! Adults should always be able to return to childhood again and that's the thought that drives me to create!

Who do you admire?
Mary Blair, Conceptual Artist for Walt Disney, created some of the most beautifully eerie art. Her use of abstracts and color really influenced me to keep my childish imagination intact!

Mark Ryden, for his impact on surrealism. He uses almost the same inspirations I do, which makes his art captivating and nostalgic, just as I try to do with my art and dollies!

Stephen King, probably the most important, saved for last! He had a humble start, and sheer persistance in knowing exactly what he wanted to do helped him expand himself in his chosen path until he did exactly what he dreamed! I only wish to have and keep the same focus and drive--always tweeking, always experimenting, and constantly adding just as much thought and detail into my creations as he has!

Do you consider your work to be art?
I would say it's Art. I get inspired, I daydream, I sketch, then research and hunt down exactly what I envision for materials. I work out how to do it, while sometimes reinventing or scrapping ideas along the way, then watch it come to life!

What are your favorite materials to work with?
My favorite materials are vintage fabrics, vintage buttons, bones and skulls, clays, vintage doll parts, dead things, old worn out tossed-away clothing, vintage jewelry and acrylic paints!

Of which creation are you the most proud?
I'd have to say my FAUXIDERMIES! Part upcycled doll parts, part crafted taxidermy, a sprinkle of vintage, a dash of something dead and ALL imagination!

Do you ever make things you wind up liking so much you can't part with them?
Of course! Everything I make I want to keep! It's birth, creation! Every time you make something new it's another piece of you outside yourself. Every piece makes you want to go bigger, badder, bolder! I'm proud of all my Concoctions, but pride sometimes takes a back seat to seeing someone else get to enjoy my work for themselves!

What has been the public's reaction to your work?
Public reaction has been great. I get praise, and requests for future projects or customs, and remakes of a lot of already adopted Creations! I have a decent amount of repeat customers and a steady stream of word of mouth. I always have awesome feedback on WIP (Works In Progress). They seem to enjoy my hands-on custom orders, and a lot of jaws drop when they find out that everything I do is 100% handmade, no machines. Handmade and designed seems to really get peoples attention, and they see it's worth every penny to collect OOAK Plushie Art!

Why do you think people enjoy dolls like the ones you make?
People enjoy what I do simply because it's unique. Yes, thousands if not millions of dolls and bears are made all the time, but I try to bring life and individuality to every thing I create. People feel that, with my customs especially. And it's hard to find dolls that are strange, weird, or scary! I don't do "cookie cutter"!

What are some of your favorite horror films, and do you think they've influenced your work?
I like a lot of hokey horror, and they are the ones that still make me hop into bed so the monsters won't get me. Like:

Dolly Dearest
Demonic Toys
Puppet Master Series
(Anything from Full Moon Features - as lame as that might sound)
Stephen King's IT (or anything Stephen King)
Pan's Labyrinth
Don't Be Afraid of the Dark
She Creature
Snow White - A Tale of Terror
Jack Ketchum's Girl Next Door
Watcher in The Woods
Something Wicked This Way Comes
The Dark Crystal
Legend

And I know they are not movies, but if my childhood and  teen years lacked these TV shows I would be half lost :

Tales from the Darkside
Dark Shadows
Monsters
American Gothic
Tales from the Crypt
Twin Peaks
Are You Afraid of the Dark
The Munsters
The Addams Family
Eerie, Indiana

Do you think they influenced your work?
To quote Picasso, "Every child is an artist, the problem is how to remain an artist once we grow up."
I've lived in fear of that exact horror scenario, but I'm staying true to my strong fixation with fairy tales as the intro to horror. Yes, I believe all my likes and favorites and inspirations have somehow always been influenced by horror in every sense.

Where do you see Concocted Curioddities headed in the future?
Someday I'd like my brain preserved in a jar on my family's mantle! But as far as the future and where I'd like to see C.C. heading... I'd like to be known, not insanely famous, or rich beyond my wildest dreams, just comfortable and happy making new and more detailed concoctions to push my limits and enjoy the simple pleasures that all people big or small enjoy! And maybe be posted on a site or published in a magazine or two!

Check out Concocted Curioddities on Facebook and Etsy!

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Visceral Visionaries: The Metropolitan Museum of Art, Vol. 2

Nearly two years ago, I made a trip to the Metropolitan Museum of Art, one of my favorite places on Earth. While there, I documented some of the more horrific pieces of art on display, and turned it into a Visceral Visionaries post. I also promised I'd return for even more frightening works of art.

A couple of weeks ago, I had the chance to do just that, as I took the kids to the city for another foray into the most stirring and beautiful endeavors of the human soul. I honestly didn't plan on using the visit to fuel another Visceral Visionaries post, but while there, I couldn't help but start snapping shots of some of the more disturbing pieces on display. A horror bloggers' indefatigable instinct, I suppose.

Regretfully, my smart phone ran out of juice halfway through our visit, which meant I was not able to accumulate as many images as I did last time (I even missed the chance to photograph my favorite work seen that day, Dali's Crucifixion.)

Still, the result of our amazing visit to the Big Apple is still an impressive collection of some pretty captivating, evocative and downright eerie creations. I hope you enjoy this second journey into the horrors of the Metropolitan, and I urge you all to visit if you're ever in fair Gotham.

Two Putti Trying to Stop a Monkey Abducting a Child (detail). Italy, ca. 1635. 

Woven  in the Barberini Manufactory, 

Mask. Japan, 15th century. Lacquered iron, hair, silk.

Perseus with the Head of Medusa by Antonio Canova. Italy, 1806. 

Note Skeleton Jack gaping in awe at right.

Oedipus and the Sphinx by Gustave Moreau. France, 1864. Oil on canvas.

Sallet in the Shape of a Lion's Head. Italy, ca. 1460. Steel, gilt copper, glass, polychromy.

Processional Cross. Spain, ca. 1150. Silver and niello repousse on a wood core, with semiprecious stones, glass and sapphires. The inspiration for the Close Encounters mothership alien, perhaps?

Theatrical Mask. Egypt, 2nd century AD.

Wall painting from the villa of P. Fannius Synistor (detail). Rome, ca.50 BC.

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Visceral Visionaries: Joshua Aden

A rare and unique, upcoming talent in the horror art world, Joshua Aden has taken the acrylic medium and turned it into something with which to express the stuff of his personal nightmares. And yet, as his most recent portrait of Captain Cruella in sugar skull getup will indicate, he is also more than capable of branching out beyond the gruesome and grotesque. It was that portrait that recently brought him to my attention, and I was honored that this promising young painter would consent to discuss his work and inspiration with me...

Tell me a little about how you got interested in art in the first place.
I believe that I was born into it. My father was a brilliant artist who completely wasted away his talent to alcoholism. Damn shame. If I learned anything at all, it was to never let it go to waste.

Who are some of your influences?
Ninety percent of all my influence comes from film. Masters like Tom Savini, Greg Nicotero and Rick Baker. Seeing what these people can accomplish on screen always makes me push myself to new levels in art. I still keep my fingers crossed that I can break into special effects one day.

Why this subject matter?
People always say "do what you love" and that’s what I'm doing. I love this genre! I live and breathe horror.

What attracts you to it?
I grew up to horror-loving parents, and never had those barriers that most kids had. Most kids had He-Man and Thundercats. I had C.H.U.D., Aliens and Phantasm. My parents never had a “rating” system, and for that, I thank them.

A lot of your work is specifically zombie related. Why is that?
Some of the first drawings/paintings I had ever done as a child were of nightmares of mine that were brought on by staying up way too late watching Dawn of the Dead and Day of the Dead. Rather than terrifying me, I was enthralled by it.

What is it about zombies?
It’s just a hell of a lot of fun. Best I can imagine is that zombie movies in general immerse you into a role of kill or be killed, fight to survive or become one of the horde. Have to ask, what type are you? Something’s very appealing about both sides, ultimately who wants to be the last man on earth? Personally, I’d rather eat the flesh of the living.

What work are you the most proud of?
Without a doubt, the portrait of George A. Romero. The man himself called me a Rembrandt, and that he admires my work. I still have a smile on my face to this day from his unbelievably kind words. That painting has found a great home, but that will continue to be the highlight of my painting career.

How has the reaction of the public generally been to your work?
It has been overwhelmingly positive. The general concensus is that most would love to display one of my paintings right in the middle of their living room. However, they are afraid of offending friends, family, or children. It's not for everyone, that's for sure. Just the really awesome ones!

What do you find to be the most effective ways to promote what you do?
So far, social networking has yielded some success. My girlfriend, Jenn, handles most of the promoting, using Etsy, Twitter, Facebook and whatever other sites she feels appropriate. But I never underestimate the power of word-of-mouth.

How has it been trying to make a living of it?
Difficult, to say the least. But I must say, every time a painting sells, it revives me and it assures me that there's still someone out there that understands, and that we still have people that love this stuff as much as I do.

What's the secret to success in that department?
I assume it will be hard work and persistence. You have to show your clients that you are 100% passionate about every aspect of what you do and let it show in every brush stroke.

Tell me about the Captain Cruella portrait you recently did.
One hell of a fun project! Unbelievable support was given to me from everyone. I cant begin to express how much it means to me. You couldn’t ask for better subject matter.

Why did you choose her, and why that photo?
I have always been very attracted to the "day of the dead" imagery. I came across the image on Facebook, and was immediately blown away by the brilliant use of color, the "out of focus" nature of the flowers and most of all, Cruella is simply stunning in the makeup. It was a nice change of pace from the gore and zombies to do something beautiful.

What does the future hold for you?
Time will tell. I hope to hone my craft as much as humanly possible. My ultimate goal is to continue to do what I love, do awesome work and make people happy through the joy of gore!

Etsy: www.etsy.com/shop/ReverendMacabre
Facebook: http://www.facebook.com/pages/Akrylic-Macabre/204613729551052
Twitter: http://twitter.com/#!/AkrylicMacabre

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Visceral Visionaries: Yale University Art Gallery

Being the consummate weirdo that I am, I'm always on the lookout for bizarre and disturbing artwork. While others stand in museum halls swooning before Flemish still lifes and impressionistic pastiches, I'm enthralled by a bleak Bosch nightmare or ancient sculpted monstrosity. And now that I am the keeper of the Vault, I also have the opportunity to share my dark obsessions with all of you. All I need do is break out my handy-dandy Blackberry, and keep an eye out for those pesky security guards as I snap away discreetly!

Most recently (as in yesterday), I came across a treasure trove of amazing works of art right here in Connecticut, at the Yale University Gallery. And best of all, it's free--I suppose all that cash bilked from unsuspecting students and their families has to go somewhere. If you're in the New Haven area, you would do well to stop by and check out their fine collections of European, Asian and African art. In the meantime, I hope you enjoy this little journey into the dark side of the Yale Gallery...

Altarpiece with a figure of Vasudhara (detail). Nepali, Malla or Shah period. Bronze & gilt brass alloy.

Headdress in the form of a female head. Nigeria, Late 19th century. Wood, hide, rattan, metal & pigment.

Mask (Gbona Gla). Ivory Coast or Liberia, early 20th century.

The Resurrection of Lazarus by Marco Pino. Italy, 1570. Oil on panel.

Male figure (Nkondi). Congo, 18th century. Wood, iron, cloth, mirror, leopard tooth, fiber & porcelain.

A Lion Attacking a Horse by George Stubbs (detail). Great Britain, 1779. Oil on canvas.

Saint Anthony Abbott Tormented by Demons, by Sano di Pietro. Italy, c.1435. Tempera and gold on panel.

Brazier with a Deity. Aztec, c.1325-1521. Ceramic with stucco and pigment.

Ash Head No. 3 by Zhang Huan. China, 2006. Ash, iron and wood.

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A Little Boy and the Monsters Who Are Saving His Life...

All of us who have grown up with a love for horror and the things that go bump in the night have memories of how it touched our lives. The grandfather you used to watch old school fright flicks on TV with on a Sunday afternoon. Going to conventions with your dad. Running around with your friends on Halloween, taking pride in being able to identify all the costumes they couldn't. Whatever the case may be, our love of all things scary has touched as all over the years, in one way or another.

But few, I would submit, have ever had their lives as profoundly touched and influenced by a love for the spooky as five-year-old Aidan Reed. Because in Aidan's case, it's that love that is quite literally keeping him going.

I'm a little late to the game on this one, but the other day I came across this boy's amazing story, and it's been on my mind ever since. For as long as his parents can remember, Aidan has been obsessed with monsters. And even though he's never actually seen a horror movie, he is extremely versed in the monstrous, and knows his Wolfmen from his Gill-Men. He loves drawing them, dressing up as them, and playing with his collection of monster toys.

"I kind of like to draw... scary clowns and aliens," he explained in a story on TODAYshow.com last month. "I like to dress up as nice clowns and scary ones. I can be a wolf or a zombie... Oh, and let me tell you something! There's a Sleestak costume I really want..."


Any five-year-old that's up on Land of the Lost clearly has a serious monster affinity. Most of all, he loves drawing them. Up until now, it's been no more than a little kid's hobby--but now, it's become the greatest gift his parents could have ever hoped for under their very unfortunate circumstances.

Last September, Aidan was diagnosed with acute lymphoblastic leukemia. Since that time, he has been going through chemotherapy, spinal taps, and all other assorted hardships for weeks and months on end. The anguish for the Reed family is, needless to say, severe--and made more so by the fact that the medical bills were starting to pile up way beyond their capacity to pay them. Selling the family home was becoming more and more of an inevitability.

That is, until Aidan's Aunt Mandi decided to put a few of the boy's drawings up for sale on Etsy, as a way of deferring some of the costs. Her original goal was to sell about 60, at $12 a piece, on the hope that it might bring in a little cash. Fast forward a couple months, and the Reed family has received more than 2,500 orders from all over the world--alleviating the financial hardship they had been enduring, and ensuring that Aidan would continue to receive the care he so desperately needs.


According to doctors, Aidan still has two years of chemo ahead of him. But thanks to his passion for movie monsters like Nosferatu, his family can put money worries aside, and focus all their energies on bringing their boy back to health. The outpouring of support has been amazing, and includes a personal message of encouragement to Aidan from Tyler Mane, the actor behind one of the screen's most iconic monsters, Michael Myers, in the last two Halloween films.

Aidan sounds like one cool little boy, and The Vault of Horror wishes him all the best in his battle. To help him fight that battle, I encourage you to visit the Aid for Aidan Facebook page. You can also check out his drawings on Etsy, or read the family blog to keep up-to-date on everything going on in this talented kid's life.

If he loves drawing monsters, wait till he gets old enough to actually see them in the movies. And I'd love to see him old enough to walk into an R-rated movie one day all on his own, wouldn't you?

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Visceral Visionaries: Metropolitan Museum of Art

Bronze mermaid sculpture, European collection.

Not along ago, I had the pleasure of visiting one of my very favorite places on Planet Earth, the New York Metropolitan Museum of Art. Located uptown just on the edge of Central Park, the Met is a literal treasure trove of of cultural history, beauty and the creative ambitions of the human race. A single visit is not even enough to scratch the surface of the majesty that lies within, and each and every time I go there, I find all new things at which to marvel.

For my most recent visit, I thought I'd snap a few photos, much like I did last October when I visited that affiliated museum located even further uptown, The Cloisters. For the purposes of The Vault of Horror, as I did the last time, I made it a point to seek out some of the more bizarre, dark, creepy and downright frightening artifacts and works of art I could come across. The result is the collection of images you will find here.

One small note: Allow me to apologize in advance for the paltry lack of specific information on most of these works. Unfortunately, I made the mistake of not taking notes while at the museum, and forgetting that the inventory of the Met is far larger than that of The Cloisters, thus making it extremely difficult to track down the information I needed online based on visual recognition alone. I'll have to do better next time. And there will be a next time...

The Mummy of Artemidora. Middle Egypt, c. 900 A.D.

Mummy of an unidentified woman.

Handle in the shape of a dragon's head. China, 1st century A.D. Gilded bronze.

Sculptures from the Asian collection.

The Martyrdom of St. Barbara by Lucas Cranach the Elder. Germany, c. 1510. Oil on wood. She was killed by her dad. Another one of those warm and tender religious tales.

The Blind Man's Meal by Pablo Picasso. Spain, 1903. Oil on canvas. From Picasso's "Blue Period", and on display as part of the recent Picasso special exhibition.

The Silver Tureen by Jean Siméon Chardin. France, 1728. Oil on canvas.

The Rape of Tamar by Eustache Le Sueur. France, c. 1640. Oil on canvas.

Pieta by Juan de Valdés Leal. Spain, c. 1657. Oil on canvas.

Detail from a gold sculpture of Neptune, European collection.

Shield, African collection.

Late period iron upper body armor, Arms & Armor collection--always one of my favorite stops.

From the medieval sculpture collection.

More martyrdom. From the European Paintings collection, I'd guess roughly around 1400 or so.

Fragment of a crucifixion sculpture, European collection.

Detail from a ceramic jug, European Sculpture & Decorative Arts collection.

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