Sunday, September 30, 2012

Iran, Halloween, and A Fond Farewell

Hope you're all well. As previously mentioned, things have picked up ten-fold, so I've got a bunch of goodies to share, and some sad news towards the bottom. The above was going to be a header for a handbill listing ways YOU could preserve Halloween, ranging from how to deal with assholes who turn out the lights the night of trick-or-treating, to educating people on the truths behind the non-existent candy-tampering and the only recorded death that sparked the fear-mongering and insanity of x-raying candy (see Timothy M. O'Brien).

If you've been following my work on this blog, you know I have a very big, pulpy soft-spot for Halloween. The above is the almost-done inks for (hopefully) one of my pieces for Phantom Hand's Halloween show at Tattooed Mom. A slightly more tender handling of my loved holiday this year. It's awaiting some ink wash and limited color. Prints will be available at the aforementioned one-night exhibition. I can already tell this is going to be a killer show; everybody at A Nation of Evil Men 2 was already working on pieces and pretty damn excited to be doing it.

Speaking of A Nation of Evil Men 2; here's the process for my piece. The first sketch started out me trying and failing to get a likeness, and then tired and irritated from work, tuning the sketch into a monster. Of course I didn't end up using it.

The following wasn't much better in the likeness department, and while I really wanted to render falice arms, this just wasn't going the way I wanted it to. Abandon ship.

After a few more tries at the face, and a composition that made more sense and was right to the point, I arrived at the below. Kinda looks like him, and I wanted to challenge myself with color... by actually using it. A shit-ton of it. If I had had another week or two I probably would have scrapped the finish of this, but it was better than the pieces I put in the prior version of this exhibition, so I called it even.

The bulk of my creative growth happened the several years I lived in Philadelphia, and my fondest memories of that period are largely connected to four people. Sadly, Friday night I joined friends and well-wishers and saw off one of these four on the next leg of his journey.
I've always been proud to call Anthony Pedro a friend. He's a stand up guy through and through, and his work is a rarity these days, one I take extreme pleasure in. I wrote about him a while back, and again would like to mention that his work really is a mirror into a persona you're just not going to see having a beer with him. His painting is epic, humbling, and at times chilling. It is largely nostalgic of a life he might have left this past Friday to go find, and while I'll miss him, I hope he finds it.
This is a long winded way of me saying 'keep the wind at your back pal'. And if you've never seen Anthony's work, go here now, and light a candle in hope that wherever he lays his head next, he'll have time to create.

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