Groteskology

Safe As Ever

2012-01-27T15:06:00.004+08:00

The Onion's top news story of 2011:

So committed to grotesquing the news.

On The Barbie

2012-01-26T14:16:00.012+08:00

I used to work in the deli section of a large supermarket. It wasn't the most respected or highest paying job I've ever undertaken, but I did learn a lot about what Australians like to eat; particularly on special occasions like Christmas, the New Year, public holidays and weekends.

As today is Australia Day, I figured I should post in honour of the most popular things we ever sold on public holidays: dead crustaceans.

Here are a few of my favourite crusty composites from the Web.

[Via]

Lobster motorcycles by chef Huang Mingbo.

[Via]

We came to dread Christmas Eve in the deli, because we knew our fingers and palms would be shredded by midday from shoveling handful after handful of raw prawns into plastic bags. The flimsy rubber gloves were too soft to prevent their spines puncturing our skin and sliding under our fingernails. You would have thought the blood would put off the customers but, like sharks, it only seemed to heighten their frenzy.

Anyway, here is a photo of me after a ten hour shift:

[Via]

Pretty! Also resembles Scott D. Wilson's Victorian lobster boy.

Humanity's seafood obsession has been going on for a while.

[Detail from ancient Roman mosaic. Excavated Pompeii, Naples. Via]

It has taken on more inexplicable forms in recent years, though...

[Starving Child Octopus Baby silk pillow. Via]

Not sure what's going on here, but I like it.

[Via]

Future film idea/title: The Girl with the Crab Hat.

Also this.

Really, how are those crabs blowing up the island? I guess you know you are in trouble when the giant crustaceans have "razor sharp claws that hand grenades and dynamite cannot stop."

Well that's enough for now. It's 5pm and 40C here in Perth, so I don't have the energy to collect any more sea folly.

Okay maybe one more.

[Go on, get yourself a prawn costume. You deserve it.]

The Slythy Toves

2012-01-20T13:07:00.022+08:00

Between teaching and marking papers, I've recently been trawling through the Victoria and Albert Museum's online database. One particular artist who has caught my attention is Flemish Renaissance man Cornelis Floris de Vriendt (1514–1575).

[Print with grotesque figures from the series "Many variations of grottoes and compartments"
(1556) by Cornelis Floris. Via]

I don't think I've looked at Floris on the blog before. Who knows why, because his work is spectacular. The museum explains that:

"Cornelis Floris was born in Antwerp but spent some time in Rome in the late 1530s when he would have been exposed to examples of Ancient Roman and Renaissance grotesque decoration. The grotesque style often featured fanciful creatures -part human, part plant. The prints of Cornelis Floris have been described as having a sinister quality about them. In this example the combination of the auricular (ear-like) quality of the framework and the presence of individual figures apparently held prisoner by it, does give an unsettling effect."

Floris' work can seem a bit sinister, although I think this might be because he tends to use sinuous lines which give a snake-like curve and flow to each element within the frame.

[Grotesque panel with the figure of Neptune (1557) by Cornelis Floris. Via]

[Print showing a ewer supported by a satyr with flower ornament and a sea-shell snout
(1548) by Cornelis Floris. Via]

Floris also worked on an incredible set of designs depicting 'grotesque masks.'

[Grotesque mask (1560) by Cornelis Floris. Via]

The merging of animal and vegetable, living and nonliving in these images makes them a fantastic example of the traditional grotesque style.

[Grotesque mask (1560) Cornelis Floris. Via]

[Grotesque mask (1560) by Cornelis Floris. Via]

This is one of my favourites. Can you see the lobster?

[Grotesque masks (1560) by Cornelis Floris. Via]

There is something so beautifully architectural about these faces, and it comes as no surprise that Floris' main occupation was as an architect and sculptor. In this capacity he designed the Antwerp Town Hall, which is very nice indeed.

[Via]

He also designed the grave for the King of Denmark and Norway, which illustrates his fame rather well. When an actual King wants his dead body encased in your work, you're doing it right.

[Via]

Should have a few more favourites to look at in the next few weeks. Also my very own copy of Thomas Wright's (1875) History of Caricature and of Grotesque in Literature and Art to show off. Might give it a glamorous photo shoot...

Don't Look Down

2012-01-07T18:27:00.002+08:00

This video reminds me of the infamous forehead incident of 2010.

Slightly less daring, but I think we're all a little bit grateful for that.

Try getting that song out of your head. Just try.

Twas Brillig

2011-12-31T17:46:00.000+08:00

2011 has been pretty momentous. Looking forward to whatever comes next.

Still thinking about how this blog might evolve in the coming months, and what purposes (educational or otherwise) it could serve now that I'm technically no longer a grad student.

In any case, having done the seemingly impossible this year (finished my PhD), I definitely have a plan for 2012.

My resolutions: first, I will achieve physical perfection. After watching this instructional video, I'm quite sure it's possible.

Then, I will join the cast of an inexplicably popular yet bodacious television program.

Next I will use my fame and wealth to genetically engineer a species of grotesque creatures who will call me mother and take over New Zealand.

[Via]

It is going to be so great.

P.S. Thanks to everyone who visited and commented this year. I appreciate you all. Happy New Year. Please call again.

Hungry Like The Troll

2011-12-28T14:23:00.024+08:00

[Via]

For most Internet users, it's impossible to avoid the word 'troll.' On Twitter, Facebook, forums, the comments sections of news articles and blogs; everywhere you look, someone is accusing someone else of 'trolling' - saying and doing troll-like things with nefarious intent. If someone is trolling, it follows that they must be a troll. But why?

I find it very interesting that, out of all the real and imaginary beasts available, it is trolls that have been selected as the embodiment of bad behaviour on the 'net. After all, trolls aren't tech-savvy, urban or contemporary. Their roots lie in Norse mythology and the untamed wilderness of the ocean, mountain and forest.

In this sixteenth century drawing, trolls are aligned with supernatural power over the environment:

[From Olaus Magnus' "Historia de gentibus septentrionalibus", book 3 (1555). Via]

The description explains what is occurring:

"To the left a gnome who is cutting stones in the underground. In the middle a supernatural creature is working in a stable. At the bottom right corner a wind troll with passengers are going by boat without using sails. At the top left corner a witch riding backwards on a dragon. At the top right a coach is driving without horse."

More recently, author and self confessed "troll expert" Lise Lunge-Larsen describes trolls in this manner:

"As tall as trees and as ancient and rugged as the Norwegian landscape from which they come, trolls are some of lore's most fascinating and varied creatures. Some live under bridges, others deep inside caves. They can carry their heads under their arms or hide their hearts inside wells. They can walk across oceans and fly over mountains. Trees and shrubs may grow from their heads, and their noses can be long enough to stir soup. There are troll hags, troll daughters, and elderly, shrunken trolls. Old or young, they are quarrelsome, ugly, and boastful, and they love to trick princesses and children. To defeat them, children must rely on the strengths of their humanity-persistence, kindness, pluck, and willingness to heed good advice."

Trolls have indeed proven popular in children's stories throughout history.

[Good evening, old man! the boy greeted. From Walter Stenström's The Boy and the Trolls (1915). Illustrated by John Bauer. Via]

[Look at them, troll mother said. Look at my sons! You won't find more beautiful trolls on this side of the moon. From Walter Stenström's The Boy and the Trolls (1915). Illustrated by John Bauer. Via]

[Here is a piece of a troll herb which nobody else but me can find. From Alfred Smedberg's The Boy Who Could Not Be Scared, in the anthology Among Pixies and Trolls (1912). Illustrated by John Bauer. Via]

[So, how is your appetite, troll mother continued. From Walter Stenström's The Boy and the Trolls (1915). Illustrated by John Bauer. Via]

Trolls often merge with the surrounding landscape, staying still for so long that foliage begins to grow across them.

[Troll Becoming A Mountain. JNL. Via]

[Skogtroll (Forest Troll). Theodor Kittelsen (1906). Via]

[Troll. Michail Samez (2009). Via]

In her book The Troll With No Heart In His Body, Lunge-Larsen identifies the merging of body and environment as a critical element of troll mythology:

"Clearly, one aspect of children’s fascination with trolls is that they make the very landscape come alive. Not only are trolls of the landscape, they also return to and shape the landscape around them when they die.

One of my most vivid childhood memories is of walking in the woods with my mother when I was about three. We ambled along the trail in the dark old-growth forest filled with filtered sunlight, when my mother suddenly grabbed my arm and whispered, 'Look! There’s a troll' I actually thought my last moment had come, until I saw where she pointed: to a dead troll that had turned into an overturned tree root. Together we examined the troll, found his nose, arms, and even his eye sockets.

It was a magical moment, and to this day I point out all the dead trolls in the landscape to my children and their friends: A huge rock pile is a troll that burst, a tree root lying on its side is an ancient troll, an oddly shaped rock may be part of a nose. One summer my eight- year-old son, swimming in Lake Superior, spotted an unusually round white rock. He dove for it and proudly emerged with a 'troll’s eyeball.'"

[Sjøtrollet (The Sea Troll). Theodor Kittelsen (1887). Via]

Of course, our ideas about trolls have changed as the years have passed. The twentieth century had its own incarnations, some more frightening than others...

[Troll Terror. Via]

And who could forget that pinnacle of film making genius, Troll 2?*

*Yes, technically these are goblins, but the film is called Troll 2 so I'm going with it.

The most popular contemporary example is the one I began with: the Internet troll. Urban Dictionary describes a 'troll' as:

"One who posts a deliberately provocative message to a newsgroup or message board with the intention of causing maximum disruption and argument."

The second most popular definition offers a more extended answer:

"One who purposely and deliberately (that purpose usually being self-amusement) starts an argument in a manner which attacks others on a forum without in any way listening to the arguments proposed by his or her peers. He will spark of [sic] such an argument via the use of ad hominem attacks (i.e. 'you're nothing but a fanboy' is a popular phrase) with no substance or relevence [sic] to back them up as well as straw man arguments, which he uses to simply avoid addressing the essence of the issue."

[Internet Troll: As trolls are as old as mankind, so internet trolls are as old as the internet. By JNL. Via]

Perhaps the term isn't so strange. Like all trolls, the Internet variety are a product of their environment. Protected by anonymity, Internet trolls are free to taunt and trouble, then fold back into the online landscape once their work is done - effectively disappearing beneath the virtual foliage, back into their caves. Manipulating the discursive environment for their own entertainment, these individuals resemble their namesakes in more than one respect.

[Man in troll mask at New York Comic Con 2011. Photograph by Rahul Arefin Prithu. Via]

Like the children in fairy stories, other Internet users can perhaps use their cunning to outwit the trolls and cross the metaphorical bridge. The problem is, of course, that there are not just one or two or three trolls squatting on the path, but potentially millions. They even have a theme song.

Current top rated comment: "All trolls rise for the national anthem of the Internet."

It does seem that trolls, in all their guises, are here to stay. Just try to keep your fingers out of their mouths...

[Via]

The Christmas Monster

2011-12-22T14:16:00.012+08:00

With all the festive cheer, well-wishing and gift-giving, you might assume the grotesque takes a break during the Christmas holidays.

You would be wrong.

Behold your worst nightmare: Krampus.

[Krampus at Perchtenlauf Klagenfurt (2006). Photograph by Anita Martinz. Via]

[Krampus, Salzburg (2008). Photograph by MatthiasKabel. Via]

Krampus is the yin to Santa's yang, the punishment to his reward. This creature represents what happens to those who tend towards the 'bad' half of the naughty/nice dichotomy.

The Wikipedia explains that:

"Krampus is a mythical creature recognized in Alpine countries. According to legend, Krampus accompanies Saint Nicholas (Santa Claus) during the Christmas season, warning and punishing bad children, in contrast to St. Nicholas, who gives gifts to good children. When the Krampus finds a particularly naughty child, it stuffs the child in its sack and carries the frightened child away to its lair, presumably to devour for its Christmas dinner."

And you thought getting a lump of coal in your stocking was bad.

Krampus is true nightmare fodder.

[Gruß vom Krampus. Artist unknown (~1900) . Via]

[Saint Nikolaus and Krampus arrive to pass judgement. Newspaper-illustration (1896). Via]

[Krampus costume. Trautenfels castle, Austria (1950). Photograph by Wolfgang Sauber. Via]

Graphic designer Monte Beauchamp talks a bit more about the Krampus in this short interview.

The parades seem to be the best part of the contemporary Krampus phenomenon. I've got nothing against Santa, but these demons are a tad more exciting...

[Via]

I hope you've been good this year. For your sake...

PhinisheD

2011-12-08T12:01:00.007+08:00

Before:

After:

And it's done.

Wow.

Paper Tiger

2011-11-07T16:59:00.004+08:00

I'm taking a little blogging break this month. (Yes, I've already ignored Halloween, but that isn't a big deal around here.)

In the absence of anything clever to say, I will share my horoscope with you.

I'm not into astrology, but this is deeply comforting. See you on the other side...

Golden Age Of Grotesque

2011-10-30T13:08:00.011+08:00

[Liar. Marilyn Manson. Via]

I'm very interested in artists who use the word 'grotesque' and explicitly describe their work in terms of grotesqueness, because it often highlights the wide range of meanings that are associated with this term.

Musician and artist Marilyn Manson, aka Brian Warner, is one such person. Not only did he name his fifth album The Golden Age of Grotesque, but he also wrote a song of the same name.

Unfortunately Grotesque wasn't released as a single so there is no official music video. However, there is a video for mOBSCENE, another song from the album, which perhaps gives a clue as to Manson's definition of grotesque.

Manson went on a 'Grotesk Burlesk' tour to promote the album. If you are wondering what constitutes a grotesque burlesque, here is one version:

This reminds me of one of my favourite movies - The Brain that Wouldn't Die.

Manson has commented that "the deformed scar of one man, is "love's pretty dimple" to me." This preoccupation with deformation and injury - both physical and emotional - is visible in his watercolour paintings, which are deeply personal in nature.

[Everyone has their blue period. Via]

[“Do I have to do everything for you?” Via]

[Harlequin Jack and the Absinthe bunny. Via]

[I’ve got my arm around no one. Via]

The influence of the Gothic is quite clear in these images, and Manson's portrait of Edgar Allen Poe seems very appropriate.

[The moment I became Edgar I suddenly realized I was in Hell. Via]

[Each morning she prayed that demons would devour her parents. Via]

[When I Get Old. Via]

Love these.

While I may not be comfortable with all the imagery Manson makes use of, I rather doubt comfort is the response he is trying to evoke. It is difficult to deny the talent that fuels his musical and artistic work, or the complexity of the issues he wrestles with. The fact that this takes place somewhere under the banner of 'grotesque' is very interesting.

You can see more on Manson's website here.

Crotchety

2011-10-26T12:55:00.007+08:00

I love how creative people are being with music videos nowadays. It warms my heart.

[This might be NSFW, if you work in a nice place. Or any kind of place.]

It would make more sense to brush teeth after going to the toilet.

Big Bad Wolf by Duck Sauce reminds me of this music video, only pushing things further, to a more weird and interesting place.

[Via i09 and Eleanor]

Zombie Boy

2011-10-22T13:03:00.005+08:00

This advertisement is positively hypnotic.

It stars Rick Genest, aka Zombie Boy, a freak show performer who recently found fame in a Lady Gaga music video. [<--- Warning, that Gaga video may put you off giving birth. Ever.]

Yes, that is his real skin under there.

Two Thumbs

2011-10-20T23:29:00.002+08:00

My new desktop background.

[Via]

It cheers me.

Of Milk and Slime

2011-10-15T18:46:00.006+08:00

I saw these pics by Bart Hess on the FaceCULTURE blog a while ago, and haven't been able to get them out of my head.

I love the texture and movement, and how they show something 'yucky' as beautiful in motion. They remind me of Julia Kristeva's discussion of abjection:

"The repugnance, the retching that thrusts me to the side and turns me away from defilement, sewage, and muck" - a reaction evoked by "that skin on the surface of milk," which revolts her despite being totally harmless (Powers of Horror, p.3).

Except here, the gelatinous mucus draws you in, rather than pushing you away (or is it just me? I would like to know how it feels in the slime.) It seems soft and... clean?

Hess has also created another set of works, the STRP mutants, for the 2011 STRP Art & Technology Festival in the Netherlands. His description states:

"The mutants evolved around the idea of transformation. They visualize movement and the ever changing boundaries between the different disciplines: art, music and technology."

They also remind me a little of superheroes, somehow fused into their costumes.

This festival looks ace. Wish I could go.

STRP Festival leader 2011 from bart hess on Vimeo.

Lots more videos on Hess' Vimeo account (links above) if you are interested in seeing more, or you can visit his website here.

Be Kind Rewind

2011-10-06T22:56:00.014+08:00

I took a little mini break last weekend. One of the 'grown up' things I have learned in the last few years is that my sanity is my responsibility. What a revelation, eh. Only you can keep your cogs and joints turning smoothly. Nobody else - no matter how much they might want or try to - can do it for you. Things were starting to get a bit out of balance all round, so I decided to take executive action.

It was a really good idea, if I say so myself. Which I do.

True to form, I came across a few weird and wonderful things, but I might save them for later. Oh okay, there was this rock.

Lion King. Amirite?

Gone Baby Gone

2011-09-30T23:23:00.003+08:00

I'm having a little internet break for a few days. While I'm away, I expect everyone to watch The Piano because it's an excellent film. Or you can just watch this:

Either way = life improved.

le Café de l'Enfer

2011-09-24T14:57:00.008+08:00

[Photograph by Eugène Atget. Via]

I stumbled across images of this incredible building recently, and just had to find out more.

According to the National Geographic archive:

"A hot spot called Hell's Café lured 19th-century Parisians to the city's Montmartre neighborhood—like the Marais—on the Right Bank of the Seine. With plaster lost souls writhing on its walls and a bug-eyed devil's head for a front door, le Café de l'Enfer may have been one of the world's first theme restaurants. According to one 1899 visitor, the café's doorman—in a Satan suit—welcomed diners with the greeting, "Enter and be damned!" Hell's waiters also dressed as devils. An order for three black coffees spiked with cognac was shrieked back to the kitchen as: "Three seething bumpers of molten sins, with a dash of brimstone intensifier!""

Both the interior and exterior walls were covered in the twisting bodies of the damned. I love the graphic, textured nature of these surfaces. It reminds me of the 'hallway of hands' motif I have been obsessing over in the last few posts, but taking it to the next level.

[Photograph by H. C. Ellis. Via]

[Via]

Even the menu was sinister, outlining its "diabolical attractions" with flare:

[Via]

The giant fanged doorway-mouth also reminds me of the entrance to the Tim Burton exhibit I visited last year.

[Via]

Walking through those sharp teeth was so exciting. I wish Hell's Cafe was still around.

You can find more pics of the hellish hotspot here, including the 'heaven' cafe some joker set up next door.

All In The Mind

2011-09-12T16:48:00.006+08:00

Now that I'm in the twilight months of PhD writing, people often ask "what will you do after you've submitted?" This is precisely where my mind goes in those moments:

...

P.S. The 'hallway of hands' featured in this skit is just like the one in VAST's Pretty When You Cry video. Apparently both are based on scenes from Roman Polanski's Repulsion (1965), which looks quite amazing:

How have I never seen this film? This travesty must be rectified at once.

See Monsters

2011-09-09T23:34:00.012+08:00

I like them...

[Pierre Denys de Montfort. Colossal Octopus (1810). Via]

[Andrea Mantegna. Battle of Two Sea Monsters (1475). Via]

[Bror Anders Wikstrom. New Orleans Mardi Gras: Krewe of Proteus float design (1907). Via]

[Johann Zahn. Mythical Satyrus Marinus (1696). Via]

[Olaus Magnus. The mythical island of Thule. Detail from the Carta Marina (1539). Via]

[Albrecht Dürer. The Sea Monster (1498). Via]

[Jean-Marc Côté. Sea Monster (1899). Via]

Also, this guy:

[Conrad Gesner. Sea Monk (1575). Via]

Beware the spiny sea monk and his prickly high fives.

Now I Can See

2011-09-02T20:57:00.004+08:00

I found another interesting music video today. Catchy and unsettling - my favourite kind.

I strongly suspect the inspiration for this came from Lucy McRae's work:

It looks even better in action. I posted about her here if you would like to see more.

Don't Look Now

2011-08-31T22:35:00.014+08:00

Hello strangers. I've been obsessing over this music video for a while now, and thought it worth mentioning here.

(Warning: NSFW)

There are just so many things going on.

The video has an arresting Twin Peaks vibe, with the menacing father figure, the forest and the childlike-but-not-really young woman. The gestures towards Little Red Riding Hood and Hansel and Gretel really build the sense of threatened innocence, while also shifting the scenario further into the realms of the surreal and fantastic.

For me the switching of the young woman with other, older figures evokes Mikhail Bakhtin's "hags" - the most well known example of his concept of the female grotesque:

"In the famous Kerch terracotta collection we find figurines of senile pregnant hags. Moreover, the old hags are laughing. This is a typical and very strongly expressed grotesque. It is ambivalent. It is pregnant death, a death that gives birth. There is nothing completed, nothing calm and stable in the bodies of these old hags. They combine a senile, decaying and deformed flesh with the flesh of new life, conceived but as yet unformed. Life is shown in its two-fold contradictory process; it is the epitome of incompleteness. And such is precisely the grotesque concept of the body" (Rabelais and His World. Trans. Helene Iswolsky. Indiana University Press, 1984, pp.25-6).

The passage doesn't entirely suit the video, but those manic faces (and the dead/living girl) keep reminding me of his argument here. Whatever you think of Bakhtin and his opinions, he knows how to generate a strong image.

All that said, it stupidly took me a few more views to realise why this video grabbed me so firmly. The more I watch, the more it reminds me of one of my favourite thrillers: Don't Look Now (1973). There are some very explicit references to the film in the music video, explicit enough for me to think it is a deliberate homage.

If you haven't seen it, and you enjoy Gothic mysteries and Donald Sutherland, I highly recommend this film. (Yes, there is a famously graphic love scene that pops up - so to speak - in the middle of the story, but we can fast-forward that, can't we? Or not, I'm not judging you.)

The trailer isn't super great, but at least it doesn't give the whole thing away like most do these days. (If you are interested in watching Don't Look Now, I would suggest NOT reading reviews/comments or Googling it - once spoiled can never be unspoiled!)

Finally, the scene with the grasping hands reminded me of a much more recent video; one with rather different, yet equally Gothic, connotations. In Dev's 'In the Dark' the red hands, with their suggestions of sexuality and violence, are replaced by black hands:

Some eerie imagery in this one. The play on exoticism, monstrosity, blackness and whiteness is all a bit unsettling, especially when the white singer is walking through a sea of raised black hands (claws/paws?).

Interesting. Disturbing. I guess that's what they were going for?

The Phantom from 10,000 Leagues

2011-08-05T17:54:00.012+08:00

I hit another deadline on the voyage towards PhD submission last week, and in celebration bought myself some new bathers from Black Milk. I wouldn't normally mention such matters,* but they are quite monstrous, so it seemed appropriate.

*This is clearly a lie. I talk about my loot all the time.

Front:

And back:

So great. The design is taken from this poster.

The print is really good quality. I especially like the angry little fish:

You can watch the full movie here, if you're interested. The first couple of minutes give you a taste of the action:

So exciting!

I am seriously considering getting the 'Shark vs Mermaid' bathers as well.

[Via]

They have a touch of the vagina dentata about them.

The 'Dragon Snot' leggings are also tempting.

[Via]

Hm. Is it cheating to buy yourself rewards before you actually achieve your goals? Yeah. I suspected as much.

Bunnyman

2011-07-28T13:15:00.002+08:00

I like rabbits and scary movies, but this is taking things a bit far.

I personally think a chicken suit would be more sinister. Arguably, more people eat chicken than eat rabbit - so it's easier to see the poetic justice in a chickenman eating humans.

Ah well. The reviewers at Horror Happy Hour liked it, so it can't be too bad... right?

Grotesque Alphabet #2

2011-07-22T12:30:00.007+08:00

Another series of engravings, this time depicting a "lower case alphabet with grotesque figures."

The prints were made by Israhel van Meckenem in approx 1465-1475, and he copied them from Master ES, a German engraver and draughtsman also of the 15th century.

Sadly the British Museum database states that no complete series of these prints is known, so we only have a few to admire. I did, however, chase up a few more prints by Master ES (via Meckenem), including this awesome playing card, the "ace of helmets":

I'm not entirely sure what this is - I just know that I love it! Extreme body hair + tentacles + cudgel is a definite winner in my book. The description calls him a "wild man," which I suppose is fitting.

You can see more prints inspired by Master ES here, but I think the one above is the best.

I also found a nice collection of 'grotesque masks' on the database. This one is my favourite so far:

Aloisio Giovannoli (1550 - 1618) was an Italian printmaker and miniaturist who did a whole bunch of mask engravings. I appreciate this one in particular, because it's worn by a lady. Where is she going in a mask like that? Maybe a monster masquerade? I like it.

Ah well, back to work.

The Sponge

2011-07-19T11:58:00.005+08:00

I'm feeling guilty about posting less frequently. But seriously, this is an accurate depiction of my brain right now:

Ohmygosh.

Grotesque Alphabet #1

2011-07-10T20:43:00.010+08:00

These prints are from a series of late 16th century engravings called 'Grotesque alphabet in mythological landscapes' by Giacomo Paolini. Not only do they incorporate the hybrid aesthetic of the early grotesque style (very popular at the time) but each is framed by ornamental designs and features a mythological background scene.

For instance, behind the letter H, "Hercules enters the inferno of Cerberus":

I love these. They have so much character and detail. Well worth a closer look. I found them on the British Museum's online database, where you can see more letters from the series.

Alternatively, one YouTube user has made a slide-show of all the letters.

Paolini's is not the only self-proclaimed 'grotesque alphabet' around - hence the #1 in the title. Plenty more alphabetic goodness to be had. (I guess this includes Grotext, but I'm still not entirely sure what that's about.)

The Forest of Hands and Teeth

2011-07-05T21:57:00.009+08:00

My reading binge continues apace this month.

This book is my latest find.

I always think of vampires, werewolves and zombies as the 'big three' of Gothic monstrosity. Sure, ghosts and spirits have their place, and mummies can be scary, but there is something visceral about these creatures.

[Lycaon by Hendrik Goltzius. From Ovid's Metamorphoses, Book I. Via]

[Varney the Vampire (1847). Artist Unknown. Via]

I've read more vampire books than I can count, plus a smaller but still respectable number of werewolf tales. The Forest of Hands and Teeth by Carrie Ryan might be the first zombie story I've ever read. This says more about me than it does about the state of zombie literature. I've realised that I get my zombie fix from films, and have neglected to look for them on the library shelves.

No longer shall this travesty continue. I have seen the light. Or rather, the darkness. Forest is aimed at YA readers, but it's quite exciting and gross enough to entertain anyone. It is resolutely contemporary, featuring a post-apocalyptic setting and a biomedical origin story (zombies are infected with a virus, rather than possessed). The heroine is sometimes irritating, but you have to cut her some slack. She lives in sea of undead, after all:

"I have seen such horror and such grotesqueness that it never occurred to me that I would feel light-headed and weak-kneed when I saw Travis's injury. One couldn't grow up surrounded by the Forest and not see the most dreadful sights - the Unconsecrated with their hollow skin ripped and gaping from the wounds that caused the infection, their fingers cracked and broken from clawing at the fences, limbs attached by nothing more than gristle" (40-41).

I see my favourite word in there.

[Via]

On a related note: if you are interested in zombies, Gothic monsters, science fiction or this movie you can read my thoughts on all these things in Gothic Science Fiction: 1980-2010, edited by Sara Wasson and Emily Alder. In addition to my zombie chapter, this collection includes a whole bunch of essays looking at the intersection of Gothic and science fiction in film, comics, literature and more. I think the book is coming out later this year, but meanwhile you can admire the lovely cover here.

Shameless plug over...

Sweet dreams.

Sheepish

2011-06-19T17:46:00.005+08:00

I recently discovered Cyriak Harris, a freelance multimedia artist and animator from the UK. His work has a delirious yet strangely compelling 'Monty Python meets Escher' vibe, as exemplified by this video:

Cyriak is very interesting to me, because his surreal work is ideally suited to the internet. It reflects the viewpoint of someone very familiar with online memes and themes. But it also draws on older artistic traditions, remodeling them in the context of contemporary media forms.

The artist comments that:

"Like some kind of animated stew, the ingredients of this video simmered and bubbled for about 2 years before I tipped it steaming onto the internet. The screams echo to this day."

Check out lots more of Cyriak's music, comics, paintings, gifs and videos at his website here. I especially like this video, in which the cast of 'Eastenders' become zombies and eat brains. So great.

One Hand Clapping

2011-06-15T19:48:00.014+08:00

Long time no blog. Too much thesis writing going on at the moment. Plus, I've been trying (somewhat unsuccessfully) to take a break from the Web. It's just all a bit overwhelming at the moment.

Whenever my stress levels get above a certain point, a couple of things happen. First, my right eye starts twitching like I'm a movie villain whose plan to demolish the community center has just been foiled by those damn kids and their Basset Hound.

Second, I start reading novels. Lots of novels. Sometimes historical romance, sometimes crime, sometimes science-fiction or fantasy. I like them all.

This time I've been catching up on the latest Young Adult fiction. Here are a few of my favourites so far, in no particular order:

1) The Skinned trilogy by Robin Wasserman.

2) The Uglies series by Scott Westerfeld.

Loved these books so much. I'm not going to describe any plot details, but this fan-made vid is pretty good.

3) Inside Out by Maria V. Snyder.

4) The Hunger Games trilogy by Suzanne Collins.

5) The Adoration of Jenna Fox by Mary E. Pearson.

6) Life As We Knew It by Susan Beth Pfeffer (nothing to do with that Heigl movie).

7) Graceling by Kristin Cashore.

Inevitably, I've come across a few bad books... but I won't mention them...

I'm definitely a fan of futuristic/post-apocalyptic settings (1, 2, 3, 4, 5, 6). Quite few of these deal with 'post-human' themes as well (1, 2, 4, 5). Number 7 is pure fantasy, but it has such a unique heroine I couldn't resist. Now I think about it, they all have strong and complex female protagonists. I highly recommend them all to anyone looking for a good read/out of body experience.

Okay, I'm going back to my book cave now.

Monday...

2011-05-23T15:07:00.002+08:00

definitely needs more monsters.

Ah that's better.

Grotesque Grrls

2011-05-20T17:16:00.015+08:00

I'm really only blogging on weekends now (weak - I know), but when I heard that the Rapture is happening tomorrow I figured I should post a bit earlier. There are also unconfirmed reports of a zombie apocalypse, but I don't want to get my hopes up.

If there is some kind of divine or supernatural event, I doubt it will effect Perth. We seem to live in a self-contained biodome here. Or perhaps an alternate reality. Or maybe it's just me.

Anyway, I found an article today called The Top 7 Grotesque Girls in Gaming on the now dormant Gamer Girl website. Quite a mixture of ladies are featured on this list, including:

[A female Orc from WOW]

[Medusa from God of War]

[Gruntilda Winkybunion from Banjo Kazooie]

[Sheeva from Mortal Combat]

Nikole, who compiled the list, comments on how difficult it was:

"this was the hardest list I've ever attempted to write. All of these girls are villains in some way, with exception of the Horde. It was a ridiculous quest to find a female in a video games who wasn't attractive. And not just attractive, drop dead, unrealistically gorgeous. I hate to ruin a simple list like this, but why? Why are there no normal to ugly looking females, let alone fat ones. I mean I hate to break it to you people, fats real. People are bitching about how they are treated on XBL and in the gaming communities, but what about how women are portrayed in games. It's never bothered me before that women were often desirable in games, but every single one, that seems excessive to me. So I say bring on the fat people, I want to see some imperfect characters in games."

Although this article was written in 2008, her point still stands. It's a challenge to find female characters in video games who aren't attractive and/or slim.

In general terms the 'good girls = pretty/ bad girls = ugly' equation is hardly new, and continues to do its work in all forms of media. [There was that one movie where Christina Ricci had a pig-snout, but she looked kinda cute so I'm not counting it.]

[Wendy Coopa from the Mario games]

Back to the article: I'm intrigued by the use of 'grotesque' to describe female characters who are "fugly" or "crazy bitches." It seems to participate in the frequent union of grotesqueness and femaleness that Mary Russo comments on in The Female Grotesque. Whether this convergence is positive (in an emancipatory sense?) or negative (in a derogatory sense?) or something else entirely seems open to interpretation.

Some women actively seek the label grotesque. Eg: Countess Grotesque adopts the mantle of grotesqueness when presenting her eerie work:

[Via]

Here 'Countess Grotesque' is a performative identity, chosen and assumed deliberately.

When a woman is called grotesque by others, however, things can take a downward turn. Eg: the song "Grotesque" by The Cheeto Girls:

Ouch. Not totally comfortable with this one.

Telling Tails

2011-05-15T13:56:00.012+08:00

A few people have passed along interesting images recently, and I've noticed a pattern emerging.

First, the excellent Moya from CFC emailed me this painting by Xue Jiye.

[Via]

Jiye is an incredible Chinese painter whose work wrestles with gender, violence and the body, and examines the cultural pressures that act upon and between human individuals. His artistic statement is very interesting:

"In his latest series of paintings, Xue depicts the human condition – a constant struggle for existence within human society. The figures in the paintings are all nudes, indicating that they are defenceless and vulnerable... These pieces indicate men’s futile struggle against the powerful forces of society, which is surrounding them, as the edges of the paintings are confining the figures. Even if one tries to escape from society, it will eventually constrain and constrict us all."

The nudes are intended to represent:

"the most basic form of man, he is no taller, shorter, lighter or darker than his neighbour. He is the man from the past, the present, the future. He is from the East and from the West, indicating that after breaking it down, societies are essentially all the same."

The men in Jiye's work are not all the same, however. Some of them have tails:

[Via]

The inclusion of this feature demarcates certain males as unique, as not fully human, and complicates the images in different ways.

***

The second contribution came via Twitter, where Tama tipped me off to this clever image by deviantART member lessthanhuman.

[Via]

The artist comments that:

"A tail is a characteristic that I feel clearly represents the majority of the animal kingdom. With few exceptions, nearly all other creatures have a tail in one form or another. Developmentally, all human embryos have tails which, for the vast majority of the population, are gone by birth.

I consider the back and spine to be one of the most aesthetically beautiful parts of the human body. In this piece, I tried to preserve that beauty despite the obvious addition of a tail."

[Via]

Lessthanhuman uses Photoshop to alter photographs of human bodies, and is especially focused on the liminal stages between one species and another. You can check out more human/nonhuman figures here.

***

The final contribution came from my youngest sister, who spontaneously decided to draw a picture of me last week.

This is actually a very good likeness...

It is interesting to observe the different scenarios in which tails are placed on human forms. Whether the intentions behind the image are serious or humorous ("and this is a giant pimple exploding on your head!"), tails are simple but effective.

Now, if you will excuse me, I have to go terrorize a village somewhere.

A Grotesk Marvel: Part 3

2011-05-07T15:43:00.019+08:00

Finally, the third installment in the Grotesk blogging journey is here (see parts one and two). Following on from the last post, the final chapter of this particular story unfolds in X-Men #42 (1963). Quite a famous issue, this one.

I should have mentioned the names of the authors and artists previously. Crucial information! My excuse is that I got carried away with all the grotesqueness.

I love Stan. Especially his interjections about things that happened "last ish!" (Meaning: in a previous issue/series.)

The story resumes with more biffo between Grotesk and the X-Men.

Grotesk goes through a variety of hairstyles in this issue. I call this one the 'Carol Brady.'

Meanwhile, mutant patriarch Professor X is acting strangely. After sending Cyclops and Beast to wrangle with Grotesk, he forbids any of the others from helping and retreats into his study.

It makes no sense. Things get messy as poor faithful Jean Grey is left to hold off the angry hoards.

Meanwhile, Grotesk has a helpful vision.

After unleashing a mysterious gas to befuddle his attackers...

Grotesk hurries off to the nuclear plant to destroy the world.

It is interesting to note how often Grotesk makes reference to his name and its origins. He is constantly mulling over his grotesqueness when alone, and announcing it when encountering others. 'Grotesk' does double duty as name and adjective - a fact that understandably plays on the antagonist's mind.

In a face-off with the nuclear technician, Grotesk discovers a shocking truth.

Thus unmasked, Professor X sends a mental call for help and everyone boofs and paffs each other again. Then one hearty fool makes a terrible mistake:

NEVER. TOUCH. THE HAIR.

Enraged beyond reason, Grotesk applies his limited technical skills to the nuclear device, with explosive results.

Is this the end of Grotesk? The X-Men certainly believe so. Strangely unaffected by the (nuclear?) explosion, they are quick to forget our gross friend.

Not so for Professor X, who has been the recipient of one too many biffs from Grotesk. He dedicates his final words to explaining his killer's motives. Which is odd, because this backstory has been repeated many times before.

Honestly, I'm surprised that Grotesk is not a more well-known character given his influential role in such a famous event. The Marvel comics time-line wouldn't be the same without him. Of course (spoiler) Professor X isn't actually dead. But he could have been, and that was a big deal in 1963.

As it turns out (spoiler again), Grotesk isn't dead either. He returns to battle Ms Marvel in 1977. I have those comics, obviously, so you will be seeing him again soon.

Wilde For You

2011-05-01T14:35:00.004+08:00

Hello blog friends. So that intermission went a bit longer than I had planned. In my defense, I had an important deadline to aim for. No distractions allowed! (This is self-imposed, by the way - lest anyone think I suffer in the hands of a strict overlord. No so.)

Anyways, the deadline was hit and everything is good. I will get back to the Grotesk comics bonanza in a bit. Until then, I present to you some quality high/low convergence:

More on The YouTube.

Gross Intermission

2011-04-20T20:39:00.007+08:00

I'm really busy with Thesis Stuff right now, so the Grotesk blogging journey has slowed somewhat. Never fear. It will soon return, stronger than ever. Meanwhile, here are a few of my favourite advertisements from X-Men #41 (1963).

Superhero comics of the 60s clearly traffic in shame.

I'm interested to see that stories about heroic super dudes are accompanied by advertisements targeting readers who are encouraged to see themselves as physically and socially inferior. It somewhat reminds me of women's magazines today. The old 'look at this model now buy a concealer and a detox program you fatty' trick. Old as the hills.

Please note - at no point should you apply a "vacuum pump" to your pimples. Even if it is "scientifically designed." At least try Clearasil first. I'm just saying.

A Grotesk Marvel: Part 2

2011-04-14T19:27:00.015+08:00

Picking straight up where part 1 left off... The next portion of the story features more flagrant untruths as the X-Men continue to deceive their lady friends.

More importantly, Grotesk retreats into underground tunnels to mull over his new and lost identities.

Who was Grotesk before he was grotesque? Luckily his memory comes back quickly in the form of a flashback. Cutting a short story shorter: Grotesk used to be Prince Gor-Tok of the Gor-Tokians, a civilisation living beneath the surface of the earth.

Despite their obvious architectural talents, the Gor-Tokians were prone to warring with each other. Just as it seemed Prince Gor-Tok had sorted everybody out, nuclear testing caused the caverns to explode and pretty much ruined everything. It also mutated the prince, who is the last of his group left alive.

I'm going to pause here and pick out a few interesting points.

First, the fact that Grotesk lives in underground caverns is significant. The word 'grotesque' evolved from the Italian grotta or 'grotto,' meaning cave. Grotesque is the modern version of 'grotto-esque' - from the cave. The fact that the writers chose to name a subterranean character grotesque/Grotesk suggests that they were aware of the term's etymological origins.

It is also interesting that the writers continually reinforce the sub-human nature of the grotesque character. The grotesque is not just unusual or disgusting, it is less than human. In this context, being subterranean is equated with being sub-human: below the ground, below the species. This interpretation segues with historical ideas about 'primitive' cultures, and reminds me of Leonard Cassuto's discussion of the racial grotesque. However, unlike other racial grotesques, Grotesk is consistently depicted as pale skinned. Still, many of his other attributes could be argued to resemble the stereotype of the 'wild man' or 'primitive.'

Anyways, back to the story.

Professor X is clearly up to something, but none of it makes sense until the next issue, so I'm going to ignore it for now.

Having remembered the whys and hows of his primal rage, Grotesk heads off to the nearest nuclear facility to bully some nerds and maybe steal a nuke.

Thus engaged, he is interrupted by more dweebs.

Will the puny surface-dwelling worms save the world from grotesqueness? Or will our hero prevail?

You will have to wait and see.

'The Death of Professor X' is quite a famous issue, so beware of copious spoilers in my next few posts if you were planning on reading it. Where Grotesk goes, I must follow!

To be continued... again...

A Grotesk Marvel: Part 1

2011-04-12T16:01:00.018+08:00

As promised in my last post, the blogging odyssey begins with the very first comic starring Marvel's Grotesk.

Uncanny X-Men #41, published in 1963, features Grotesk as a new adversary for the X-Men crew.

They are definitely going for the 'wild-man' look with this cover, which is strange considering Grotesk's relatively civilised back-story. But I'm getting ahead of myself.

The story begins with a giant, as-yet unnamed 'sub-human' erupting into a subway tunnel in front of a train. The drivers exclaim with excitement (spelling out their every observation and sensation, as comics characters in the 60s were wont to do).

Who should happen to be riding in that same train? Why, Beast and Iceman from the X-Men, of course!

After ditching their non-super girlfriends with an excuse about finding matches or something, the two dudes transform into their mutated alter egos and engage the antagonist in spirited discussion.

I gently draw your attention to the last panel, where the first overt discussion of grotesqueness takes place.

Here 'grotesque' is used to indicate something unpleasant to look at. The 'sub-human' adopts the description willingly, as a replacement for a lost identity.

It is odd that the spelling is changed, and 'grotesque' turns into 'Grotesk.' Especially as this distinction is speech-bubble relevant only. Both words sound the same, so this transition is presumably significant to/aimed at readers only...

Having accepted the mantle of grotesqueness, our (anti)hero makes sure everyone knows it.

And Grotesk slips away into the darkness, leaving only the echo of his "loud booming voice."

Where did he come from? Where is he going? What's with that outfit? Stay tuned to find out more.

To be continued...

Phlegm Fatale

2011-04-08T21:22:00.006+08:00

I've mentioned the Marvel character 'Grotesk' a few times on this blog, and have recently decided to dedicate a series of posts to him. Why not. He's big, buxom and mutated. He also comes from a secret subterranean world to seek revenge on surface-dwelling haters. Not a big fan of ladies - if the number of times he screams "WOMAN!" are any guide. Overall a fascinating fellow.

Grotesk is a rare character. He has appeared in a small scattering of comics since the 1960s. I own them all, as far as I know.

I was going to start today, but then decided I want to post on the comics in chronological order, so it's going to take a bit longer to organise things. This could end up being more complicated than I thought...

Oh well, I'm doing it all for:

Tangent: I love old comics. They smell so nice and musty. And they have great advertisements.

Se7en Things

2011-04-04T14:09:00.015+08:00

I would like to say a quick hello to all the new people visiting this blog. April has only just begun, but Groteskology has already had more visits in 2011 than in the whole of 2010! Greetings, people of the Internet. I salute you.

Hila was kind enough to tag me with a versatile blogger award on her lovely blog. The award entails sharing seven facts about yourself, plus tagging others who might also like to share and pass it on. I'm going to tag Eleanor (robot expert) and Tammy (literature and poetry guru) for being awesome.

I had some trouble thinking of seven facts, but here goes...

1. I have a very loud laugh. People have claimed to hear it across great distances and through multiple walls. Combine this with my general impression that life is wacky, and you get a fair bit of noise pollution. Luckily I work from home. That was at least three facts. I'm not doing this correctly.

2. I completed a BA in Communication Studies (at UWA) in 2005. I sometimes wonder if an English degree would have given me a better foundation for my PhD.

3. One of my all-time favourite books is Illusion by Paula Volsky. It is a fantastical re-telling of the French Revolution involving political intrigue, sentient killing machines and impoverished street urchins. I find the riches-to-rags plot totally compelling. It is one of the few books I re-read on a regular basis.

[Via]

4. I eat the exact same thing for lunch every day. It is one of the many things Jennifer Aniston and I have in common.

5. I do not own a single pair of high heel shoes. I borrowed a pair once, for bridesmaid duty, and the resulting blood blisters on my toes made grown men cringe in horror and disgust.

6. I wrote a feature film script for my Honours in creative writing. It is a sci-fi comedy set in outback Australia called 'The Wombat Principle.' Lots of ridiculous characters, aliens and a nonsense plot. The Australian film industry isn't exactly booming, but I'm hoping to get back to screenwriting once I finish my PhD.

7. I have a bunny. His name is Leonard, after the main character in Memento. I liked how Joe Pantoliano's character shouted "Lenneeee" all the time. Now I have an excuse to do the same. I got Lenny in my first year of university. He is now 10 years old, lives in his cage in my office, and spends his time sleeping and playing with newspaper

He also enjoys hiding.

And putting his ears in things.

You just know this whole post was an excuse to post pictures of my bunny.

UPDATE:

Proof that Lenny is sometimes awake! Here he is doing some newspaper origami:

Issues

2011-03-29T23:44:00.002+08:00

I just finished watching Ghost World, and couldn't resist sharing these clips.

And thus it becomes art...

Grotesque Chairs?

2011-03-27T19:13:00.016+08:00

My sister was in my office the other day and felt the need to comment on my chair. Apparently it "makes a funny noise" and sits "on a weird angle." I took personal affront to this. It seemed just a bit insensitive, given my current status as woman/chair hybrid.

As any student or real estate agent knows, location is everything. You can't just sit anywhere, on any old thing. My chair is special. We commune with each other. It sits on a weird angle because I sit on a weird angle. It screams intermittently because it feels my existential pain.

I will admit that the humble office chair is not the most exciting of topics. However, ruminating on the subject more generally led me to wonder if it were possible for a chair to be grotesque? What would a grotesque chair look like?

Maybe like Maximo Riera's Octopus Chair?

Or a Crappy Taxidermy Chair?

Perhaps a Misogynist Chair?

Maybe Simone Racheli's Meat Chair?

How about this practical invention, the Toilet Chair?

OK... so maybe that's just a toilet.

Anyways.

Not sure about grotesque, but they are all very creative in their own way.

UPDATE:

As Hila so wisely pointed out in the comments, Homer Simpson invented the toilet chair. The Simpsons Wiki confirms that:

"The Lazy Man Toilet Seat is the toilet chair that Homer invented.

Homer conceived of the chair as a way of going to the toilet while watching TV instead of having to go upstairs to use the toilet there, which Homer described as "the hardest thing in the world." While most of the family viewed this invention (and most of Homer's other ones) as "awful," Bart liked the chair. He was about to use it ("Gangway! Gotta poop!") when Marge stopped him, saying that she didn't want him going to the bathroom in the living room."

[Via]

SECOND UPDATE (6/9/11):

I found another one. This pic has been doing the rounds, and like everyone else I would dearly love to know who made it:

[Via]

Mmm squishy.

Primavera

2011-03-22T13:53:00.002+08:00

Nothing gross today. Just my favourite song right now.

As you were...

Slip-Slop-Slap

2011-03-18T22:46:00.006+08:00

Another amazing female artist discovery: Sarah-Jane Lynagh.

Lynagh is an Irish artist whose work:

"revolves around a cluster of issues chief among which are sexuality, death, identity, abjection, the monstrous feminine and loss. Despite the universal importance of these issues her work remains firmly grounded in the specifics of her individual experience.

Using unconventional materials such as offal and parts of dead animals she makes props which she then incorporates into video and photographic works where the body is of primary concern. Her intent is to turn the body inside out and subvert the role of the meat making it an attachment to the outer body in order to evoke feelings that something is habitual yet out of place and threatening.

Also, her aim is to create work that is simultaneously seductive and repellent and engages with the viewers desire to gain access to the subject through symbolization."

Cool hat.

The women/meat equation is not a new thing in art and academia (or popular discourse, for that matter, judging from the number of times I've read the phrase 'treated like a piece of meat') but I do find it interesting to see the different ways in which individual artists work through the idea for themselves.

The pic above reminds me of Daikichi Amano's squid pictures:

Not posting any more of those. You can go find them if you like, but I take no responsibility for trauma caused.

[Via Trend Hunter and Cakehead Loves Evil]

Nature's Eternal Plan

2011-03-15T21:23:00.005+08:00

If you have ever wondered about Lady Bits And How They Do (or longed to hear a prim 1940s lady saying 'rectum') then this is the film for you.

Please note: as a public transport user I would encourage all people to bathe regularly.

Object/Lesson

2011-03-11T21:10:00.010+08:00

[The Inquisitors. Via]

Beth Cavener Stichter's beautiful work reminds me of both Patricia Piccinini and Kate MacDowell. Although each artist has her own unique perspective and approach, they share a thematic concern with the intermixing of human and nonhuman bodies, and explore the blurry boundaries of ontology more generally.

[Husk. Via]

Stichter explains that:

"The sculptures I create focus on human psychology – stripped of context and rationalization, and articulated through animal and human forms."

[Empire of Dust. Via]

The pieces are very emotional. The one below breaks my heart. The posture is so expressive that you immediately empathise with the creature and its pain. Nobody should feel like they are no one. The fact that this animal is an 'i' - as opposed to an 'it' or 'thing' - is clear.

[i am no one. Via]

Stichter's artistic statement articulates the logic behind her creations brilliantly:

Both human and animal interactions show patterns of intricate, subliminal gestures that betray intent and motivation. The things we leave unsaid are far more important than the words we speak out-loud to one another. I have learned to read meaning in the subtler signs; a look, the way one holds one's hands, the tightening of muscles in the shoulders, the incline of the head, the rhythm of a walk, and the slightest unconscious gestures. I rely on animal body language in my work as a metaphor for these underlying patterns, transforming the animal subjects into human psychological portraits.

I want to pry at those uncomfortable, awkward edges between animal and human. The figures are feral and uneasy, expressing frustration for the human tendency towards cruelty and lack of understanding. Entangled in their own internal and external struggles, the figures are engaged with the subjects of fear, apathy, violence and powerlessness.

Something conscious and knowing is captured in their gestures and expressions. An invitation and a rebuke.

[Object Lesson: Apathy. Via]

[A Rush of Blood to the Head. Via]

Check out Stichter's website for many more images and details of her work, as well as exhibitions and workshops.

Knowing Me And Knowing Zu

2011-03-06T22:39:00.009+08:00

Following on from my previous swag focused post, here is another interesting thing I own. Much more overtly grotesque-centric this time.

This is the demon Pazuzu, a replica of a very old statuette from ancient Mesopotamia circa 1st millennium BC. I believe the original bronze resides in the Louvre Museum (pic here) but I bought my model from the British Museum when I visited a while ago. I was perusing the museum shop looking for potential Christmas presents (for other people, I swear) when I saw him amongst the other replica statues. I was struck right away by his composite body and fierce posture. My professional interest was piqued, as he seems very human, while also displaying the hybrid anatomy that is characteristic of the early 'grotesque' style.

According to the accompanying paperwork, which is taken from this description from the Louvre:

"Pazuzu first appeared in the 1st millennium BC in hybrid form, with the body of a man and the head of a scowling dragon-snake which also has both canine and feline features. He is represented as a spirit with two pairs of wings and talons like those of birds of prey. He also has a scorpion's tail and his body is usually depicted covered in scales."

The description also explains the rings on the statue:

"Pazuzu was widely depicted in Assyrian art of the 1st millennium BC in the form of numerous bronze statuettes and protective amulets, made in a variety of materials ranging from plain terracotta to precious steatite or jasper. During this period, many beliefs and magical practises were associated with Pazuzu. The ring at the top of the statuette suggests that this type of object was worn round the neck or hung up in the home, particularly where invalids were sleeping."

Why would you need Pazuzu to protect you? I mean, he has a bit of a reputation.

"The inscription on the back of the wings describes the figure's personality: "I am Pazuzu, son of Hanpa, king of the evil spirits of the air which issues violently from mountains, causing much havoc." The demon Pazuzu was associated with ill winds, particularly the west wind which brought the plague."

Well it turns out that Mrs Puzuzu is also pretty scary. As "a demon from the hellish underworld," Pazuzu's "terrifying, scowling face and his scaly body repel the forces of evil."

Evil, in this case, often in the form of Madam Puzuzu.

The demon "had the power of repelling other demons, and was thus invoked for beneficial ends, particularly to drive his wife Lamashtu back to the underworld. Lamashtu was a demoness who attacked men to infect them with various diseases."

Sadly, I do not have a model of Lamashtu. However this description of the lady should give you a rough idea of her character:

"Lamashtu is described in texts as having the head of a lion, the teeth of a donkey, naked breasts, a hairy body, stained hands, long fingers and finger nails, and the talons of a bird. Plaques also show her suckling a piglet and a whelp while she holds snakes in her hands. She stands on her sacred animal, the donkey, who is sometimes depicted in a boat, riding through the underworld."

[Via]

We all have bad days.

I didn't realise until today, but the demon that possessed Linda Blair in The Exorcist was called Pazuzu. He has also appeared in Futurama.

[Via]

Far too cutesy. And why is everyone in their underwear? I should watch this episode for research.

Once a Jolly Swag

2011-03-02T19:22:00.006+08:00

Hello, imaginary friends. In penance for a slow down in posting recently, I present an assortment of imagery for your visual enjoyment.

The university grounds have been home to a variety of artistic installations over the last month for the Perth Arts Festival. As part of the Dialogues with Landscape one artist arranged groups of trees and plants, each snuggled into its own sleeping bag. Apparently each circle represents a discipline within the university.

Something tells me this is the Humanities group.

Nobody matches. And someone is really into cartoons.

The above photographs record pretty much my only excursion in the last fortnight. A lot of working has been occurring.

You might think staying home + work = no shopping for loot. You would be mistaken. The 2K Games store is having a sale. My self-gifts arrived in the mail yesterday. Surprise: they are all BioShock related.

This is "1959" by Craig Mullins:

And this is "Subject Delta" by Boris Vallejo:

Very nice. I also scored a couple of posters based on in-game advertisements in BioShock.

The sale is still on, so you can check it out here if you like. Be warned: international postage is very expensive. But everything is half price so I think it works out. Maybe.

Anyway, here endeth shameless nerdy gloating.

How Long

2011-02-24T22:49:00.007+08:00

I have recently noticed that many of the challenges involved in writing a PhD can be adequately expressed using scenes from the Madagascar films.

As a PhD student you become somewhat insular. You spend a lot of time by yourself. Muttering intermittently. The outside world is suspect.

You wonder why you are doing it. And consider what else you might prefer to be doing... What if you only had two days to live? Keep writing the thesis?

You get overexcited at conferences.

And sometimes you just get really impatient.

My sentiments exactly.

I like King Julien.

Hybrid Anatomy

2011-02-21T19:53:00.009+08:00

I recently discovered the work of Roberto Osti, and was struck by how much he seems to draw on the style of the early grotesque.

The painting below is particularly reminiscent of the composite human/nonhuman bodies that characterise the early grotesque style.

[Shaman in Spring]

Osti combines human, animal and plant parts to create evocative, fantastical anatomies in pencil and paint.

[The Site of the Soul]

He depicts fantasy creatures using a medical-textbook style of illustration. Everything is cross-sectioned, showing veins, muscles and bones.

[Hybrid]

You could argue that these images re-situate creatures of mythology in a biomedical framework, making them seem less mysterious and more easily containable via scientific modes of viewing and classifying the body.

[Deconstruction of a Werewolf]

Or perhaps they offer an alternative perspective, and show us how supposedly 'imaginary' beasts might actually function in terms of real biological systems?

[Deconstruction of a Faun]

Either way, I like it.

You can check out more of Osti's work at his website here.

[Via Street Anatomy]

Let It Flow

2011-02-17T22:49:00.003+08:00

It can be difficult to relax sometimes.

So many niceties to observe. And we don't all enjoy the same things.

When stressed, I highly recommend watching The League of Gentlemen. It will make you feel extremely normal and put together.

Made This Way

2011-02-13T01:14:00.007+08:00

For those with a hankering to see more composite bodies on this ye olde web log (mostly me, I suspect). Behold... the Amalga-Beast.

[Via]

The Amalga-Beast was created by Namor the Sub-Mariner, a lesser known Marvel character who explains the process in the above frame from Avengers 1#40 (1967). Namor himself is an aquatic mutant, and the Amalga-Beast was "formed by combining the bodies of various of [his] finny subjects."

[Via]

You can't see too well from these frames, but it looks as though these "finny subjects" included at least a turtle, a crab, an octopus and a shark. This clever person made a model which shows more details:

Coincidentally (segue alert), Namor appears in another series of comics starring Grotesk, the super-villain and all-round subterranean manthing who just happens to be this blog's namesake. Who knew Marvel were so interested in the grotesque? If I get around to scanning the images I might post about Grotesk sometime soon. He never gets much publicity, for some reason.

Grotesque Gyrations by Gifted Eccentriques

2011-02-10T20:17:00.003+08:00

Not only does this image feature acrobats who look like Mr B. Natural, it just might have the best title ever.

[Via]

And it's going into the thesis in 3... 2... 1...

Madam Mim

2011-02-07T20:07:00.004+08:00

One of my favourite books as a child was The Sword in the Stone. Not the original by T. H. White, but a little book based on the 1963 Disney animation. It was basically a truncated retelling of the story illustrated with stills from the film. I loved the whole thing, but especially the character of Madam Mim.

I always admired how she had purple hair and could turn into animals. Both things I aspired to at the time.

For whatever reason she popped into my head the other day. Possibly while I was doing something eccentric. Wish I still had that book, but I'm pretty sure it fell apart from being read so much.

I still think it would be cool to be Madam Mim.

In-Game Grotesques: Part 2

2011-02-04T21:24:00.009+08:00

Following up on my previous post about the Grotesques in Hellgate: London, here is another distinct yet overlapping example of 'grotesque' video game beasts. This time they are in Diablo III, a fantasy RPG that has not yet been released.

According to the gamers who contribute to the Diablo Wiki, Grotesques in this game "seem to be doll-like entities made of human skin sewn together."

But wait, there's more:

"...the grotesque are basically living pinatas. They are fat, white, humanoid monsters, who run up to a player who comes into range, take a single hit, bend over backwards, and rupture into a massive fountain of wriggling silver eels."

For your viewing pleasure, here is a clip of this precise event taking place.

"There seem to be far more eels within a grotesque than their volume would permit, but such is the nature of magic. The eels, properly called Lamprey are wriggling creatures that must be killed lest they consume your character's toes, but they seem to die very quickly, and on the whole the Grotesque-Lamprey combo looks more inventive and amusing than dangerous."

If you are getting a sense of déjà vu from this description, you are not alone. The Grotesques in Diablo III are very similar to the Grotesques in Hellgate: London. Both are described as figures whose bodies are stitched together from various pieces of flesh. Both explode when attacked, releasing a dangerous surge of eels or maggots. They also somewhat resemble each other at close quarters, each with multiple heads emerging from bulbous yet sinewy bodies crisscrossed with Frankensteinian scars. Here is the official art for Diablo III's Grotesque. Click for a closer look.

[Via]

Two separate grotesques... why the resemblance? As usual, the good people of the Internet have the answer:

"Grotesque are extremely similar to a monster type in Hellgate: London also knows [sic] as Grotesque. In Hellgate, Grotesque are shambling, twisted mounds of demonic flesh that, upon death, explode and release numerous zombies and Death Maggots. Given that Hellgate: London was created by former members of Blizzard North, which made Diablo II and started work on Diablo III, one might speculate on some connection between the very similar monster types seen in the two games."

Most importantly, game producer Bill Roper (who was heavily involved in the creation of the Diablo series) left Blizzard Entertainment to begin making Hellgate: London.

I always find it interesting to observe how similar visions of grotesqueness are perpetuated in different texts. In this situation, a solid connection can be made between the two constructs. Individuals who share a notion of grotesqueness that is embodied in misshapen, composite and explosive human flesh have applied their definition while creating multiple texts, resulting in Grotesques that are similar in both appearance and behaviour.

Ah well, back to work...

[Via]

In-Game Grotesques

2011-01-29T12:45:00.006+08:00

The word 'grotesque' is popular in video games, especially in relation to the weird creatures that players are often called upon to battle. I recently discovered that Hellgate: London (2007) has some creatures called Grotesques, and figured it was worth posting here. Of course, the more I look, the more games I find with their own grotesques, so I might do a few of these 'in-game grotesque' posts.

Hellgate: London is a post-apocalyptic RPG involving a bunch of contemporary Knights Templar trying to win back London after the earth is overwhelmed by evil monsters. The knights wear glowing Tron inspired armour, and the game occurs in 2038, so there are clearly some past/future border crossings occurring here. Not that there is anything wrong with that.

[Via]

You can play as other characters, but the knights look the best . Likewise, there are a whole bunch of different creatures to battle, but the Grotesques are in a class of their own. The Hellgate Wiki provides this visceral description:

"Stitched together from numerous corpses and chunks of flesh, the Grotesque is an aptly named abomination. The stench of rotting meat is always a sure sign that one of these lumbering, disease-ridden automatons is in the area. The decaying bodies are filled with maggots that have been altered by the demonic energies used to create this monstrosity."

Brilliant. In gameplay terms:

"Different Grotesque creations present different challenges but after slaying any of them, they remain dangerous. Invariably their melded corpses explode and undead forms then rise from the remains, freed from their united servitude. "

Here are a few screenshots of different Grotesques in action:

I'm always impressed by good screenshots. They are difficult to take when you're in the middle of playing. The official art images give you a clearer look at the design and appearance of Grotesques (click to enlarge):

I am definitely seeing "numerous corpses and chunks of flesh."

There is also a Fetid Hulk which is worth looking at. The intro video for the game is below. A bit melodramatic, but worth checking out for the shiny Tron outfits. And the monsters.

Head Full of Zombie

2011-01-26T22:07:00.007+08:00

"Land Down Under" by Men At Work is not the Australian national anthem. But it may as well be.

The lyrics are apocalyptic gold:

Traveling in a fried-out combie
On a hippie trail, head full of zombie
I met a strange lady, she made me nervous
She took me in and gave me breakfast
And she said,

"Do you come from a land down under?
Where women glow and men plunder?
Can't you hear, can't you hear the thunder?
You better run, you better take cover."

The lyrics are humerous, but also a little bit sinister. Feels somewhat appropriate, given the conflicting feelings many Australians have about the date of today's celebration.

Happy Australia Day.

Once Upon A Wall of Stone

2011-01-21T20:20:00.007+08:00

I found this excellent Gothic nursery rhyme the other day.

All the angels in heaven
And Demons below
Were soaked in yoke
As they fought for his soul.

The puppets were created by CartBeforeTheHorse, a husband and wife team:

"A two-person company of artists, they make contemporary folk art pieces from their home in Oregon. All of their creations are made one at a time with their own hands."

Many of their pieces depict human/animal/machine hybrids. For instance, Katie Pillar:

[Via]

And Darcie Fish:

[Via]

These very much remind me of traditional grotesque designs. And yet most probably wouldn't think to call them 'grotesque,' because their folksy charm does not suit contemporary usages and understandings of the word. There is nothing 'gross' about them. Interesting to observe how the composite body appears in so many different spheres of creative practice.

The skeletons are pretty amazing, as well. They get a starring role in this video.

You can check out many more creations at their website here.

A Little Green

2011-01-19T23:39:00.005+08:00

I was feeling a bit tired and sorry for myself today. Then I looked down in the bathroom and saw this.

Fact: it is impossible to remain crotchety when your soap is smiling at you.

The Sea Within

2011-01-17T12:02:00.004+08:00

My Aussie brethren have been battling a heinous sea monster these last few days.

It can be hard to really absorb the magnitude of natural disasters, particularly when they occur far away and do not impact on you personally. The sheer amount of water in Queensland right now is staggering to behold. When was the last time you canoed through a McDonald's restaurant? This is Brisbane, third largest capital city in Australia.

Ghost town indeed. Good to see people keeping their sense of humour, even in circumstances like this.

If you would like to help out, you can donate to support the people here and the animals here.

Meat You There

2011-01-10T22:19:00.006+08:00

So. I'm quite busy at the moment with writing deadlines and marking. Apparently the majority of people spend January on a beach somewhere running in slow motion while tossing their heads back and laughing.

What fools, eh. I'll do that when I'm dead... right? Oh.

Anyway, I couldn't resist posting these incredible sculptures from the Meat After Meat Joy exhibit back in 2008.

I love these pieces because they are multivalent, they could read in any number of ways, depending on the politics, beliefs and experiences of the individual viewer.

To me, as simultaneously organic yet artificial forms they bring home the reality of living creatures torn apart and reassembled into objects of desire. The Frankensteinian nature of the Nike runners puts a Gothic twist on the shoe fetishism so encouraged in Western culture, while the teacup suggests an horrific substance lurking behind a (gendered?) domestic facade.

Curator Heide Hatry was interested in the role of meat as both a medium and a symbolic substance:

"By putting these artists together, the exhibition seeks to investigate the uncanny effect meat as a medium is for artist and viewer. This is not a show about meat as spectacle but about meat as signification, precisely because meat does not signify (a body) but its very annihilation."

My favourite is the toilet. I mean, wow. I find myself asking 'what is it?' Trying to identify distinct body parts in the larger shape. What is that big blob at the back? But these are not natural formations, so no 'real' body parts are to be found.

It seems rather poignant that an appliance designed to disguise and sweep away human refuse has been remade from flesh. Perhaps a timely reminder that we can never erase our waste completely. It has to go somewhere. There is a cost to pay, and we must manage our rubbish or suffer the consequences via the destruction of our own bodies and environment.

You can check out a video from the exhibit here.

{Via Miss Cakehead and Eat Me Daily}

How They Know You're A Lady

2011-01-07T22:36:00.006+08:00

Just in case the Forehead Tittaes are drawing a little too much attention to your face... Behold: Camel Shows.

Kelly Brook's Cameltoe Shows from Kelly Brook

Lobster Claw, anyone?

[Via Street Anatomy]

Grotesque Chess

2011-01-04T22:07:00.011+08:00

[Via]

With all the focus on the 'grotesque' body in art and literature it can be easy to forget that the term isn't always used in relation to living anatomies, human or otherwise.

In chess, for instance, a Grotesque is a fantastical arrangement of pieces designed for entertainment and amusement. Grotesques are endgame studies: arrangements of pieces designed as puzzles which other players attempt to solve and win. Unlike other endgames, though, Grotesques are intended to provoke laughter.

Tigran Gorgiev, a designer of Grotesques, explains in Endgame magazine (pdf here) that "good grotesques are composed with great difficulty." Not only must they be challenging, but they must also include "superfluous" and "comic" elements.

Hungarian Ottó Bláthy is well known for creating Grotesques. Here is one of his inventions:

[Via]

The white pieces in this scenario are outnumbered to a ridiculous degree. There are a sequence of moves which will ensure a white victory, but to most this would seem an impossible situation.

The chances of this exact pattern occurring during a normal game are very low. It has been deliberately constructed for effect and amusement (although I suspect the level of hilarity depends upon your knowledge of/interest in chess as a game).

Here is a study by Gorgiev. Looks fairly silly, to my untrained eye anyway.

[Via]

I'm having real trouble finding examples online. Perhaps this is because they are not being called 'Grotesques' anymore?

In any case it is interesting to consider how the term has been used to denote those problems that are simultaneously difficult and amusing. Seems appropriate somehow.

New Year

2011-01-01T14:33:00.008+08:00

I'm resolving to eat more green food.

Within reason, obviously.

[A man in bed with vegetables sprouting from all parts of his body; as a result of taking J. Morison's vegetable pills. Coloured lithograph by C.J. Grant (1831) Via]

Wishing everyone an excellent 2011. Starting today.

Hybrid Vigour

2010-12-31T11:34:00.006+08:00

The work of Dutch artist Arent van Bolten (~1573-1624) is worth checking out if you have an interest in early grotesque art, or hybrid and fantastic creatures more generally. His drawings are a classic example of the traditional grotesque as they depict bodies composed from various human and nonhuman elements, including plants, animals and objects.

The Rijksmuseum in Amsterdam describes his work in this way:

"Van Bolten was known for his work as a silversmith and sculptor, but especially for his drawings. Besides his designs for work in precious metals he drew numerous drawings of grotesque figures and monsters, biblical and mythological scenes as well as pictures of peasant life. Several of his grotesques and ornaments appeared in print and were widely distributed."

The Museum has a collection of engravings based in his sketches in their online database. They are magnificent. If you ever wondered who came before Dr Seuss and Tim Burton, Van Bolten is definitely an artist to consider.

I find the intricate details and expressive poses quite brilliant.

It is also amusing to observe the random photobombing cat and scatological humour in the above. We think we are so original in the 21st century...

Speaking of time. See you next year!

(Alter)Nativity

2010-12-24T12:16:00.003+08:00

I hope everyone has a safe and relaxing weekend... even if you don't celebrate Christmas yourself. In case you're feeling Grinchy, might I suggest some music?

Please feel free to rock on.

Merry Christmas/Happy Holidays from Groteskology.

New Blog, Old Blog

2010-12-22T22:04:00.010+08:00

[Via]

So. I decided to change the blog template. Partly because I was getting bored with the old look. Partly because it didn't allow for any adjustments or customisation at all.

Of course, within 24 hours I have become nostalgic for the old blog and want to change it back. I miss the good old days. As it turns out, changing back isn't possible. The other design was so old that they don't offer it as an option anymore. Can't go back. Ain't that just like life.

Probably for the best.

In any case, I am still undecided about the current template/background. I appreciated the last design because it was somewhat homey and had a reassuring old bookshop wallpaper feel. Not keen on white backgrounds, to be honest. I know they are seen as 'cleaner' (and, I dare say, more professional and academic) but after spending my whole day reading and writing black text on white backgrounds it is all too much. A blog is not a thesis, an essay, a book or a journal article. And I like to be reminded of that fact.

It also feels a bit like false advertising. I don't consider this to be an academic blog. It's more of a series of enjoyable mind splurges. Messy and multifarious. I would feel awkward and inhibited if it was all crisp and official looking on here. Odd? Perhaps. But there it is.

[Via]

Long story short: I might keep this background, I might play around a bit more, but the content will stay the same. All grotesque. All the time.

One last thing... if anyone has ideas for potential 'grotesque' backgrounds please let me know. Within reason. (Eg, I do not want nipple wallpaper or blood smeared corpses. Awesome, but too distracting in the long run.)

Santa: Slay and Vengeance Edition

2010-12-21T17:34:00.005+08:00

Last Christmas I gave a couple of handy suggestions regarding entertainment over the festive period. This year I've been amused to discover how many homicidal Santas* have appeared in horror films. Forget Halloween, Christmas is the new fear.

*Can I say Santas? What is the plural of Santa? Santi? And what is a group of Santas called? A coop? A duffel? A mucous? So many questions.

Anyway, here are a few examples:

Silent Night, Deadly Night (1984).

The Sequel, Silent Night, Deadly Night: Part 2.

It goes on in this vein until the fifth film, in which robot Santa tries to become a real boy while designing kill toys. Or something.

A little review of Evil Christmas.

Then we have Santa's Slay (2005). Sort of a horror/comedy.

OK, this isn't technically a Santa movie. But a genetically engineered snow man with a thirst for blood is worth mentioning.

What about the Gingerdead Man? Not very Christmassy. But the horrid special effects and enthusiastic voice-over are worth some bonus points. "A new kind of cookie."

Sorry, I'm getting distracted. Back to Father Christmas.

It isn't always about killer Santas... sometimes it's Santa killers!

If, for whatever reason, you don't feel like watching horror films on Christmas, Santa with Muscles (1996) is a good alternative.

David Hasselhoff needs to do one of these.

Grotesque Dickens

2010-12-20T16:07:00.007+08:00

[Via]

I've recently been reading Charles Dickens' The Old Curiosity Shop. Really enjoying it so far, and I swear it's not just because the word 'grotesque' pops up so often...

The character of Daniel Quilp is most often described as grotesque. His entrance in chapter three gives you a sense of what the term is understood to mean in this context:

"The child was closely followed by an elderly man of remarkably hard features and forbidding aspect, and so low in stature as to be quite a dwarf, though his head and face were large enough for the body of a giant. His black eyes were restless, sly, and cunning; his mouth and chin, bristly with the stubble of a coarse hard beard; and his complexion was one of that kind which never looks clean or wholesome. But what added most to the grotesque expression of his face was a ghastly smile, which, appearing to be the mere result of habit and to have no connection with any mirthful or complacent feeling, constantly revealed the few discoloured fangs that were yet scattered in his mouth, and gave him the aspect of a panting dog. His dress consisted of a large high-crowned hat, a worn dark suit, a pair of capacious shoes, and a dirty white neckerchief sufficiently limp and crumpled to disclose the greater portion of his wiry throat. Such hair as he had was of a grizzled black, cut short and straight upon his temples, and hanging in a frowzy fringe about his ears. His hands, which were of a rough, coarse grain, were very dirty; his fingernails were crooked, long, and yellow."

Amazing, right?

Quilp is a particularly heinous man. He treats his young wife very badly, and finds great delight in pinching, slapping and making her miserable.

[Quilp Interrupts Tea. Via]

Mrs Quilp's mother, Mrs Jiniwin, hates and fears her son-in-law in equal measures.

From chapter five:

"Mr Quilp now walked up to front of a looking-glass, and was standing there putting on his neckerchief, when Mrs Jiniwin happening to be behind him, could not resist the inclination she felt to shake her fist at her tyrant son-in-law. It was the gesture of an instant, but as she did so and accompanied the action with a menacing look, she met his eye in the glass, catching her in the very act. The same glance at the mirror conveyed to her the reflection of a horribly grotesque and distorted face with the tongue lolling out; and the next instant the dwarf, turning about with a perfectly bland and placid look, inquired in a tone of great affection.
'How are you now, my dear old darling?'
Slight and ridiculous as the incident was, it made him appear such a little fiend, and withal such a keen and knowing one, that the old woman felt too much afraid of him to utter a single word, and suffered herself to be led with extraordinary politeness to the breakfast-table."

It gets worse...

"Here he by no means diminished the impression he had just produced, for he ate hard eggs, shell and all, devoured gigantic prawns with the heads and tails on, chewed tobacco and water-cresses at the same time and with extraordinary greediness, drank boiling tea without winking, bit his fork and spoon till they bent again, and in short performed so many horrifying and uncommon acts that the women were nearly frightened out of their wits, and began to doubt if he were really a human creature."

This vision of a man chomping down whole eggs and gnawing on the cutlery is pretty hilarious. For the most part, however, Quilp is genuinely sinister. Especially when he propositions little Nell, who is still a child, and suggests she become his next wife once the current Mrs Quilp dies (presumably sometime soon-ish in a tragic/deliberate 'accident').

Perhaps as the story unfolds he will be redeemed. Or maybe he will get much worse. I will have to read and find out. If you're interested you can find the full text here.

Incidentally, the 1975 film adaptation of The Old Curiosity Shop showcases Quilp in full musical mode.

Great performance. Vicious, charming and trashy all at the same time.

All Done

2010-12-18T00:12:00.006+08:00

I am happy to report that the deadline was met: operation Intro Full Draft has been a success.

Of course, as a result of said efforts I now feel how this poor creature looks.

[Via]

Stuffed.

And Slightly Alarmed.

I guess it could always be worse.

[Via]

Onward and upward.

Stay tuned for a grotesque gaming update coming soon

Twas Brillig

2010-12-14T00:12:00.011+08:00

Nearly there now. Feeling positive about meeting Friday's deadline. Positive enough for a few pictures...

[James Gillray. The Republican Rattle Snake fascinating the Bedford Squirrel. Via]

[Creatures of Jabberwocky. Via]

[Richard Dighton. Absolute Wisdom or Queens Owl Taken from a Wood. Via]

[Decorative roman-like trophy, XVIIth century, "grotesque à l'antique", painted on a wall, detail, Château de Vaux-le-Vicomte, France. Via]

[Georgian-era (1824) Mermaid, a fake made up of various body parts from other animals. Via]

Yes, the blog is snowing. Yes, it is totally un-Australian. I like it. I like it so much I might leave it for the whole of next year.

Undeadline

2010-12-09T13:10:00.006+08:00

I have one week to go on my intro and I really, really want to finish it on time. Then revision of the chapters can happen. Then final draft can happen. Then submitting can happen. From now on, no overshooting is permitted!

As my incomparably wise supervisor has pointed out, I could keep writing the intro forever. At some point, you just have to stop. Keyboards down. Probably won't be posting much until I've hit this one.

I'm not entirely sure why Bill Bailey is on my wall. But his stare is oddly comforting. The man is a survivor.

Gautier, Darling

2010-12-07T21:45:00.007+08:00

No, not that Gautier, sweetie.

More history. I'm talking about French wordsmith Théophile Gautier who, in 1833, agreed to write twelve articles for La France littéraire about certain under-appreciated poets of the time. These essays were to be collectively called Exhumations littéraire; making clear each writer's status as dead and buried in the public consciousness, and setting up Gautier's role as specialist excavator.

[Victor Vasnetsov. Grave-digger (1871) via ]

Editor Charles Malo must have been a patient sort, because the last essay of the batch was finally published eleven years after the contract was signed, hitting the presses in 1844. Significantly, for my purposes, these essays were then drawn together into a book titled The Grotesques.

My page numbers are from the English version of The Complete Works of Theophile Gautier volume II: "The Grotesques." This edition is translated and edited by Professor S. C. de Sumichrast, who provides the introduction and explains a few important facts.

The editor comments first on the use of "grotesque" in the title and its (in his opinion) dubious application to the poets treated within. (Already we have disagreement over which authors/texts can be called grotesque, seeming to indicate that different definitions of the term are in use.)

"It is a striking title, but it does not accurately describe the contents of the volume, or even the majority of the authors treated of by the critic; for no student of literature nowadays would dream of calling that great poet, Villon, a grotesque" (4).

He credits the appearance of the term with the recent popularity of Victor Hugo's "Preface," and quotes this text at length. I've already blogged about Hugo and the grotesque (in a double post: part1 and part 2) so I'm going to skim this and get right to the point.

"Gautier," Sumichrast explains, "fairly worshiped Hugo, and the "Preface" had very deeply impressed him, as more than one passage in "The Grotesques" abundantly proves" (6-7). This observation rings true, for Gautier puts forward a definition of the grotesque that is very similar to Hugo's.

Chapter one focuses on the poet François Villon, and Gautier's introductory remarks won me over right away. He explains his rationale for exhuming the down-trodden:

"The study of second-rate poets is both delightful and interesting, because, first, as they are less known and read, there are more novelties to be found in them; and next, because there is not a ready-made judgment for every striking passage. One has not to go into conventional ecstasies, to be convulsed, or to start with delight at certain places, as is indispensable with poets who have become classics" (15).

You had me at "conventional ecstasies," Monsieur Gautier.

For me this just captures that feeling I have sometimes when I'm reading a Very Important Book. The feeling that I must appreciate its many excellent qualities, but that there is a precise way of doing so that I'm probably ignorant of. It is not enough to simply read and enjoy the book - you must do it correctly!

[via]

Peer pressure, eh. Just when you think you've escaped it...

Gautier carries on:

"Among the second-rate poets one finds everything that the aristocrats of the Ark have disdained to make use of, - the grotesque, the fantastic, the trivial, the ignoble, the daring sally, the newly coined word, the popular proverb, the pompous metaphor; in a word, bad taste in its entirely, with its lucky hits, with its plated ware which might be gold, with its bits of glass which might be diamonds. Pearls are scarcely found elsewhere than in a dunghill, as witness Ennius" (16).

[James Gillray. An Excrescence-A Fungus,-Alias, A Toadstool upon a Dung hill (1791) via]

As well as Hugo, the mention of the word "ignoble" is a pretty obvious clue that John Ruskin's discussion of the grotesque provides inspiration here (I blogged him here: part 1 and part 2).

Most interesting to me is Gautier's understanding of "bad taste" and its potential value when taken seriously. "The grotesque, the fantastic, the trivial, the ignoble" are all grouped together under the banner of bad taste, and are all understood to have this deeper potential despite their maligned status. He is not merely excavating and resuscitating the poets, but these concepts as well.

Lest we find his passion for the distasteful unseemly, the author offers this clarification:

"I take singular pleasure in unearthing a fine line from the work of a despised poet... I rehabilitate him, I do him justice; and if at times my praise of some obscure poet appears exaggerated to certain of my readers, let them remember that I praise these writers in order to make up for all those who have insulted them beyond reason" (17).

These poets have been oppressed by the academy, "reputed poor, thanks to the judgment of a college pedant," and Gautier is having none of it (17).

[Théophile Gautier (1882) via]

Not all of the twelve essays were translated into English. In addition to Villon, this collection features essays on Théophile de Viau, Paul Scarron, Georges de Scudéry, Cyrano de Bergerac and Antoine Girard de Saint-Amant.

I can't talk about everything, but there are a few choice quotes worth mentioning. In particular, Gautier gets quite fiery in defense of de Viau. They share a special kinship, you know.

"Before I had read even a single line of his, I already felt a tender interest in him on account of his name, Théophile... I would willingly have thrashed that pedant Boileau for the harsh lines in which he insults my poor namesake."

"Forgive this foolish piece of pride, but it did not appear to me possible that a man bearing my name should be such a wretched poet" (62).

"It became necessary for the repose of my mind to confirm my entirely gratuitous supposition that Théophile de Viau was in fact as good a poet as I, Théophile Gautier" (63).

Tangent alert/ I hear Poirot's voice when I read this. Eg, "I, Hercule Poirot, world's greatest detective." Also, I understand completely. I've never read the books of Gwyneth Jones, but I feel certain that if I did they would be magnificent./

Gautier follows Victor Hugo's notions of the grotesque closely, specifically his assertion that the grotesque is "the richest source that nature can offer art." Nature is not all beauty, but equal portions of the ugly and the beautiful, and both must be represented and valued. Gautier's "bad taste" definition of the grotesque fits this bill.

"Good taste is a fine thing, but it must not be carried too far. Through excess of good taste very many subjects, details, images, and expressions which have all the flavour of life are lost" (267).

Gautier's philosophy and determination to dedicate time and energy to "bad taste" texts scorned by other critics reminds me of how popular culture was often framed during the 20th century. It also makes me think of how texts such as comics and video games continue to be looked down upon by some within academia. It is not so bad now, of course, as it once was. Perhaps if all pop culture theorists had the conviction of Gautier we would have come further, faster.

Please note: I do not recommend "thrashing" people who don't like your area of study. Not really. Maybe a little.

Dead Classics

2010-12-07T00:20:00.010+08:00

I probably shouldn't be thinking about zombies right now, but check out these brilliant posters by Matt Busch.

"As opposed to just taking the original posters and altering them digitally in PhotoShop, Busch has painstakingly hand-painted every detail with traditional mixed media, before slaughtering them with a zombified treatment."

“It’s an ironic twist,” says Busch, “to take these beautiful master-works and attempt to recreate every detail, while at the same time, shredding them to bloody pulps. Literally. Nothing here is sacred, but it’s all in good fun and out of the utmost respect to the original posters that had such an impact on my life.”

My favourite:

Find a whole lot more "Hollywood is Dead" posters here.

[Via]

Splice Me Up, Before You Go Go

2010-12-03T21:14:00.012+08:00

I've mentioned my love of BioShock once or twice on this blog before. Here is the trailer, if you don't know what I'm talking about.

One of my favourite parts of the game is the Splicers; citizens of Rapture (a dilapidated 1940s underwater city) who have abused gene altering substances to the point of physical mutation and mental instability. Splicers are always ranting and singing to themselves.

And sometimes they just whistle.

There are a bunch of action figures out for BioShock and BioShock 2. I decided I should get the latest. Specifically, the Lady Smith Splicer. For research purposes, you understand... *ahem* I was curious to see how her figure would look in the flesh, so to speak, considering her outrageous persona and physique in the game. She's not your typical bodacious female figure.

The Lady Smith is one of the most snobbish enemies, as she was originally an upper-crust lady of leisure:

"Once she was the talk of the town – a high-profile socialite whose wit was her weapon among Rapture’s elite. As the city fell from grace, so did she – becoming addicted to ADAM, splicing herself stronger and faster to feel safe in the streets. She resents having to eat refuse and scrabble for ADAM, but ultimately, she’s a survivor. As a "Leadhead", she pelts her enemies with bursts of tommy-gun fire between vicious verbal barbs."

[Via]

Speaking of verbal barbs... these are a few of her choice sayings from the first game:

Snarky. Anyway, she arrived yesterday, and is so lovely and horrid I thought it was worth sharing a few pics.

She comes with masquerade mask, a gun and a rolling pin.

Her quality is a lot better than I expected. The skin is particularly good, bulging with veins and chords. Check out these details:

The huge fleshy growth on her waist is matched by a lump on her arm which has split her long glove.

I like how she is bursting through her 50s style dress at the back. It reminds me of The Hulk and how he erupts from his clothing.

The rolling pin, perm and pearls offer a nice touch of 'femininity gone wrong.'

Don't look now, but I'm 90% sure she has a breast growing on her leg.

Cute shoe. She has also grown a tail from one leg, while the other foot has come to resemble more of a hoof/claw.

It seems to me there is something quite poignant about the idea a woman would mutate her body so dramatically: "splicing herself stronger and faster to feel safe in the streets." Women today are surgically altering their bodies for beautification purposes. But would they do it for physical power? What kind of environment would justify such an act? And at what cost?

(BioShock engages with plastic surgery also, through the character of Dr Steinman and his "Aesthetic Ideals" clinic. You can check out his bit of the game here- warning, major spoilers.)

As one reviewer put it: "NECA's Ladysmith Splicer is a hideous monster of a woman. She's painful to look at, and unsettling to consider. But that is as it should be: that's how she looks in the game, as well. "

If I still had my childhood barbies, they would definitely be clutching their pink purses tighter tonight.

Grotesque Investigations

2010-11-30T21:36:00.011+08:00

It seems everyone has an opinion on the grotesque. Everyone has performed their own investigation and constructed their own definition of what 'it' means. Even Sherlock Holmes himself.

[Via]

Arthur Conan Doyle, via Holmes, clearly has his own notions about grotesqueness, as this excerpt from The Adventure of Wisteria Lodge reveals:

I find it recorded in my notebook that it was a bleak and windy day towards the end of March in the year 1892. Holmes had received a telegram while we sat at our lunch, and he had scribbled a reply. He made no remark, but the matter remained in his thoughts, for he stood in front of the fire afterwards with a thoughtful face, smoking his pipe, and casting an occasional glance at the message. Suddenly he turned upon me with a mischievous twinkle in his eyes.
"I suppose, Watson, we must look upon you as a man of letters," said he. "How do you define the word 'grotesque'?"
"Strange--remarkable," I suggested.
He shook his head at my definition.
"There is surely something more than that," said he; "some underlying suggestion of the tragic and the terrible. If you cast your mind back to some of those narratives with which you have afflicted a long-suffering public, you will recognize how often the grotesque has deepened into the criminal. Think of that little affair of the red-headed men. That was grotesque enough in the outset, and yet it ended in a desperate attempt at robbery. Or, again, there was that most grotesque affair of the five orange pips, which let straight to a murderous conspiracy. The word puts me on the alert."
"Have you it there?" I asked.
He read the telegram aloud.
"Have just had most incredible and grotesque experience. May I consult you?
"Scott Eccles," "Post Office, Charing Cross."
"Man or woman?" I asked.
"Oh, man, of course. No woman would ever send a reply-paid telegram. She would have come."

[Via]

Mr Eccles arrives, most disturbed, in a state of dishevelment.

"I have had a most singular and unpleasant experience, Mr. Holmes," said he. "Never in my life have I been placed in such a situation. It is most improper--most outrageous. I must insist upon some explanation." He swelled and puffed in his anger.

Before he has a chance to explain, the police arrive. They suspect him of murder.

[Via]

You will have to read the rest of the story here to find out what happens. It is quite spooky.

[Via]

This example has been cited quite a few times, usually in the introductions to books on the grotesque, and particularly in those sections dedicated to exploring the myriad ways of defining grotesqueness. Holmes' definition fits with more sinister ideas about the grotesque, those involving "the tragic and the terrible." It is "something more" than strange.

I must confess that Hercule Poirot is by far my favourite detective, but Holmes earns my love for his comment that "the word [grotesque] puts me on the alert." We have that in common.

Criminal and academic investigations are not entirely different...

One must be wary of getting too carried away with incidental details. Although, these are sometimes crucial.

You should try not to over-complicate matters and confuse yourself. These things can spiral, you know.

And avoid assumptions. Their success depends upon everything going your way, which will rarely (never) happen.

I'm doing the evil voice right now.

Eye See

2010-11-26T22:24:00.018+08:00

Have you heard of the Freaking News website? Me neither. Until I found these images in a random search for 'grotesque' pics.

That's right, celebrities with eyes in their mouths. Genius!

Freaking News is apparently a site that hosts Photoshop competitions, or something of that nature. Being the internet, it could all be some elaborate scheme to make us inadvertently purchase beauty products or catch a computer virus.

But anything that puts eyes in mouths can't be that bad. Right? In any case, the whole site is a bonanza of body morphing.

Calls for pictures are sent out on a particular theme, such as 'One-Legged Celebrities.'

Or 'Celebrities Upside Down.'

If you can put an eye in a mouth, why not a mouth in an eye?

More here. Warning: some things cannot be unseen.

Balderdash

2010-11-24T20:43:00.007+08:00

After spying the word 'grotesque' in a Tintin comic previously, I decided to check out a few others to see if it popped up again. Lo and behold... a total of THREE mentions counted in Tintin and the Picaros! The pics are a bit dodgy, but you see what I mean.

First, Captain Haddock is accosted by a crowd of reporters and gives them what for.

Later, he gets hit on the head and loses his memory.

Then Madame Castafiore gets some bad news.

But she really isn't bothered.

I never realised Hergé was such a fan of the word grotesque. I learned to read on these comics... The roots of my fascination are revealed.

Everywhere Hugo, I will Follow: Part 2

2010-11-21T21:23:00.013+08:00

So. I've had a rest. From writing, anyway. Now it's time for part two of Victor Hugo and the grotesque (you can read part one here.) All pics from Wikimedia Commons.

I finished the last post with Hugo's first mention of the grotesque, specifically his assertion that:

"The ugly exists beside the beautiful, the unshapely beside the graceful, the grotesque on the reverse of the sublime, evil with good, darkness with light" (363).

Arguing firmly that "Christianity leads poetry to truth" (362), Hugo claims that the modern poet must consider if their work adequately represents the Christian view of a dual universe. They must ask themselves:

"If the narrow and relative sense of the artist should prevail over the infinite, absolute sense of the Creator; if it is for man to correct God; if a mutilated nature will be the more beautiful for the mutilations" (363).

Here we see a now quite familiar dichotomous construction of the grotesque, which is defined in opposition to other concepts. Eg. grotesque/sublime, grotesque/beautiful.

Hugo argues that the grotesque and non-grotesque exist in a binary relationship, and, having been deliberately fashioned this way by God, thus form two equally valuable halves of a whole. The writer must represent both, if s/he is to adequately and truthfully represent the world.

"Darkness and light, the grotesque and the sublime; in other words, the body and the soul, the beast and the intellect; for the starting-point of religion is always the starting-point of poetry. All things are connected" (363).

For Hugo, then, the willingness to depict and discuss grotesqueness in addition to other 'higher' concepts is what makes the poetry of the 'modern age' distinct. It is also what distinguishes romantic literature from classical literature.

[The Effusions of a Troubled Brain, or Evil Communications Corrupt Good Manners. George Humphrey (1821) Via]

Anticipating criticism and accusations of bad taste ("Don't you know that art should correct nature? that we must ennoble art? that we must select?") Hugo nonetheless argues that "it is of the fruitful union of the grotesque and the sublime types that modern genius is born" (364).

Where ancient poetry tried to conceal or deny the baser elements of human nature and society, the modern romantic poet knows that these features of reality must be acknowledged in order to build a complete vision of humanity as it is.

"In the idea of men of modern times... the grotesque plays an enormous part. It is found everywhere; on the one hand it creates the abnormal and the horrible, on the other the comic and the burlesque."

"And how free and open it is in its bearing! how boldly it brings into relief all the strange forms which the preceding age had timidly wrapped in swaddling clothes!" (365).

This is a pretty long quote, but I like how it captures Hugo's enthusiasm for the topic and his emphatic defense of the value of the grotesque. It also gives us some concrete examples to consider, which is always nice.

"We will simply say here that, as a means of contrast with the sublime, the grotesque is, in our view, the richest source that nature can offer art. Rubens so understood it, doubtless, when it pleased him to introduce the hideous features of a court dwarf amid his exhibitions of royal magnificence, coronations and splendid ceremonial.

The universal beauty which the ancients solemnly laid upon everything, is not without monotony; the same impression repeated again and again may prove fatiguing at last. Sublime upon sublime scarcely presents a contrast, and we need a little rest from everything, even the beautiful.

On the other hand, the grotesque seems to be a halting-place, a mean term, a starting-point whence one rises toward the beautiful with a fresher and keener perception. The salamander gives relief to the water-sprite; the gnome heightens the charm of the sylph" (366).

I love "we need a little rest from everything, even the beautiful."

Rubens is awesome, by the way.

Exhibit A) Medusa

Exhibit B) Bacchus

Exhibit C) Women of the Apocalypse

And so much more.

Hugo wasn't a slouch when it came to art, either. This is The Gnome of the Night, which he painted in 1856.

He did a whole bunch of Gothic landscape paintings as well.

Victor Hugo is an interesting example of someone who turned their theory of the grotesque into practice. He didn't just pontificate on what the grotesque is or should be. As well as poetry, plays and other novels, he wrote Les Misérables and The Hunchback of Notre-Dame; both of which explore the lives of malformed and destitute individuals; the relationship between low/high, grotesque/beautiful. His theory was the product of a particular social conscience, as well as a religious viewpoint.

"The fact is that the beautiful, humanly speaking, is merely form considered in its simplest aspect, in its most perfect symmetry, in its most entire harmony with our make-up. Thus the ensemble that it offers us is always complete, but restricted like ourselves. What we call the ugly, on the contrary, is a detail of a great whole which eludes us, and which is in harmony, not with man but with all creation. That is why it constantly presents itself to us in new but incomplete aspects" (368).

And my favourite.

"The beautiful has but one type, the ugly has a thousand."

Whatever your view on the ugly = grotesque equation, or your feelings toward the word/concept of 'ugly' as it is used in relation to people, I think you can still appreciate the sentiment here. I do, anyway.

Interlude

2010-11-18T22:18:00.005+08:00

I was going to post the next part of Victor Hugo today, but the conference has left me too exhausted. Maybe it's time for a new healthy regime.

Life is so ironical.