The Monsters and Me

 One question I get regarding my art is "Why is it soooo dark?". Which is usually followed by the comment, "You don't seem like a dark person". My response to this is that ironically it is the shadows and monsters are what help me navigate from those dark places. By embracing the shadow I've found a way to control the sadness and negativity that sometime overwhelm us mere mortals. Over the years I've tried to understand this and here's what I've come up with:

The monsters and I are one. My creations and I cannot be separated. My darker side is a conjoined twin that cannot be removed. We are forever entwined. I believe this to be the case with all humans. The shadow is ever present. What I've found useful and, in fact healthy is to give the monsters a place to roam. What I've found is that in my art the monsters and shadow can be more playful with a sense of humor. They come out and play for a while on my canvas or in a sculpture and then, after a bit of a stretch, they call it a day. Now, If they were cooped up in my head all the time who knows what sort of mischief they would get into. Shadows can be a dark force that create negativity, HOWEVER, I believe that having an "off leash" area in my artistic endeavors allows me to transform the negativity into something positive. The shadow now becomes a way of creating light...or at least defining it.

In my case, monsters have become buddies with a pretty good sense of humor, so they typically hang out in all my art pieces. I'm not saying they don't pester me with sadness or self doubt every so often but I do believe that there is a huge reduction in negative thoughts.

So my recommendation, make a monster a day. Whether it's a sketch, a painting, a clay figurine, realistic or abstract... create something daily and give it all your frustration and angst. Let your monster relieve a little bit of your burden. Give it a try...you don't need to be afraid of monsters.

An Odd Place To Put Odd Things

Do you need a place to keep your bizarro collections...me to.  I'll be teach this at a few places across the U.S.  

Always Be Creating - Fort Collins Colorado, 

Donna Downey Studios -North Carolina

Idyllwild Arts - Southern California

Back in the olden days they sure had style, especially when it came to housing their wares.  If you were on the go you were assured to have a stylish kit.  It didn't matter if you were a doctor, a shoe repair person, or a vampire hunter...if you were on the fly you had a nifty kit filled with nifty devices.  

This concept interested me soooo much I've created a number of them for various uses over the the years here are but a few where not only have I created the carrying case but also created and/or modified the strange gizmos that fit inside.   I've created a workshop where students can explore these themes in whatever direction they choose.  

deMengian Apothecary Cabinet

A place for this, that, and the other thing.

---

deMengian Apothecary Kit

Not sure what those things actually do...but they look cool

deMengian Aritst Kit for the Vampire-phobic

Complete with stake pencils and religious icon brushes. 

Art Kit for Vampire Phobic Artists

Art Kit for Vampire Phobic Artists

Art Kit for Vampire Phobic Artists

---

deMengian Mad Artist Kit

For creative types who are a bit unusual.

---

Thumbelina Theater

Recently I was  rewatching a favorite film of mine from days of yore...the original Clash of the Titans.  It is a film I have seen many many time but this time I took note of a scene where Zeus moves tiny clay figures around a stage; these, of course, are the representations of the mortals under the control of the Olympians.  This got me thinking about the idea of play in regard things like dollhouse dolls, toy soldiers and/or action figures. It made me consider why children seem to have the desire (perhaps even need)  to create worlds that they have dominion over...Zeus-like control where the child is able to manipulate the destinies of the tiny characters in their hands. 

The world is an uncontrollable place.  Even when we think we are in control, the truth is that we are tiny beings on a big rock spinning through space. Because of this it seems reasonable that one would find comfort in creating manageable scenarios.  This is probably especially true for children, who, after all are recent arrivals to the planet Earth. 

I suppose many grow out of the need to create these realms and scenarios...I never did.  Part of that stems from the fact that I've always felt a bit out of place in this world , so I still play.  In my art I can concoct a universe where I am more comfortable or as I would like it to be. 

My most recent series of puppet theaters addresses the this topic more directly than anything I've ever created because they encourage the art of play.  Recently I started making very tiny versions of these stages where the characters are not much bigger than an inch or two.  I call these Thumbellina Theaters.  To us they may seem small and insignificant but, I assure you, that they may be small but I imagine them with all the complexities of you or I.

 (I've actually turned it into a workshop for a few special locations....Eugene Oregon this September, for those who need a little more control in their destinies).

The Persistence of Mythology

Okay so if you're familiar with my work you will know that much, dare I say, all of my inspiration comes from ancient tales of heroes faced with impossible tasks.  Ever since I was a wee lad the stories of gods and monsters from around the globe consumed me.   I wondered what led me to this fascination and why it continues to this very day.  So with the arrival of my 51st birthday I decided to try and trace my fascination to some of the key influences.  

Momotaro, the Peach Boy  - When I was a wee lad between the ages of 2 to 7 I lived in Hawaii, and because of that I was exposed to a variety of Asian influences.  During this time mother used to read to me the Japanese legend of Momotaro the Peach Boy.  This is a tale of a large peach that floats down a stream into the possession of an elderly couple.  The couple go cut open the peach but to there surprise a young boy pops out (actually I think that would surprise most folks).  This strange incident was, of course,destiny; little did the elderly couple know that one day an adult Momotaro would set sail of on a mission (with a dog, a bird and a monkey) to defeat a band of treacherous ogres that plagued their lands.  This particular publication had spectacular illustrations...especially the ogres.  I suppose this sort of tale resonated with me because there is something seductive about the concept of being born to fulfill a cosmic mission.  This is called the "hero's journey"'; it is the basic formula of most myths and legends.  A naive person wanders into the a dark and unknown situation and must overcome some challenge or villain and when the battle is won, they return but... they have changed...they have attained growth and enlightenment.  Perhaps, what is fascinating to me is how early this idea resonated.  I'm not saying that I understood the complexities but the basic ideas were obviously compelling to my tiny brain.  To this day my mother still has that book and I wonder how many times I have perused those pages...probably thousands.  This book was the start of a long journey.

Jason and the Argonauts - Late one night, while visiting my grandparents in the Los Angeles, I was up way past my bedtime for a 7 year old, watching Fright Night with host Larry Vincent (aka Sinister Seymour).  This was one of those Creature Feature shows which showed monster movies on Friday or Saturday nights.  The room was dark and I was curled next to my grandmother as I watch the most amazing thing I had every seen.  It was a stop animation film by Ray (this guy is the shit) Harryhausen called Jason and the Argonauts.   In the film, Jason is sent on a quest by the gods, and in doing so he must face a variety of obstacles...really cool obstacles like harpies, a seven headed hydra, a battalion of skeletons.   I'm pretty certain this was my very first introductions to Greek gods.  Harryhausen is also famous for his Sinbad movies, similar idea (though his he had a tendency to mix and match his mythologies) where the hero battles everything from Cyclops, to Kali-Ma effigies, to sabertooth tigers.  About five or six years  later, to my delight, he returned the the myths of Greece made the unforgettable Clash of the Titans with togas, gorgons, and the Zeus releasing the Kraken.   

The Golden Book Encyclopedia (yes, you heard me right) - Somewhere in the span of time between Jason and the Argonauts and Clash of the Titans, I was up late doing some heavy duty elementary school research  in my illustrated children's encyclopedia when I came across an entry for "Days of the Week".  This was now ho hum entry...instead there were images of helmeted deities, mostly Norse, who the days are named after: Thursday is Thor's day, Friday is Friggs day etc.  The really cool part (at least at the time) was that the article cross referenced a number of other articles...  "see Greek gods" or "see Roman gods".  So this "Days of the Week" entry l had me dancing around the encyclopedia checking out all the various mythological entries from around the globe.    .  At that moment I was faced with the concept of variant pantheons; suddenly my interested wasn't limited to Zeus and Poseidon,  now I was surrounded by a plethora of wild and fascinating deities from all over the globe.  Kali, Shiva, Maui, and Quetzalcoatl were now creeping there way into my creative mind.  It might sound strange that an simple entry in a children's encyclopedia had such an impact...but it's true.

The Power of Myth - Fast forward to my sophomore year in college.  I was an art student struggling to find my artistic voice.  It was a Sunday afternoon and I was sipping on a Corona watching reruns of Monty Python's Flying Circus.   After the episode was over I was about to flip the channel when something called the "Power of Myth" popped on the screen.  I decided to give it a watch.  Holy crap!  I was hooked.  Bill Moyers interviewed one of the most compelling people on the planet...Joseph Campbell, a expert (dare I say maestro) of comparative mythology and religion.  To be sure he was one smart dude, but he made the information so yummy and down to earth.  By this time I had a fairly good understanding of various religions and mythologies but what this interview did for me was to reveal the strange connectivity culture to culture, religion to religion.   I watched the entire "Power of Myth" series in awe, and I was reminded of the story of Momotaro, the child floating down the river inside a peach, and how similar that was to Moses being set adrift as infant, or the baby Perseus abandoned to the sea inside a wooden chest.  All of which, destined for great things beyond themselves.   Different parts of the world, but the "hero's journey" quite similar in nature.  

Joseph Campbell said, "It is by going down into the abyss that we recover the treasures of life. Where you stumble, there lies your treasure".  Through the years my obsession with myths and legends has worked it's way rather prominently into my art. Very few pieces (if any) don't have some kind of nod to a magical odyssey. Afterall,  I tend to view myths are metaphoric clues that help humanity through the complexity of life.  The journey of my life and each challenge I must face is no different than that of the peach boy.    In fact, you could even say that every piece of art I create follows the same hero's journey:  I start off naive and confused, and set sail to uncharted waters to battle the demons of self-doubt until I find resolution. Ultimately, Momotaro and I are one and same.  So...if you'll excuse me, I have ogres to defeat.    Don't we all.   

The Imperfect Perfection

Epiphanies are strange things and can often come at unexpected times and in unexpected places. I was recently having a chat with a student of mine (who will be called Kerry just in case they prefer to remain anonymous).  It was a pleasant chat about art and inspiration over a few martinis, she preceded to tell me about her son who had a severe disability; she continued to tell me that in many ways those were the reason she was drawn to my art.  I found this fascinating because this seems to be something I and other instructors come across, parents with special needs children are often drawn to art retreats for one reason or another.  

I ordered a second martini and pressed Kerry about the reason she was drawn to my class in particular. After all, my style of art can often be rather foreboding to some, so, what she told me came as quite a surprise.  She felt that my creations and characters were unashamedly "imperfect" and that in her world what she was faced with was imperfection...and in that imperfect world, she has found beauty.    

I was quiet for a moment as a bolt of lightning came crashing down on my head.  This perspective had never really dawned on me.  For me, my creations were explorations of souls working there way through the issues of mortality.  What I hadn't really realised was that my characters were also about the disenfranchised, the freaks, the isolated, the lost...just trying to find a home in a difficult and sometimes uncaring universe.  It immediately made me think back to my very difficult high school years, a geeky kid with a severely acne scarred face....lonely and imperfect trying to find a path in a world that sought perfection.

As an artist, I don't know if you every entirely know the reasons why you create what you create. If an artist is honest with his or herself, I think the best one can do is to come up with glimpses and hints.  To date, this gin inspired conversation was perhaps one of the most profound clues to my aesthetic tendencies and artistic obsessions.   Who says martinis aren't good for you?

The Unknown History of Things

Early morning is when I have my most profound thoughts...at least they seem profound early in the morning.  Today I started thinking about "things", in particular, the variety of "things" I have acquired over the years for the purpose of transforming into a work of art.  Admittedly, I have become more reserved with my collections; the days of clutching on the every item that passed my gaze are long gone.  Perhaps it means I have become a connoisseur of bric a brak.

So in my early morning thoughts, I pondered the various items that I have collected.  Glass eyes from Mexico, timepieces of all sorts of sizes, gears and more gears, costume jewellery,  plastic toys of all sorts, not to mention the multitude of objects whose function is unclear.  The list goes on and on, and as I mentally catalogued my collections, it dawned on me: each object, from the simplest marble to more elaborate cuckoo clock has a history.  Every single object in my studio has had a life experience, albeit an unconscious one...and this is a marvellous thing.

Some items I know a little bit about their past.  Once in a blue moon, my family will pass something along in which I know something about the origin, like a broken music box that might have been my mother's, but even so, I don't have a full understanding of it.  How many times had my mother turned the windup key? What was she thinking the first time she watched the ballerina spin?  

Of course, it's easier to get a sense of history when you have a personal connection, but the vast majority of items I've collected over the years have a much more mysterious past.   This forces me to imagine a history.  My mind concocts strange scenarios and glimpses of it's past.  I once purchased a beautiful typewriter repair kit, from the 1940's most likely.  It was housed in a crusty leather case, and it was filled hundreds of strange tools and devices.   If that kit could talk, think of all the strange tales it could share.  As for the dozens of tools...each one those might have a slightly different story to tell.

It has crossed my mind that it is highly probable that several objects of historic significance have wandered into my studio, and subsequently, into a piece of art.  It seems highly likely something in my collection has, at some point, touched a profound event.  Perhaps I've owned a gear that was part of a pocket watch travelled on the Titanic, or a doll once passed through the hands of Marylin Monroe as a child.  A simple tie clip could have been worn by an attendee of the Civil Rights March in 1963.  Each found object has countless stories that will never be told, quiet stories that never make it into history books but are equalling compelling.   I believe it to be true that multitude of historical dramas fill the shelves in my studio, and it is left to my pondering mind what those tales would be.  Perhaps some day science will allow us to track an object through time, following its path backwards, and though it sounds a bit Star Trek-ish, I know, but it certainly not outside the realm of possibilities.  

From my perspective, it is the wonder that makes these objects more intrguing however.  I suspect if I knew something's historic significance, I would never use it in a piece of art for fear of tarnishing its sacredness.    The ignorance gives me liberty.  It gives me the freedom to transform these items and set them on a new path.  I suppose that is my role.    I take items that have lived an interesting life, and just when their journey seems to be coming to an end...I set it on an entirely new and different path.  The life of "thing" is no less compelling than the life of a human, it is just unable to share it.  So instead I do what artists do...they imagine the possible and the impossible.

 

“A man may fish with the worm that hath eat of a king, and eat of the fish that hath fed of that worm” ― William Shakespeare, Hamlet

Skullduggery Online Class

REGISTRATION STARTS JULY 1st. CLASS STARTS SEPT. 9th

Coming this Fall.  Just in time for Halloween and Dia de los Muertos!

Every year I visit Mexico during Dia de los Muertos (Day of the Dead). Not only is this a marvelous event where relatives celebrate the memories of the deceased, but it is also a chance for the living to mock the reaper. It’s a way for the living to say: “Neener, neener you haven’t got me yet”. One of the ways that Mexicans do this is with little skeletal toys known as “calacas”. Usually they are playful scenes where the skeletons are in the engaged in everyday activities, riding bicycles, walking dogs, dancing with devils (okay, so this one is perhaps not an everyday activity). The idea is to have a little fun with ones mortality. Well, that is what we’ll be doing in class. Using doll parts, action figures, and other found objects student will create little skeletons that will tickle your funny bone.

Class is $99.99

CLICK HERE TO ENROLL
Class starts Sept. 9th 2016

Here's Where to Register:

http://www.michaeldemeng.com/skully/

• Chapter List
  1.Intro to Dia de los Muertos
  2. Junking for Skullies
  3. Tool Talk
  4. Crackin' and Crusty Skully Textures
  5. Dapper Cadaver Fancy texture
  6. The Clay Calavera
  7. Busty Dead Dudes
  8. Colores de los Muertos
  9. Boney Glow
  10. Dem Bones
  11. Day of the Dead Squiggly Doos
  12. Calacas - Traditional Day of the Dead Toys
  13. Newly Deads and Just Burieds
  14. Curse of the Calavera
  15. Tintype Masquerade
  16. Dia de los Muertos Cinema with Bruno
  
  Questions You Might Have:
• How much does it cost?  $99.99
• When can I register? July 1st 2016
• When does it begins? September 9, 2016
• How long can I access the videos? Forever and ever.  You will have to ability to download the videos right to your computer.
• How does it differ from live class?  Online classes allow for a bit more in depth explanations of techniques etc.
• Will there be video?  A: Yes.  I have about 150 of minutes of protected video that only students will be able to access.
• Will it be live?  For the most part, no.  However I am considering do a FaceBook Live Feed at some point in the process.  There will be setting up a special FaceBook group where I will be available to discuss your questions.  Each week I will record a video responding to all the questions posted in the group.
• Can you tell me more about the FaceBook Group?  Students can access this anytime and discuss ideas with other students. They can also post art they might be working on that relates to class topic.
• Is the class segmented or do I get everything at once?  I have designed the class so you will have access the information at once and can play with it as you like, at your own speed.  New weekly videos will pop up with additional project, tidbits and tips.
• What kind of site is being used to host this class?  I'm using a protected website.
• How will I access the website?  When class begins I will send out passwords to all the students. 
• What else will be on the site?  Along with the workshop videos I will also do weekly video addressing these questions.
• Is this for Beginners or Advanced students?  It's for everyone.  I've made it so it is information that can be used by all levels.
• Will it be entertaining?  Geez, I hope so.  I will try and make it very un-dry and fun.
• How willyou accept payment?  Stripe as well as PayPal.  If you prefer or even a check..don't worry...we can work something out.  Just send me and email.  mdmuerto@gmail.com
• What will happen after I sign up?  I'll send you a confirmation to say "howdy" and invite you to the FaceBook group.    Then on Sept. 9th 2016,  I will send out the secret codes, etc.
• How do I sign up?  

CLICK HERE TO ENROLL

Mama Was A Serpent and Daddy Was The Sea

About two years ago I created a Pegasus piece, given my recent explorations into mythic beasties, it seemed appropriate to delve the flying horse theme once more.  

The Myth and Legend and Symbolism

So the basic myth of Pegasus.  I'm sure you've seen Clash of the Titans...or a least you should...the original (why? because Ray Harryhausen is the coolest stop-motion animator in the whole universe of monsters...that's why).  Well as the tale goes Pegasus was born from the blood of Medusa's severed head, which drizzled into the sea foam.    Thus...indirectly...Mommy was a Gorgon and Daddy was Poseidon.  

If I were to get all Symbolism about this...to me this a perfect metaphor for how the offspring are not the parents.  Blood does not assume a similar destiny.  Pegasus's wings are the freedom from the past ...especially when the past that is morally corrupt. 

The piece started with a weird barometric device and a hokey horse wall thingy.  From there I pushed the aquatic/reptilian ancestry, making Pegasus at least partially aquatic with slithery influences.  

A ship rocks in the background...Olympus up above and Medusa's snakes are like sperm to the sea (sort of a gender swap with the gods in this case).  

Below Poseidon's hand reaches through a porthole...presumably to create Pegasus.

View fullsize

The finished creation is about 3 ft high and 1 ft wide.

View fullsize

Hope you enjoyed your flight.

The Nemean Lion - He's One Bad Ass Beasty

As many of you know,  lately, I have been intrigued by the idea of reinterpreting mythic animals of yore.  It started with a rhino based on a Durer etching, then a giraffe, then some small Alternate Evolutions.  

View fullsize

View fullsize

View fullsize

View fullsize

The Nemean Lion -  My latest creations is based on the ferocious beast of Greek mythology

Nemean Lion  - Peter Paul Rubens 

So who is the Nemean Lion?  Well as the story goes his father was Typhon (a Titan god/monster sent to mess with the Olympians.  Typhon is often described as having serpent legs and wings...sometimes as having many heads...either way he's bad news) and his mother Echidna (who is also rather reptilian...sort of a mermaid but with a snake tail instead).   The lion's siblings are a list of baddies:  the Hydra, Cerberus, the Sphinx, and the Chimera among others.  He had some pretty famous aunts too...Auntie Medusa as well as the Graeae sisters (you probably remember them from Class of the Titans...the three hags who shared and eye).   Needless to say the Nemean Lion wasn't raised in a well adjusted home. 

Nemean Lion Family Tree

View fullsize

View fullsize

View fullsize

View fullsize

View fullsize

View fullsize

View fullsize

View fullsize

View fullsize

Now the lion, which has no name, was sent by the goddess Hera to the area of Nemea to cause havoc to the region.   This was done to piss Zeus off...she was angry at him for some reason, most likely philandering, as he was wont to do.  The lion was sent interfere with the locals worshiping a the temple of Zeus, which just so happened to be in Nemea.  If you want to make offerings to Zeus...you get eaten.  Them's the rules.

The Nemean Lion was no ordinary lion.  He was said to be twice the size of a normal lion, his fur was impenetrable to steel and his claws could pierce armor.  It is said that the lion devour the local livestock, as well as lure soldiers to there doom by abducting family members.

The 1st Labor of Heracles

Because of all this tomfoolery, Heracles (also know as Hercules by the Romans) was called in to take control of this situation.  Heracles had labors to complete to atone for sins (killing his family...though technically Hera is to blame because she made him temporarily insane).  The first task was to defeat the Nemean Lion (some of the other tasks were to kill the Hydra, and capture the three headed dog/guardian of the Underworld Cerberus).

View fullsize

View fullsize

The basic story is this...Heracles comes to the bone filled cave and the Lion appears.  He shoots a few arrows, which have no effect and just bounce off the animal's hide.  The Nemean lion lunges, and Heracles pulls the beast close and strangles him. (There are a few versions of the lion's defeat).  Using the claws of the beast, Heracles removes the hide (knives wouldn't cut it) and it becomes his protective garment.  I was recently in Rome and Florence I was amazed how many sculptures I saw that made reference to the the first labor of Hercules...usually a statue of Herc wearing his lion cloak.  

More Inspiration: Pitti Palace

I admittedly have a bit of empathy for the large feline.  Because of this,  I wanted him to be fierce yet noble.  Much of this inspiration came from the Pitti palace in Florence. The building was lined with massive carvings of lion heads.  Gorgeous and powerful. 

View fullsize

View fullsize

View fullsize

View fullsize

View fullsize

View fullsize

The Process

This piece I created all started with an enormous door knocker my wife, Andrea found at a thrift store.  It was a very simplistic Art Deco-ish design.  So I need to use clay to create a bit more detail to the face.  From there I wanted to give the sense of armor...not fur, but armor.  Decorative designs were added on and around the face to achieve this.  Also, I wanted the mane to be heavy duty looking too.  I wanted them to look like scales...so I used wooden biscuit joiners that you use in woodworking to create this. Designs would be added later with the use of clay.

View fullsize

View fullsize

View fullsize

View fullsize

The Finished Piece 

The piece has some subtle references to the beasts family tree.   Snakey forms surrounding him...to honor his snakey parents.  A medusa emblem for his sisters.

View fullsize

The sphinx is another one of his sisters.  Up on top is the protective (or at least commanding) hand of Hera who employed the beast to do her bidding in Nemea.

View fullsize

View fullsize

The lion started on being rather blue in color and big tour de force came when I started pushing the blue/green back with the warm reddish gold colors.  Prior to that I found the piece really boring in its verdigris-ness.  The red really jazzed things up.  The power of complementary colors.  

View fullsize

So I hope you've enjoyed your journey to Nemea.  If you do travel that way, I'd recommend either staying away from bone filled caves...which is good advice no matter where you go.

Krampus is Coming to Town

View fullsize

Polly Pickles

View fullsize

Lil' Acrid Ellie

Krampus Portrait Sale on Saturday November 21st starting at 9 a.m. PST.

Click here to go to the Sale Page

So to get ready for the Holiday Season I thought I'd create some of my favorite Christmas naughties.  In particular...Krampus.  What's that you say...you don't know who Krampus is?  Well in  alpine regions of Europe it was believed that Saint Nick was accompanied by a sinister long tongued devil who would take care of all the nasty children.  Back in the Victorian era he was quite a popular character...usually terrifying young children.   So recentIy I  collected a number of vintage cabinet cards and photographs of people of all sorts...then using the magic of paint I transformed them into a collection of Krampuses.  

I reimagined them not as one devilish character but as a curmudgeonly crew of all sorts and sizes.  

View fullsize

Edgar Raventhorn

View fullsize

Milton Moonlover

I reimagined them not as one devilish character but as a curmudgeonly crew of all sorts and sizes.  

---

The Grinch Series

I also created a few Grinch portraits...kind of a Krampus but not exactly.    Nonetheless he is a classic Holiday villain...with an great ditty to match.

---

Heat Miser and Snow Miser

Some of you might remember a Xmas special called A Year Without A Santa Claus.  The were a couple of pesty brothers in that...Heat Miser and Snow Miser who I was quite fond of.  I reimagined them in the form of a married couple. 

Need to jar your memory?  Here's a little video reminder of the Misers.

Hope to see you at the sale!

Click Here to Go to Krampus Sale

Portland Exhibit at True Measure Gallery

I'm heading back to Portland!  This time I'm exhibiting some of my pieces a Jesse Reno's True Measure Gallery.  Hope to see some of you at the opening September 4th.

For more information about True Measure Gallery or the work of Jesse Reno: 

True Measure Gallery

http://truemeasuregallery.com/

email: contact@truemeasuregallery.com
phone: (503)235-8549
3022 E Burnside, Portland, OR 97214

Mad Alchemy in Santa Barbara

I'm heading back to Southern California in August...this time to make a special kit for Mad Alchemists...check it out:

The Mad Alchemist's Apothecary Kit - Santa Barbara, CA

Friday, August 28, 2015 at 9:00 AM - Sunday, August 30, 2015

Click here to enroll: http://www.eventbrite.com/e/michael-demengs-mad-alchemists-apothecary-kit-assemblage-class-tickets-17646680697

In this class we are going to play with a little hocus pocus of years gone by and create an apothecary box for special potions to remedy whatever ails you. The apothecary box will be highly personalized, using found objects and the process of assemblage.  You'll modify the bottles and containers for all your elixirs and concoctions. In one instance I created a kit for artists who also happen to be vampire hunters...you never can be too careful. The skies the limit: love potions, shrinking pills, anti-snoring balms…whatever inspires you.   Hurry, hurry step right up and enter a land of the wondrous and strange.

What you will need to bring with you:

• A case, jewelry box, cosmetic case you would like to use as the structure…this can be as big as you want but remember that you have to get it back home with you. Don’t spend a ton of money on this…we are going to alter it….dramatically.
• Some variety of vials, perfume bottles, etc. that can be made out of anything under the sun.
• Variety of found objects that might be interesting additions to the apothecary case. The more medically the better. Really anything interesting looking, weird or a combination of both will be perfect.
• Ephemera - you will need some stuff to label your potions. Various types of papers, photographs, or books will come in handy.
• Scraps of material like burlap, velvet, or leather might be nice to adorn the case interior as an option. Paper will work too.
• Aves Apoxy Clay 1/4 lbs or more
• Dap Kwik Seal for kitchen and bath -White.  
• E6000
• Paint Brushes (a couple small detail brushes, and some cheap brushes (1/2 inch to 1 inch in size)
• Wire a couple of different gauges
• Basic Tools…pliers, scissors,
• Paint (acrylic…preferably Golden brand…either fluid or heavy body will work): Quinacridone Nickel Azo Gold, Black (Mars or Carbon), Titanium White, Pthalo Green (blue shade), Dioxazine Purple, Van Dyke Brown, Pthalo Blue, Quinacridone Crimson

 OPTIONAL SUPPLIES

• Paints: Graphite Gray, Interference Colors (blue, violet or any others), Iridescent colors (Gold, Silver, Bronze, Copper, etc), Micaceous Iron Oxide, Nickel Azo Yellow, Terra Verte Hue, Azurite Hue, Smalt Hue , Tranparent Brown Iron Oxide
• Tools: Heat gun, Dremel with cut off wheel

FAQs

• Cost:  $375.  $50 deposit to reserve your seat.  Balance due at the start of the class.  I know life happens, so refunds will be available as long as I am able to fill your seat.
• What are my transport/parking options getting to the event?
• I live very close to the Santa Barbara airport.  It is about a $20 cab fare from the airport.  There is plenty of street parking for those who are local.
• There are 3 hotels very close by:
  1. Ramada Inn, 4770 Calle Real, SB CA, 93110Si
  2. Extended Stay America, 4870 Calle Real, SB , 93111
  3. Goodland Inn, 5650 Calle Real, Goleta, CA  93117

Click Here to Enroll: 

http://www.eventbrite.com/e/michael-demengs-mad-alchemists-apothecary-kit-assemblage-class-tickets-17646680697

Everything You Need to Know to Succeed in Art

So you want to be an artist.  Okay great!  Now how do you become successful at it?  That's the tough part and not easy to answer.  The internet is filled with articles explaining how to become a salable artist.  There are lots of good tips to be had about marketing and social media, etc. etc. but that is really only half of the picture.  One of the problems is that being an artist is a uniquely individual experience...what works for one person doesn't work for another.  The reason is that what is being sold is something very personal.  It's not a pair of shoes...it's part of the artist's soul.  That can be a tough thing to sell.  Because of this I think it's important to address this issue from a different angle than merely stating a list of business-y things to do.   Instead I think we need to approach this as a list of traits necessary to follow this path.

1. Ego - first and foremost you have to believe that what you create is important to share.  You MUST believe that the world will benefit from your point of view.  Sure, this is bit megalomaniacal but it is this trait that keeps you moving forward.  
2. Relentless Devotion to Artistic Growth - If you want to be an artist you must grow...and grow...and grow.  Push your boundaries.
3. An Understanding of Art History - For me this is crucial.  Art is a science that grows out of the soil prepared by our predecessors.   Every artistic stroke we make is because of what came before.  Understanding our artistic ancestry helps us move forward.
4. Making Art...Not Just Talking About Making Art - To be an artist you have actually make it.  Professing artsy fartsy ideas isn't going to cut it unless something is happening in your studio.
5. Call Yourself An Artist - If you don't describe yourself as an artist...then you aren't one.  Most of the battle is about identity.  You have to believe you are an artist to become one.
6. Thick Skin - Some people will like what you do...some people won't.  Oh well.  You can't take rejection personally.    You'll get gallery rejection letters...so what...everyone gets rejection letters.  Believe in yourself and move foreword.
7. Don't Let The World Change Your Art...Let Your Art Change the World - I am firm believer in sticking with your guns.  If you have something worth saying then don't let it get diluted by chasing the market.  For all you know the market may want what you're cooking up.
8. Endurance - Unless your incredibly lucky, you probably won't be "discovered" overnight.  This biz really requires a devotion like no other.  It is a willingness to move forward when others run for cover.  Shows will come and go and you keep plodding along...always mindful of the goal.
9. You Can't Imagine Doing Anything Else - I often tell a story that took place a little over decade ago.  I was an artist but supported myself by bar-tending.  I had plenty of exhibits and a little bit of notoriety but nothing special.  One night I came home from work and I stood in front of my art studio door.  The sky was glowing with stars...more than I ever remember seeing.  I was exhausted...I was dejected.  I wondered if the art thing would ever catch on...or if it was time to go back to school and look for a different career choice.  Who knows how long I was standing there, but at some point a metaphoric bolt of lightning hit me.  I realized that if I changed my course I would always be left wondering "What if success was right around the corner".  That was something I could not live with.  It became clear to me that I had to be mentally OK with the journey whether it led to "success" or not.   In fact I had to redefine the word "success".  For me the term evolved to mean the artistic journey outside the world of economics.  In my case I felt that what I had to say was something worth sharing...therefore I had no choice but to continue foreword.

So...all this is great but how do you make a living being an artist?  So many different roads have been traveled with different outcomes.  For instance, I know a guy who became quite successful in the Art world...featured in Art in America...whose advice would be to hang out at NY cocktail parties...it worked for him.  Is that everyone's path?  Certainly not.  

So here are a few tidbits of advice...from my perspective:

1. Be Seen - Exhibit, post online, get involved with auctions, etc.  The more your out there the more comfortable people will be with your style
2. Create Opportunity Where There is None - I used to be involved with a group of artists called "The Salt Mine".  We used to find vacant spaces in Missoula MT and put up temporary galleries.  Each exhibit was at a different location.
3. Be Wily. You have to find ways to make your money when art sales are slow.  This could be anything from Zines, to teaching, to Art Fairs.  I've found multiple streams of income to be very beneficial in slow months.
4. Connect - Other arty folks are your strongest allies.  They may know of opportunities or they might be willing to put on some crazy event with you.
5. Do Something Out of The Ordinary -  One way to draw attention to yourself is do something a bit out of the norm artistically.  For instance, about twenty years ago my friend Bev Glueckert and I founded the a Day of the Dead parade in Missoula MT....that's right...Montana.  At first it was a shock to the system now it's a mainstream annual event in the city.  This event probably did more for my art career than anything.  It forced my name out into the world.
6. Don't Be Afraid to Ask -  The world is filled with all sorts of people.  Some of the most unlikely folks might be willing to help you out whatever your dreams are.  May not be with money but it might be with promotion.
7. Personal Touch - Remember that many patrons not only buy art because they like it aesthetically ...but also because something the artist is saying, speaks to them.  Because of this it's not a bad idea to try and maintain a correspondence with your patrons.  
8. Create a Persona - I'm not saying that you need to become BatMan but you want to create a professional mask that encompasses what your art is about.  In my case, I play off the  comically sinister.  Is that really me?  Sort of...but it's also a helpful exaggeration that helps people identify me.

So in conclusion, I'd say read through all those "How to succeed" articles (there are plenty of them) but for me I think before those really mean anything you might consider some of the issues I chatted about here.

Ray Harryhausen meets Dia de los Muertos

It's a funny how childhood fascinations can stick with you and work there way into your life.  For me, a prime example of that is the films of Ray Harryhausen.  For you poor souls who have no idea who I'm talking about...he is the stop-animation guru that enthralled children for decades.  Perhaps most renowned for the Sinbad movies, Jason and the Argonauts and, of course, Clash of the Titans.  As a child I went to  see his films gleefully awaiting the next batch of critters.  From gorgons, to harpies, to centaurs, to a sword wielding Kali...oh did I mention the Cyclops.

Here's a link to his full list of film creations http://www.harryhausen.com/

I have little more than a suspicion that his films had much to do with my interest in singled eyed beasties.  The horned Cyclops in the 7th Voyage of Sinbad is iconic...certainly to me.  Is this why I am so fascinated with eyes?  I suspect this... plus my grandfathers contact lens business had quite a bit to with my thematic biases.  

A little over a year ago Ray Harryhausen passed away, and I was thinking that I never really did anything to honor his influence formally.  Because of the this I decided to combine his influence with another tremendous inspiration, Day of the Dead, (oh how I would have loved to see a Harryhausen Dia de los Muertos film)  and so the Santo (saint) Clops was created. 

The Santos Clopes 

I made a few of these Ray Harryhausen inspired shrines to sell.  Ultimately I'd like to work on some larger version using skull closer to life-size.  As you may notice...I'm attempting to use a bit more color to stay in line with the Dia de los Muertos traditions.  I'll have about 5 for sale in my store starting Thursday June 18th at 4pm P.S.T.  At that time the products will be listed in the Art For Sale Section of my page.

ON THE EASEL: Bad Vlad and Other Vamps

Many of you know that the one of my first movie memories is seeing the horribly wonderful film Billy the Kid vs Dracula.  It's really awful but grab some beers and enjoy.  Whether or not this was the reason I became a vamp fanatic I can't say but to this day I am a sucker for a good vampire film (as well as a sucker for the bad ones too).  Over the years I have created an homage or two to Dracula, Nosferatu and other undead dudes.  Here's a little peek at a few.

My most resent creation was Bad Vlad. Flappy wings and all.

View fullsize

Bad Vlad

Speaking of flappy wings...heres another batty vamp:

View fullsize

Not all of my vampy creations have moving wings.  Here is an earlier piece I did that didn't start off a vampire shrine but evolved that way when I found a little scrap of text.  "Blood Type A":

View fullsize

How about a Nosferatu Pez dispenser?

View fullsize

Here's a sketch I left on Vampira's grave at the Hollywood Forever Cemetery

View fullsize

How about kit for a vampire hunters/artists.  Just in case you're making art and worried a vamp might sneak up behind you:

Well I hope you enjoyed my little tour around the graveyard.  I bid you: Goooooood eeeeeeevening.

Way Cool: Color Coded Personality

I have to admit that I have never seen a Chinese Opera.  Perhaps I have seen a few minutes of footage here and there but I have never actually watched one in it's entirety.  However I just came across some fascinating images of the face-painting and masks used and I am quite intrigued especially with the color symbols associated with the different masks.

View fullsize

View fullsize

Red represents loyalty, heroism, intelligence and courage.

View fullsize

White represents hypocrisy and craftiness. It is commonly reserved for the powerful villain of a performance.

View fullsize

Green represents a character who is impulsive and violent.

View fullsize

Black symbolizes forcefulness and boldness.

View fullsize

Blue represents intelligence and loyalty. Xiahou Dun, Cao Cao’s most trusted general, is an example of a blue character.

Yellow signifies ferocity and  ambition. Yellow may also refer to a cruel and evil character.

View fullsize

Purple symbolizes uprightness, justice and sophistication. Sometimes, purple may substitute the colour red. 

View fullsize

View fullsize

View fullsize

I have to say that I really dig the bearded Gene Simmons guy.  By the way a beard such as this on a character implies wealth and power....or that he lives in Portland, Oregon.

ON THE EASEL: The Lady in Green

The big dilemma when It came time to create this character was whether I use the book or the film as inspiration.  There are some pretty hefty differences as to how the witch is portrayed...mostly physical. In the film we all remember Margaret Hamilton and her pointy hat, broom, inky black attire and of course the emerald green makeup that makes the Wicked Witch of the West iconic.   

So let's take a look at some of the differences between the book and the film.  

• Her sister's shoes: In the book the shoes that the witch is trying to acquire are not ruby but rather silver.
• Hair: in the book the witch had three pig tails.  One on each side and one on the top of her head.
• Eyepatch:  The novel depicted the villainess with an eyepatch...however her good eye was as strong as a telescope.
• Clothing: The witch tends wear more patterns and stripes in the book.  Especially garments that have imagery with a halloween bent.
• The Broom: Remember the Wizard demanding the broomstick of the Wicked Witch in the film.  In the book there was no broom...instead she had an umbrella....which makes perfect sense given that if it rains she is doomed (given her water allergy).

Some fairly big differences.  So I decided to a bit of mixing and matching.  

A few things are so iconic in pop culture that it seemed a bit sacrilegious to stray from the film.   I was tempted to do the witch with only the book in mind...but I couldn't resist the lure of the silver screen. 

Green Skin: The skin color needed to be green.  It just did.  Snakey...sickly. 

View fullsize

The Broom: Such a powerful element, not only allowing her to travel, but to skywrite "surrender Dorothy".  Besides...in the film when the wizard requires the gang to bring back the broom...it becomes an immediate symbol of here wickedness.

View fullsize

Ruby Slippers.  Iconic to be sure...but also a wonderful complimentary color to the green of the witch.

View fullsize

As for the modification that come from the novel...

The Eye-Patch/Telescopic Eye - I guess you might consider here like a bionic pirate.  I opted to give here a mechanism that made her see better.

View fullsize

No Umbrella But...at least she'll be forewarned of rain.

View fullsize

Pigtails - For some reason red pigtails were essential...they just were.

View fullsize

In her full glory...here she is:

View fullsize

View fullsize

Way Cool : the Maker

If you like bunnies, fake teeth, stop animation, maudlin love stories and/or discarded reinventions...then you'll love this little animated treat.   

ON THE EASEL: If I Only Had A Brain

So an interesting little tidbit about the Scarecrow that I learned researching the character for my Wizard of Odds series:   It's figured that he was create by the Munchkins and literally just more or less came to existence when I Dorothy strolls by the cornfield.  Unlike the TinMan, the Scarecrow has no back story...he is new born babe.

View fullsize

Of course, like the other characters who travel to Oz, he is in search of something he already possesses.  In his case it is knowledge.  Ironically it becomes apparent in the books he is the brightest bulb in the bunch.  Always coming up with solutions to the various plights that unfold.

When I sat down to approach the Scarecrow as a subject I had two things in mind: first I knew he needed to be stringy and buralapy, and secondly I needed to make him seem professorial.  The burlap was easy, but the professorial part was a bit more challenging.  And then I started thinking about folks like Einstein and the type of imagery that was evoked by his concept.  Chalkboards, diagrams, charts, equations...everything that symbolically represents high learning.  Once I came to that conclusion I knew that a chalkboard was an essential back drop.

I did take a bit of artistic liberty with one trait.  I added a brain...even though he never gets one in the films or novels.  It seemed too perfect as addition to have a removable and interchangeable brain.  As for it being blue...it contrasted the earthy tones nicely.  I present the His Royal Highness the Scarecrow of Oz (he did in fact rule Oz for a wee bit in the books).

View fullsize

View fullsize

View fullsize

View fullsize

View fullsize

Gallery Block

These are example images. Double-click here to replace these images with your own content. Learn more

The Skinny: Monsters on the Mountain

Idyllwild Arts, Idyllwild CA  - Classes start July 4th!

For the last bajillion years I've been coming up to Idyllwild Arts to teach workshops. It's an awesome little mountain town the hovers high above Palm Springs...perfect place for a Southern California get away.  For those who are unfamiliar with the little mountain town...you may actually have seen it in films like Elvis Presley's Kid Galahad.  It's also renowned for its Arts Academy (which is where my wife Andrea and I will be teaching).  But perhaps what it is most famous for is the Idyll-beast.  A local Sasquatch sort of critter that roams the area.  

Fact or fiction?  Well I did have a hairy critter in my class last year...I thought it was just a gray beard...but I could have been deceived.  

In honor of the Idyll-beast I'll be doing a monster making workshop entitled Movie Monster Madness.  In this class you will pick your favorite monster and create a shrine to him or her or it.   I suppose the Idyll-beast is not a movie star...but I'd let that one count too.  

Frankenstein's Monster

But that's not all!  Here's what Andrea and I will be teaching that week:

July 4-5 Michael deMeng - Sacred Shrine to the Seemingly Insignificant Thing.   

July 6-7 Michael deMeng - Movie Monster Madness 

July 8-9  Andrea Matus -  Illuminating Manuscripts 

July 10-11 Andrea Matus  - Dream Punk 

Here's the link:  

http://www.idyllwildarts.org/page.cfm?p=723

Hope to see you there!