Head over to the Occvlta Store to get your hands on one of the very first pendants of the Reliquaries Collection! Herbs by us, pendants by Occvlta
June 21, 2013
One of a kind Poison Herb Pendants by OCCVLTA (Spain/Catalonia)
The pendants are filled with dried Mandrake, Henbane, Belladonna, Fly agaric, Sage and more. A special treat are the dried flowers of Henbane and Belladonna, which have been carefully plucked by hand and dried at our altar. From flower to fruit and seed, from root to leaf, the pendants carry versatile links to some of our most powerful plant allies.
The shells of the pendants consist of a durable glass imitation, which is lighter and not as fragile as real glass. They are silver framed and come in different forms, from round eyeglass to gothic window style to slender tube vial and measure ca. 4-7 cm. To purchase these unique pendants please visit the OCCVLTA online store at occvlta.tumblr.com or write directly to email@example.com
June 1, 2013
Devil thy name, Trickster at the Crossroads of Midnight
Come forth, Corpse-pale Eidolon of the Osseous Field
Ever-poised in thy Goat-black Cowl that shrouds Mortality,
Master of the Passage ‘twixt Wax & Wane do I seek.
Thirteen times Widders around the Tree do I turn
Here, sheltered ‘neath the boughs of your Faithful Kin:
The Cypress and the Yew, I do lay the Furrow of Mortality
Wherein the Maw of Void makes sweet the promise of Annihilation
And sundry veils rent so rouse the Blessing of Certain Death.
Saviour thy name, Leveller at the Cross of Midday
Convoke here, Golden-toned Christ of the Paradise Found
Ever-steady in meagre Lamb-white Fleece that cloths Eternity,
King of the Pathway of Virture & Vice do I hunt.
Thrice times halved ‘til the 3rd day the loaf do I break
Here, knelt ‘neath the married beams of the Rood:
Transference & Transcendence, I do raise the Ridge of Eternity
Wherein the Gates of Heaven make bitter the dreams of Man
And all sinful debts settled so pay the Boon of Life Eternal.
13 Wands, harvested from 13 old Yew trees on the Midnight leading into Good Friday, under the light of the waning moon. Due payments of libation, bread and blood have been served to the guardian of the ghoulish yet immensely beautiful trees. For three days and nights the bread is being broken to them and their wood prepared. Each wand is then cleansed in the waters of the sacred Heathen Spring of Avalon. Finally braids taken from the red cloth of the crucifix put out on the Good Friday and the white cloth draped over the cross to symbolise the resurrection on Sunday are bound around them.
The wands are not carved or varnished and can be crafted and shaped further by those who do not have access to this special type of Olde Yew wood from trees, which have been guarding the graves and crossroads of life and death for centuries. There are alltogether 10 wands available for sale:
Attached to the end of each wand is also one tail-feather of a Raven, the Prophet of Man and the Oracle of Hades, gathered through a beautiful specimen found during a sojourn in the Forest, a gift from the Sylvan Realm. A satchel of Yew needles and bark will accompany each wand, with a hand-numbered label.
The Yew is the Man in Black at the Crossroads, the Patron of the Souls kept in She’ol and also of the Ancestors. It is also the tree of Dark Resurrection and thus sometimes the Man in Black is viewed crucified to a Yew arbor.
The wands are a kind offer by woodwose, wanderer, sorcerer, word cunner and friend Ash Nostro Morg.
Info, pictures and prices will follow after Easter. Only one wand per customer.
Pre-ordering via firstname.lastname@example.org
March 29, 2013
CM VÆNVS OBSCVRA
Artist & Occultist
I have gotten in touch with CM about a year ago and since then we have been talking randomly in messages exchanged via Facebook, traded art-prints for seeds and lastly figured it would be time for an interview.
In our conversation beside the art two topics are of major concern to him: one are his plants and the other his cat. Whereby the cat is of the greatest importance and he often expresses the fear his cat could suffer accidental poisoning via the venific green. So there we have the first of a row of conflicts my interview-partner has to deal with. But let us start with the most important thing first…
XA: How is your cat doing?
CM: Hi! A good question to start with! The cat is doing fine, thank you! Well, first of all, it’s not only my cat, it’s my girlfriend’s cat. It became mine also after I moved in at her place. Cats do what they do best and that is living their lives to the maximum, living off us while having fun. I think that the cat is the perfect animal. I wish my human condition could be replaced by the cat condition.
I don’t worry about her anymore, concerning the plants. Some of the poisonous plants grew already and she’s not interested. I was just freaked out when I saw her nibbling Cayenne leaves and such but now, after she has her pot with fresh sprouted wheat and other grains, the problem is solved.
XA: And how are your plants doing?
CM: The plants are doing well, most of them. I’m happy that the Yauhtli sprouted and that I got rid of those damn mites and the fungus. They were destroying my roses and the mint. After treating them, they recovered.
Some of them though, were not so fortunate. Because I had no experience with plant diseases and pests, I lost my Daturas to the mites. Luckily, I have a backup and that is all the different variety of Datura seeds from TEUFELSKUNST. Then, after getting rid of this problem, I over-watered them and the roots rotted away. I guess you learn much from plants. Not only as a matter of Biology and wortcunning but they can be a good analogy for the situations you deal with in life. You must learn when to sow the seeds at the right time. Too much water or too little can ruin your harvest. And speaking of harvest, one must always gather it’s fruits. That’s the purpose, isn’t it?
I’m currently gathering my small harvest from the balcony. Sage, lemon-balm, mint, hot chili peppers, et cetera. The tobacco seems to be late. This stresses me a bit.
XA: I have to agree there and am glad to hear. Now, would you also tell me how you are doing these days? I mean since you temporarily deleted your Facebook from one day to another and declared your art history… what happened?
CM: I just got sick and tired of this whole Facebook business. All these social networks and this internet life are so useless most of the time. I believe that internet must be used for communication and exchanging ideas, thoughts, music, artwork and alike with people that matter to you or to be updated on certain things you are interested in, in my case arts and music. And especially with Facebook, most of the things there are bullshit. 90% of it is bullshit. And this bullshit is wasting my time. I reactivated my account soon after that because it’s a good way to promote my work. MySpace was a lot better back then.
That was Facebook. And about the blogs, well, after a long period of stagnation, especially with HATRED ENGINE GRAPHICS, I just got mad. HATRED ENGINE GRAPHICS is my other artistic project that is dealing with Metal and Punk themes but in the same time dealing with rip-offs and a bunch of assholes. And wanting to save my sanity I decided to stop these artistic manifestations. To stop them, not destroy them. This was a temporary decision. Both HATRED ENGINE GRAPICS and VÆNVS OBSCVRA are alive and well.
XA: But are you not an artsy-fartsy drama-queen?
CM: Artsy-fartsy? No, not at all. I rarely see myself as an artistic person whatsoever, let alone artsy-farsty. It happens rarely when I get caught up discussing about art with a handful of people. I am still studying for my Masters Degree so I am unfortunately in contact with a lot of fartsy people that I hate so much. They are only fartsy and less artsy.
Drama-queen? I am the Drama King! So much hate and anger. That’s how I am. It’s all fueled by external factors, such as artsy-fartsy people. Don’t get me wrong here. I have nothing against people who are eccentric or whatever they want to be. Everybody is allowed to do whatever they want but after bumping into the fartsy people I talk about, you would want to stone them to death also.
XA: Well, but lets us rather talk about your art now. Why do you do art? Who inspires you?
CM: Wow! This is a tough question. Why do I do art? I don’t know if I can answer this question, not that I don’t want to but I don’t think I can. Maybe you will find the answers to this one in the same answer I will give you about who inspires me. But I should start with what inspires me. Ever since my early childhood I had some very powerful feelings and experiences. Nature had a strong influence on me. Loved it. Loved the woods, rivers and lakes, gardens, the animal and plant kingdoms. I still do! I believe that Nature is Satan’s Church. A place where you can learn much, where you can learn to see the Truth or maybe where you don’t see the Truth but where all the Illusions slowly dissolve. The wild is a rough place, violent and unforgiving and in the same time calm and peaceful. It is alive and sincere, not like human nature and it’s society that is a copied, cyclic pattern which is rotten and filthy.
I created since my early age for the same reason I create now – to see my own thoughts and feelings in front of my eyes, that come from an unknown source. Most of my artistic manifestations have no exterior influences. They just come from my Subconscious. Basically, most of the things I materialize on paper are done for my own sake. I don’t do this for anybody else. I can’t explain this mechanism. It’s probably working in the same way a bird is building it’s nest.
The external factors, like music and books contributed only in small amounts and mostly on the way I work, the techniques and not the concept itself. And other external factors are a few artists. One of my favorites is THEODOR KITTELSEN. His work is amazing! I found out, after all these years that we were born on the same day. A strange coincidence from an artist that is my number 1, no?
Another favorite of mine is DENIS FORKAS KOSTROMITIN. He was not an influence, because I discovered him recently but I can surely identify myself in his artworks. This man has a special Spirit!
XA: What have been your experiences thus far when doing artwork for others, e.g. bands? How do you deal with the situation if someone tries to rip you off?
CM: I had nice experiences with bands and people I have worked with/for. The guys from TRIAL (Sweden) are really cool people and I enjoyed the collaboration. I will always be ready for them. Another memorable person to work with was JEREMY CHRISTNER from LUX FEROUS PRESS. His payment for my art was his art – Knowledge. This is what I enjoy working for rather than money that isn’t much anyway but it seems that even that is a lot for some. Many think that art comes for free and that my services are something they can abuse.
I did logos, full front cover designs and many more for bands that in the end refused to pay. I had some situations that I had to wait for their payment for a year after doing them a logo, front cover and back cover for almost nothing. And they are not the only ones. What I can do in these cases is denying them the right to use my artwork and after that hopefully someone else will use it. Check out my blogs and you can read more about these cases there. The only thing I regret is that I can’t send my fists through my emails to these bastards. So, this is one of the reasons I wanted to stop my artistic projects. But, no! I won’t give up!
XA: Is your latest work, “As Wolves among sheep we have wandered”, a pun on the black metal scene? And what’s next after the wolf on top of evolution?
CM: “As Wolves Among Sheep We Have Wandered” has nothing to do with Black Metal. It is something more profound based on change that a person is going through in his life. Be it social or spiritual. The wolf is a well known symbol, an archetype, so is the sheep. Nothing comes after the wolf. I only posted this artwork as some sort of a preview of it. After it will be uploaded in HD and then broken down to individual pieces the message will be clearer.
XA: I like the style of As Wolves or your Rune Totems. There is a certain clarity in those, a fine combination of graphite drawing, ink and symbolic color use. In the first Totem picture ice melts with fire within the Thurs-rune. In the second the same rune is colored fiery red, flames arise from a broken skull and a sword burns with the fire of Múspell. Will the entire series be about the Thurs and can you tell a bit more about the context of these Totem drawings?
CM: The colors used there are the symbols of fire and ice, yes. In the first “Rune Totem” design I wanted to represent the forming of the Giant Ymir, when the ice of Nifelheim met the fires of Múspell. Both of them were the lands of the Thurs – fire Thurs and ice Thurs. Also, in the same picture the death of mankind is represented by the inverted Mannaz runes.
The second “Rune Totem” design is also about the Thurs, but this time it’s Eggther in particular. The giant who joyfully sings on his own burial mound, knowing the coming of the inevitable Death of all things.
The whole series will be about the Thurs or other dark gods from the Germanic traditions. Although only 2 of them are finished, 5 more will be done and the series will be complete.
XA: You also sent me prints of the DRACO LOQVITVR series, which consists of a number of black and white illustrations inspired by the Demonic entities of the Goetia and the bone chapel of Kutna Hora, combining demon seal with realistic drawings of bones. Apart from looking decorative and being a nice addition to any wall, is there something more to these or do they really just ‘speak for themselves’?
CM: I don’t think that the “DRACO LOQVITVR” series would look nice just on any wall. The subject is dealing with the occult, the Divine. I bet that there would be a lot of people that wouldn’t hang such things on their walls and after telling them that the designs are about Death, Demons, blasphemy, et cetera, they wouldn’t want to hear another thing about them. Same happened to my teachers from the university. They were anything but excited when they examined them. And that’s what I wanted to achieve in the first place. These weren’t meant to be appreciated by anyone, just by a handful of people. I never liked or believed in art that was for everybody or for the masses. Artwork should upset the majority of people. It should be irritating. Yes, it is inspired by the Goetia and so am I. It is so fascinating and strong!
Just as this feeling touched me when I created DRACO LOQVITVR, this energy that was raw, unaltered by thought, this is how I would like the viewer to experience them. I guess they speak for themselves and nothing more needs to be said.
(Here I get interrupted and have to take care of orders…)
CM: No problem! I think it’s good that a person is busy and has lots to do. This is my opinion, otherwise, having nothing to do and no schedule will make life boring and senseless. At least this is how I am.
XA: Thanks for your understanding! Now we have talked of art-schools and the way that teachers and normal people would look upon your work. You say art must be upsetting to the majority of people. However there is a growing amount of ‘dark artists’ out there and the internet has become a prolific place for all sorts of more or less interesting and/or provocative works called ‘art’. In addition art seems to be flourishing in a way the world has not seen before. There are millions of artists and thousands of them are pretty damn good at drawing or painting etc. Is that something that you care about and how do you set yourself apart from those?
CM: I think that art must be upsetting for most people just as music should be. It’s like MTV versus the Underground scene. That music circus, that garbage is for the majority, the herd. The Underground is for a select few who appreciate and truly cherish and polish those jewels. Or another example – tourism. Most people visiting a country will want to see the same old cheesy places but, a passionate traveler will chose the best places that are filth free, more organic and silent. They want a taste of culture. I believe it’s the same with art. Art is not for everybody. It’s never meant to be like that. I believe it must be like a punch in the face or a cold shower sometimes. I prefer to see the work of a war photographer than Communist influenced “art” like “Mother with her child” or “Still life with flowers”, if you know what I mean…
I honestly don’t care much about what is happening in this category. If there is something worthy, it will catch my attention. I don’t want to point fingers or to criticize because I believe that those who are really passionate about art, be it “dark” or not, will eventually get their reward for what they did. I believe in hard work and passion and that is what sets one from another apart.
XA: On the other hand some galleries and art collectors seem to foster old hands and many talented youths may never be able to pursue an art career. E.g. I heard of Berlin galleries not acquiring new work because they rather rely on the works of already established artists, favoring known over unknown names. How is it in Romania?
CM: I am so glad that you asked this question! In Romania it’s the same. The answer is in the question you asked here. I had my exhibition not long ago and guess how many of my teachers showed up? None! And because of these old farts the youth have no chance. Do you know what they sell in those art galleries of theirs? Garbage! Imagine, a simple, plain crucifix for an absurd price. Why? Because it has the brand of the place and the artist?! This disgusts me. Can’t believe that Berlin has the same problem also!
Why is a teacher considering his student competition? Shouldn’t they be proud of their learners achievements?
XA: Hence it is nice to see photos from your recent exhibition on your blog! Perhaps this is a sign that young talents like yourself will know to help themselves and make old ones soon look even older… Which brings us to the end of this interview and the question, what is next?
CM: It is wonderful! I am so happy and satisfied! All I have to say for those young talents is that they should never ever give up. Hard work is the best solution for everything. And please support each other! What is next? I don’t know but, I can tell you that the blood and the sweat is the way to go.
XA: In any case I wish you the best of luck and success! Last question, considering the many possibilities in this digital age, do you still draw by hand or what techniques do you use for creating your images?
CM: Thank you! Everything I draw is ink or graphite. I rarely use Photoshop. And especially the bones, they are 100% ink.
XA: Thank you for taking the time to answer my questions and greetings to Romania…
CM: Thank you also! It’s been a pleasure and thanks for this opportunity! May you harvest the Fruits from the Tree and let the others gather the rotten ones from the ground!
Interview given to Teufelskunst, September/October 2012
Answers and pictures © CM Vaenvs Obscvra. All rights reserved.
October 13, 2012
We received in the mail new precious working and crafting materials, amongst which was a huge gift from an English sorcerer: in the center of the package a Giant Poison Hemlock root, about 40 cm, perfect for a central altar piece in the work with the Typhonian Currents or in Rites of the Dark Goddess in Her Strangler-Aspects and Her Succubi.
“The Hemlock is certainly an ophidian sukkubi: coiling around the senses and fogging all reason: a deadly naiad who entices you and whose kiss tightens itself around you to constrict your breath and steal your life away. A beautiful and terrible Queen.”
To the initiated Poison Hemlock is on the other hand also a strong ally in the battle against all archonic suppression. The above roots are availabe for purchase. Prices on demand.
Also available are recently harvested roots of Aconite. The roots are 7-13 cm in length, straight, curled and some forked, for making talismans or usage in powders and potions. Price varies from 5-15 €, depending on root size and shape.
Gallow’s Oak for crafting: fine pieces of mossy-grown Gallow’s Oak wood to be crafted into talismans. The wood is part of a trade with an English practitioner. More to be revealed about this later…
Further fresh Male Fern Root, Mandrake Talismans, Seeds of Poison Hemlock, Mandrake and Poppy and some anorganic ingredients such as Sulfur and Iron Oxide can now also be bought from us.
Latest additions to our Fetish section: Green, Green/Black, Aged Bone and Bloodred Skull-Candles
Coming up next: Interview with Occult Artist VÆNVS OBSCVRA
Teufelskunst Fetish-Candles and Talismans in ‘action’:
Special Thanks to Cyril Helnwein for the terrific pic!
September 17, 2012
X: Greetings Samuel! How are you and what have you been up to as of late?
S: Hello Xonia, I’m doing good! I was just about to start working on a couple of CD covers that I have pending for the first week of August. Also, the morning was freezing cold, a rare thing in these parts, but an auspicious beginning nonetheless.
X: At Teufelksunst we are proud to name you as the first artist we do an interview with. As an introduction to our readers, please give us a brief description of your work…
S: I have been working as a professional illustrator for about 10 years now, mostly for gaming companies. I have been doing art for role-playing & board games, as well as some occasional work for video game companies. From time to time I have the luck of collaborating with some bands within the Metal genre. These bands include: Cradle of Filth, Elvenking, Darkmoor, Imbalance, Eye of Judgment and Sabaoth. I have been featured in a couple of annuals, including Spectrum 13: The Best in Contemporary Fantasy and Sci-fi Art, Gothic Art Now, Vampire Art Now and a couple more.
About three years ago, my work took a dramatic turn. Thanks to re-discovering Austin Osman Spare, I decided to focus more on my ‘fine art’. I believe that the distinction between fine art and illustration is almost non-existent, but nobody pays attention to me.
[Edit: This is quite an important point considering how greatly ignored or actually shunned illustrative art is within the fine art industry, but one can also notice a current change in the air and hopefully interviews like this will contribute to illustrators gaining more recognition! -X.]
So, anyway, I started getting more involved in the research of symbolism in painting… The Baptism of Fire was a solo exhibition at the most important Museum of Fine Art in Paraguay (also, the only one that we have, but lets forget that for a minute). Since that day I have been possessed by an urge to create, instigate, research and explore more diverse, and darker sides of art.
Also, the exhibit went so well that some of the pieces landed me a scholarship at Theartdepartment.org where I’m currently majoring in Drawing and Painting. The journey has been incredible so far, and I’m very grateful at the good folks at The Art Department, as well as the people of Talenthouse.com, which gave the me opportunity to apply for the scholarship in the first place.
X: How long have you been doing art, what is your main genre and who is interested in your work?
S: Well, we all start doing art from the day we are capable of holding a pencil, don’t we? I am no exception, the only period where I gave up art was during High school, where I toyed with the idea of being a writer, which was just silly.
My main illustrative genre has been horror, but if I have to choose a genre, I would like to stick with the word ‘Decadence’, as that is my main point of interest in life. I’m interested in the beauty of decay.
As for interest, there has been an amazing diversity. I never thought a band like Elvenking, for example, would be interested in my work, but thankfully they did, and our work together has been extremely satisfying!
X: The imagery you chose comes across as dark and creepy and often seems to draw from the dark side of real life. On the other hand there is also something dreamy and otherworldly about your paintings. What or who inspires you and would you mind sharing a bit about your way of working?
S: I’m inspired by decay in all forms, but for the sake of simplicity, lets say that I’m most interested in the decay of our own symbols. I remember reading Two Tracts on Cartomancy by Austin Osman Spare and being deeply moved. There is something lost and something gained when we accept and process an imposed symbol and its meaning. Spare and his writings and art literally changed my world-view. It challenged me to find my own system of meanings to images. This also resulted in a re-discovery of the Pre-Raphaelites. All this strange archeology was of course filtered by my interest in horror and decay. Where is that interest born… I’m afraid I got no answer, some of us just want to be damned, I guess.
My way of working is very organic. From time to time I will start with a loose pencil or watercolor sketch, bring it to the computer and overlay various photography transparencies over it. I prefer to work with my own photography, but from time to time I resort to Wikimedia Commons and its vast library of historical pictures. Then I would usually ‘dig in’ with digital paint, pulling in and out elements of the image, and most of the time, discovering something new within it. No plan or composition is sacred to me and I always like to take the risk to move the art to a new direction.
And above all books and experience are always my main inspiration. Lets not go into details of experiences, for the sake of safety, but let us dwell in the glory of books by Austin Osman Spare, Lovecraft, Thomas Ligotti, Borges, Alan Moore, Robert Chambers and Arthur Machen.
X: Do you listen to any music when you work on new art? Which?
S: I mostly listen to black metal, Dissection, Watain, Deathspell Omega, Darkthrone, Emperor, Samael, Cradle of Filth (hear the cries of the black metal purist here!)… well, the list goes on! I’m converted, and from past 7 years have been an avid King Diamond fan – the man is a genius, his music is all about atmosphere, and that’s something I love. Candlemass is one of my favorite bands ever! From time to time I will also have some Dead Can Dance, a bit of Nick Cave, and lots of Tom Waits, what else? Ulver of course… I should mention I usually like albums that everyone hates, like Endorama by German thrashers Kreator, but I don’t usually pay attention to others people opinion on music, or art…
Lately I have been really into Tiamat and Moonspell, I like bands who challenge themselves and do different things, I think these bands succeed elegantly within these parameters, whilst maintaining their characteristic dark and ominous atmosphere. Also, last but not least, love the music by “Horseback”, its just monumental! Never mind the incredible cover art they always have, mostly done by Denis Forkas Kostromitin.
X: The first piece of art by you that drew my attention was Leviathan. In the center is a young face with green-blueish eyes. The skin of the face looks pale, only the lips and shades around the eyes are red. The face has a cold expression and is surrounded by a lot of religious symbolism with a bleeding Eye of Providence above. But there are also bullets… Could you explain a bit about this picture, how was it composed, what does it mean and in which context was it used?
S: I will explain about the face on the next question… Regarding the bullets, I don’t remember well, but I think I was reading an alchemical text at the time (can’t remember the name of the author) where was an interesting image: the philosophers stone as the stone that David throws at Goliath, a weapon. The bullet is also one of our ‘new’ symbols of death. At some point I was doing halos and spirals of bullets throughout the whole image… it just felt as Leviathan uncoiling in the deeps of darkness, being discovered by pure will. I covered most of it with ornamentation, even got some golden horns for Mithra, but the coil motif remained strong withing my mind, hence the name.
The coils also relate to the structure of the Tower of Babel, as depicted by Doré and Bruegel, that culminates in the blind Eye of Providence, to let us build a tower tall, a tower to reach and wound heaven, and rend creation blind.
I’m hoping I can use the image as cover for a very special collaboration, but more of it later.
X: Something that made me wonder about this picture is the mysterious female (?) face, which occurs also in your previous painting Uppsala. The demon Leviathan is often referred to as male or presented as a sea-monster, a serpent or dragon. Would you mind lifting the secret, is this a person you know and does it have any deeper significance?
S: The face overlay of Uppsala was done overlaying transparencies of the faces of all the models that have been helping me out during that particular time of my life. I had no idea of how the face will eventually turn out. For Leviathan I added some extra features and I wanted a specific set of eye brows, because I thought it was a particular lovely feature of a loved one and because it is always good to impose your will to chaos from time to time.
It has a deeper significance. It does relate more to love and beauty rather than destruction, I’m afraid. It was specially important to me to have both elements for that particular series, Thesis and Antithesis striving for an alchemical miracle, synthesis.
I remember also being profoundly impacted by the card Shugara – The Moon in the Sinister Tarot… I think a lot of it went into the making of these faces, albeit unconsciously.
X: You also give female forms to other gods and entities, that are usually referred to as male, e.g. Lucifer. How come?
S: This is one important question..
At the crossroads of life I came across this particular quote from Thomas Ligotti:
“De Plancy´s Dictionnaire Infernal respectively characterizes these demons, in the words of the unknown translator, as “the one who glistens horribly like a rainbow of insects; the one who quivers in a horrible manner, and the one who moves with a particular creeping notion” For the curious, engravings have been made of these kinetically and chromatically weird beings, unfortunately static and in black and white”
The next thing I knew, I was painting Amdusias as a stony, broken, burlesque doll laying illuminated by a rainbow of colors as if struck by thunder of the most alien and profane origins. To me and the vision, it is important to capture something new, it is about fear and wonder, and it is about doing my will. To me there is something inherently alien there that needs to be revived, explored and bought brought back, at least, into my work.
Just for the record, I loved what I have seen of De Plancy’s Dictionnaire Infernal, the engravings are exquisite, and I have been hunting for a copy for a long time now…
I need to re-invent symbols, I need to try new things. It is all part of awe and horror, or fear and wonder on the spiritual, if you will. Take for example the Lord of Death, San la Muerte, and its rise on modern magic. I can relate that mostly to its visceral nature, also because its rituals will feel so alien to those rooted in European magic currents. Now, in Paraguay, the country where I live and where I was born, the lord of death is a well known figure, you can access books of paye (the name of our traditional magic system and also of the talismans) on school libraries. It is something very familiar, in an odd way, and no disrespect, but that familiarity… it is something I try to cast away. I think that Ixaxaar and the author of that book [edit: he refers to the Liber Falxifer series] did something very daring, very interesting, by bringing Qayin into that system, even if I don’t practice it. Another example is the Sinister Tarot by the Order of the Nine Angles, all inspiring work.
X: How long do you spend on a piece like Leviathan?
S: I think it was around two days of intense work. I usually work very fast, as I have few distractions in my life and in the studio. Also I remember coming back to it, a few days later, to add and correct some things.
X: Could you pick two other artworks of yours and explain a bit about them?
S: Moloch (the last piece I posted on Facebook, the dead woman sitting) was more of what I said earlier, about finding new things in a symbol. I also wanted to give it a quiet atmosphere, death sitting serene in contrast to what you would expect from the human sacrifice related deaths that were associated with Moloch. Breast are a common symbol of fertility, so the natural decision was to do something about them. In this case they are corrupted and damaged. The veil is a common symbol in my work, because it looks good and because it relates to the act of lifting the veil, awakening your consciousness to what is hidden, hell, even to the marital kiss, and such hideous thing. There is a statue of a baby near the character. I found it while I was looking for art supplies. The thing was so horrible and so damaged that I just had to buy it. It was also the first spark of inspiration for the Moloch theme.
The illustration for the Vampire RPG (the one with the woman with a Klimt-esque dress): I actually got this text about a vampire turning into a hideous shadow monster. Again I decided against having a visceral and horrible metamorphosis scene. Don’t get me wrong, I love those. I just wanted something different, as always. I was looking to replicate what Klimt did in terms of ornamentation but with a purposefully digital feel, just for the sake of experimentation. The Client was White Wolf, who publish some great role playing games. I always have fun working on these, because at the end of the day, work is more fun than fun, as someone said.
X: Where can we see more of your work?
S: Please add me at facebook at http://www.facebook.com/paintagram I only use it to promote my work or to post art related things, and its a wonderful tool when it comes to communicate with people.
Finally, you can buy high quality prints of my work at http://paintagram.inprnt.com
X: What are your plans for the future? E.g. who would you like to work with?
S: I plan to focus more on fine art. I’m slowly working in a transition towards traditional painting. I doubt I will ever abandon the digital medium or photography, but I have come to discover how much enjoyable it is to devote hours and hours of work with pencils, watercolors and oils.
I would love to work with more bands. Please get in touch with me if you have an interesting project. Everything is negotiable sans work for free, which is unacceptable.
I have a collaboration with Dani Filth, which I hope will see the light of day soon. And I have another special plan for a book, but that shall be revealed in time.
X: Your last words to our readers:
S: Sic luceat lux.
X: Thank you for your time!
Interview given to Teufelskunst, July 2012
Answers and pictures © Samuel Araya. All rights reserved.
July 20, 2012
Posted In: Art
In this journal we present the second batch of our hand-made Talismans, info on updated Website sections as well as photos by customers and friends who have received our Skull-Candles and took snapshots when burning them. We also announce our first Artist Interview!
ARTIST INTERVIEW: SAMUEL ARAYA
We are looking forward to our first artist interview with illustrator and designer Samuel Araya. In the interview we will talk about his work and the inspirations behind his dark imagery. We will also have a closer look at three of his paintings, investigate their meaning and receive insights into the process of making them.
Latin “war-signal”, “war-trumpet”,
also a name of the Prunus spinosa (Blackthorn) tree
from the Latin word fascis,
Fasces are a bundle of wooden sticks with an axe blade emerging from the center, which is an image that traditionally symbolizes summary power and jurisdiction, and/or “strength through unity”.
The idea behind the fasces has inspired us again in the creation of this second batch of handmade Talismans. The Talismans are manufactured in a manner similar to the first five Talismans offered here. The difference to the first series is in their form: whilst the first were atavistic representations of the ghost-like emanations of our craft the new talismans are more human in shape. Both Talismans serve at the same time as Mascots of our Teufelskunst and are only given into the hands of experienced practitioners.
The filling consists again of various hot peppers and herbs (partly poisonous) as well as loadstone powder. The skulls are carved again from the Blackthorn’s wood, each holding a pair of dark-red garnets in their eye-sockets. The talismans are accompanied by seven anointed Blackthorn spines bound together with cleansed red and black thread, forming Bellicum Fasces to be used in attack and defense spellwork. With each talisman comes also a cleansed vial to insert a hand-written spell or pact, one anointed onyx sphere and incense.
The talismans have been manufactured entirely by hand. They carry fluid links to the totemic soul of Crow, Scorpion and Snake, and powdered links to the plant souls of Aconite, Belladonna, Black Nightshade, Henbane, Mandrake, Mugwort, Thorn Apple and Wormwood, mixed with the tears of Myrrh and the wood of the Bellicum tree. Long Pepper, Grains of Paradise and Ghost Chili (Bhut Jolokia) lend their fire to the bodies of the talismans, within their chest beats a small heart-shaped ‘High John the Conqueror root’ and underneath the wooden skull vibrate the powdered remnants of a Human Skullbone.
The incense powder accompanying these talismans consists again of fiery ingredients and should be burnt outdoors only. (The exact formula is given inside the leaflet that comes with the talismans.)
Only seven of these talismans have been crafted and there will not be made more of them.
The price per Talisman set:
53 euro + shipping
The fiery incense for Cleansing and Strengthening one’s focus can also be ordered solitary for 7 euro per 50 gram + shipping.
For the complete list of herbal and floral ingredients visit our updated website section Herbs & Incense. We also have small amounts of classic Witch Ointment Ingredients available. For more info contact us via email@example.com
Always in stock are our hand-made Skull-Candles available in different colors, e.g. plain black, red, white or bone-colored as well as two-colored versions, e.g. half black/ half red/ half white/ half green and so on. Each candle is filled with corresponding essences, herbs and powders. The price for one candle is 16 euro + shipping. If you order more than three candles the price per candle is 13 euro + shipping.
(photos by customers and friends)
The first printed catalogue including complete price lists as well as artist interviews and features will be released later this year.
July 13, 2012
Find updated the Herbs & Seeds section with info on Sowing & Growing and lists of herbal and wooden ingredients relevant to our path. Under Art is added a new section Featured Artists. Next the focus is all on the Statues and Fetishes (what we actually specialize in). We will now be offline for the coming 2 weeks. New commission work and orders will be accepted again from 15 January 2012 on.
December 21, 2011