Archives for the month of: March, 2016



Soldier in Vietnam with written captions on his Kevlar vest

“Hard Core” and down below “Fun Travel Adventure”, substituting words for the true meaning of FTA, or Fuck the Army.




Crash (David Cronenberg, 1996).


The Man With The Getaway Face, 1963


Fuyuko Matsui’s work is creepy without being cliché, which is a rarity in the contemporary figurative work I run across. Everything is soft, delicate, and wrapped in a sort of dreamlike haze—but these subjects are original Grimm, not Disney. A woman is pursued by birds and a dog who pull at her flesh, exposing highly precise nerves and blood vessels. Another woman poses for a court portrait in a long string of pearls that has been wrapped around her neck multiple times before draping down the length of her torso as she coolly sits in profile, a window opened into her bald head around which ethereal masses collect. A third woman strides across a piece, her intestines falling behind her like the train of a dress. Her face is that of a DaVinci Madonna with an enigmatic smile.

Fuyuko Matsui is doing this horror thing right. 

h/t Hi Fructose.


Text and Image; Image and Text. Lecture 2.

The relationship between text and image has always been recognised by people as two separate ways of communicating visually to an audience. We may even call this division between the seeable and the sayable, showing and telling We might call this division the relation between the seeable and the sayable, display and discourse, showing and telling. One great artist that questions that relationship is Fiona Banner, a British artist best known for her hand-written and printed texts or still films that refrain in her words. In 1997, she published THE NAM, a thousand page book comprising her very own word by word description in the text of the Vietnam war movies. THE NAM was to become known as an ‘unreadable’ book. As you begin to read you can only imagine and see visually what you see. The text is typed in capitals and run into each other without any breaks. It isn’t literature, it is a Vietnam war flip book it has the impact of a classic comic book but does so without relying on any image. Creating a new perspective on text and what function it has inside and does it alter our views to show the narrative through the text. Orderly objects with text above it, undermining the reader and defusing your vision. A space that activates a narrative much like an image you try to figure out the narrative of the image much like text which makes a story more visible and clear to a reader. Text and image are not that separate at all.



Illustration for Beneath the Remains, 2016

Awesome illustration by the excellent Rainbath Visual (Reuben Sawyer) for my forthcoming novella “Beneath the Remains” coming soon on Anathemata Editions. More info soon!


from ‘la jetée’ (dir. chris marker, 1962)


Easter celebrations in the Philippines 


The Addams Family (1964-1966)