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Last night my roommate was watching the end of an NFL (American football) playoff game and I sat down to watch the conclusion with him. It was a thrilling shootout finale which featured all sorts of touchdowns, fieldgoals, and overtime…all within a few minutes of gameplay! It was extremely exciting–except for the team themselves which represented America’s 36th and 76th largest cities. How does the NFL ever even find these places? We will say nothing of the losing team (although I preferred them morally, aesthetically, and geographically) and instead concentrate on the victor–the Kansas City Chiefs who are apparently indeed from Kansas City, a rather large and prosperous city in Missouri.

After wracking my brain I realized that I have, in fact, heard of Kansas City–as the location of “Road House” a strange 80s film about a superbouncer (?) cleaning up a large violent bar just outside the city. Aside from bar-fighting, the most distinctive thing about “Road House” was the fact that everything in the film was run by a king-like crime boss with quasi-legitimate connections to business and politics. I looked it up and truly, Kansas City was made by a weird political boss who was fixated with royalty and living like a king. References to kings, monarchs, sovereigns, rulership, royalty and chiefs are everywhere. Kansas City is even a sister city with Xi’an, a famous and important city which people have actually heard of, which was the capital of China during the Qin, Tang and Sui dynasties (among others).

Anyway…all of this is a roundabout way of saying that Kansas City famously makes use of kingly crowns as a sort of symbol/trademark (city historians aver that this is because of “The American Royal” an important livestock show held in Kansas City since 1899–although how did that get its name?). Indeed, not only is the city known for the Kansas City Royals (a major-league baseball team) but for whimsical crown themed lighting in winter time. Here we have finally reached the point of this post (sorry if I buried the lede somewhat): check out these amazing lighted crowns from Kansas City!

I have a feeling we will be seeing more of these Kansas City Chiefs. In fact my football editor is calling to tell me that the Chiefs won the Superbowl outright two years ago (yet, although I watched that game with my friends, I have very limited memories of any Kansas or Missouri people involved). I will also work to find out about this giant livestock show and the famous gangster who built Kansas City. Right now let’s just relax and enjoy these scintillating crowns made of light.

Under the Flounder Moon (Wayne Ferrebee, 2021) ink on paper

Here are two more works from the series of pen-and-ink drawings in black and white ink on colored French paper which i have been working on. I apologize that the sienna one (above) is arguably Halloween themed (although, come to think of it, it seems unfair that carved pumpkins are so profoundly seasonal). To me, the drawing also suits the time of winter darkness which we have entered. In terms of subject matter, the drawing portrays a puritan in a cemetery gasping at the appearance of a black rabbit. Various little elves fall prey to insects and spiders as a ghoul and a ghost look on. In the background a nightjar flies past; while the extreme foreground features some fallen store-bought candies. The entire scene takes place under a great glistening flounder moon which illuminates the Jacobean manor on the hill and casts a fishy light upon the entire troubling scene.

Inside the Idol’s Cave (Wayne Ferrebee, 2021) ink on paper

This second work shows what may or may not be an Easter scene featuring sacred eggs and yet another rabbit (is that guy really a rabbit?). The snapping turtle looks like it is about to snap up that little elf (which is maybe fair since another kobald is making off with her eggs). The entire scene takes place inside a cave where worshipers pray and present offerings to a Dagon-type idol. A bright flatfish shines an otherworldly light on the proceedings and put one in mind of the famous platonic allegory. Likewise the tapir (a famous dream-beast) indicates that this image has something to do with the vantage point from which one approaches reality. The nun (center) reminds us that faith will otherwise help smooth over any deficiencies in perception for those trapped in a cave.

The drawings are meant as companion pieces and it is interesting to see how the same elements reoccur in differing forms. There are two elves (one about to be eaten) in each piece. There is a rabbit in each work. Both works focus on a central religious-type woman in plain garb, and both works are illuminated by fishlight and by the stars. More than that, they are compositionally similar, with a big white scary thing to the immediate right and a field of stone obstacles (gravestones and stalagmites). Yet at a bigger level they are opposite. One work is about reality within the unreal and the other is about the unreal within reality. One work is about life in death and the other is about death in life.

Perhaps I should make some summer and winter companion pieces to make a complete set (assuming that all of these drawings aren’t one weird set of some sort).

Roller Summer Sunset (Wayne Ferrebee, 2021) ink and watercolor on paper

Labor Day is over. Another summer is dying away. I wanted to celebrate the summer (it is my favorite season!) without giving into the elegiac feelings of fall, so I drew this sunset drawing of merriment in Central Park. As always my muse is the incomparable Lillian Newberg, doyenne of the resurrected New York roller disco scene (would that I could participate–but I can no more dance…or walk…or stand still…on roller skates than I can fly like Superman). Around her are strange & mysterious circus folk with hotdogs and ice cream, while a rather splendid toucan preens at the treeline. The sloth is not a roller skater either, but at least he can drag himself to the party on a skateboard. A langur turns the magical disco jack-in-the-box, while various angelic folk fly around the heavens as per their wont. The scene is delightful except for the tragic sentient lemon and the rubber chicken (which has been accidentally discharged from a novelty cannon). The snake represents moral choice whereas the flounder suggests that our appetites will always be lurking in the immediate foreground of anything we do. I don’t know what is up with that fancy garter belt. Somebody probably dropped it there by accident and it has nothing to do with the larger parable…

When I am back in the big city telling tales of farm life, one barnyard character is the most popular of all. His exploits are the most renowned. His stories garner endless comments. His (or her?) mysterious pan-sexual nature elicits the most speculation. I am referring to the ever-beloved LG, a Canada goose who flew out of the sky ten years ago with an injured foot and a duck concubine. When his duck flew away, LG was left forlorn and alone–a complete outcast. But his story was not over: LG ingratiated himself to both people and geese. He taught the store-bought geese to fly and eventually he worked his way up to being a goose of high status. Ultimately he became the foremost figure in the poultry lot, romantically connected to Princess (the prettiest pilgrim goose) and able to command the most corn and the best nesting spots. Here I am hand-feeding him cracked corn.

But things have changed for LG. Early this summer, a new Canada goose appeared. This new bird has a mangled wing and can not fly at all. My parents are flummoxed at how he (or she?) made it to the farm. They are equally perplexed at why the wounded goose even knew to come there for sanctuary to begin with. Because the new Canada goose has crossed tail feathers (and a mysterious unknown provenance) my parents call him (or her) “X”. I imagine him as a sort of World War I aviator figure who suffered a wound while battling with some super predator (a goshawk? A golfer?) and then clattered down from the heavens to crash land by the pond (while making sad single stroke sputtering noises, probably).

LG in the foreground and X in the background. It looks like they are kvetching about something (but it was hot and they are actually panting)

LG has taken a liking to X and they sometimes wander around the orchard, garden, and barnyard together (I hope Princess does not get forgotten now that LG finally has a chance to hang out with a friend of his own species). But LG has not given up his high status and he gets to take first choice of farmyard prerogatives and privileges.

It was hot August weather when I was home, with temperatures over ninety and one of my favorite things was watching the geese drink out of an old drywall bucket filled with water. They would stick their heads down into the bucket and go “slurrrrrrrp” then they would point their heads straight up at the sky and go “glug glug glug” and all the water would run down from the head part into the deeper goose (this sound cartoonishly ridiculous, of course, but it was strangely compelling to watch). Above is a picture of X drinking. You will notice that LG already had his fill and was regarding me beadily, no doubt calculating whether there were further advantages to be had. I will keep you updated on their status (hopefully X will heal and regain his flying abilities, but I doubt it). Who knows what they will get up to next. It is hard to believe that our skies (and, uh, golf courses) are filled up with these delightful, charismatic, lunatics!

Here is X with some other farmyard friends

Flemish Flatfish (Wayne Ferrebee, 2016) ink and watercolor on paper

Happy Solstice! I wanted to finish off the ocean theme and celebrate the longest day of the year by coloring one of my large flounder drawings (which I originally designed to be in a huge strange flatfish coloring book). Unfortunately, coloring the image took sooo long that the longest day of the year is now over! (and I am still not happy with the coloring–which turns out to be just as hard as I recall from childhood)

Anyway, here is a sky flounder with a Dutch still life on his/her body swimming over the flat sea by the low countries. Little Flemish details dot the composition (like the clay pipe at the bottom, the bagpiper by the beach, and Audrey Hepburn in a 17th century dress) however the endearing minutiae can not forever distract the viewer from larger themes of sacrifice and the ineluctable passage of time (both of which are fine ideas to contemplate on this druidic holiday).

As always, we will return to these ideas, but for now, happy summer!

Brooklyn Brill and the Roller Dance Party of ’21 (Wayne Ferrebee, 2021) ink and watercolor on paper

Sooner or later, the end of quarantine lockdown is coming and it will be such a joyous shindig! Here is a little watercolor painting from my moleskine sketchbook which begins to conceptualize the freedom and the fun of the summer of ’21…and yet even in my imagination the roller-skating goddess is wearing a mask! I wonder how long it will be before we ever see a public gathering without some weird respiratory accessories (assuming such a thing ever happens again). Anyway, the image shows the Coney Island Boardwalk at night. In addition to the magical rollerskating disco woman–who needs no explanation–there are two novelty rubber chickens and some sentient dancing fruit (probably left over from the ’80s). An accordion player plies his craft as a shy young hotdog takes a first few tentative dance steps. While the rollercoaster runs in the background, a crab in the foreground seemingly wonders if a cigarette will give him cancer.

In the upper left of the image is a rather strange steel structure which Brooklyn residents will immediately recognize as the “Parachute Jump”. This was some sort of horrifying human sacrifice-themed amusement park novelty of the early twentieth century and its steel skeleton still lingers at the edge of the continent to remind us of delights now gone forever. Preposterously a spoonbill is flying towards the erstwhile ride. Everyone knows that is not a native bird!

Flounder with Kitchen Scissors [Wayne Ferrebee, 2021] Ink and watercolor on paper

It is Vincent Van Gogh’s birthday today (he was born on March 30, 1853). To mark the occasion, it occurred to me that I have an appropriate humorous cartoon in the small moleskine sketchbook which I carry around everywhere.

Van Gogh is pictured in the upper left corner wearing his trademark green coat and ear bandage. Presumably he is exhorting the artists of today to work hard at their precious craft. At the center of the composition is a flounder, a ridiculous-looking fish which everyone agrees is ideal for the table. Probably that is why a hand is reaching down from the heavens with scissors to prepare the silly fish as a delicious banquet. Speaking of hands, a white marble statuary hand is pushing up through the floor of the cinereous wasteland where this tableau takes place. Sadly the hand seems to be a bit broken. A crown-of-thorns starfish restlessly roves the dust and stumps.

I wanted to practice lettering with my steel nib, however I did not want to actually write anything, so I just jotted down some nonsense words in moon language. Sorry for the gibberish! But who cares about language anyway? Some people have suggested that artists are wholly unreliable when it comes to writing about their own work, and you should concentrate on the images themselves.

In years past, Ferrebeekeeper has celebrated Saint Patrick’s Day with a series of short essays about Irish folklore. We started with leprechauns and worked our way through the doom of Oisin (who could have had eternal youth and endless love), the Sluagh (evil spirits who ride the clouds), the Leannán Sídhe, the Fear Gorta, and the great Gaelic flounder (which is not even a thing, but which should be). You should read that story about Oisin–it’s really plaintive!

Anyway, this year we are going to take a break from the disquieting beauty of Irish folklore to showcase a category of obscene Medieval sculpture, the “Sheela na gig”, a sort of stylized stone hag who is portrayed holding open her legs and her cavernous womanhood (a word which I am primly using as a euphemism for “vagina”). These grotesque female figures appear throughout Northwest Europe, but are most prevalent in Ireland. Nobody knows who carved them or why. Their name doesn’t even have a coherent meaning in Gaelic. Yet they are clearly connected to fertility and to the great mother goddess of the Earth. As you can imagine, they are the focus of furious speculation by religious and cultural mavens of all sorts. However no definitive answer about the nature of the figures has ever been found…nor is such an answer ever likely to be forthcoming.

Sheela na gigs were mostly carved between the 9th and 12th centuries (AD) and seem to be affiliated with churches, portals, and Romanesque structures. Although they are located throughout central and western Europe, the greatest number of Sheela na gig figurines are located across Ireland (101 locations) and Britain (45 locations). To the prudish Victorian mind they were regarded as symbols for warding off devils (which would be affrighted by such naked womanhood?), however more modern interpretations empower the sculptures with feminist trappings of matriarchy, self-awareness, sexual strength, and shame-free corporeality. Perhaps the stuffy Victorian misogynists were the devils who needed to be scared off! Other scholars think of the Sheela na gig figurines in the vein of the pig with the bagpipes or the “Cista Mystica“–which is to say a once widespread figure which had a well-understood meaning which has become lost in the mists of long centuries (it is easy to imagine future generations looking at Hawaiian punch man, Bazooka Joe, or the Starbucks logo with similar bafflement).

Hmmm…

Some scholars have theorized a connection with Normans–and hence with Vikings–but I see little of Freya in the images (which seem more connected to prehistoric “Venus” statues).

It is probably ill-advised to opine about such a controversial figure, but if I were forced to guess, I would suspect that the Sheela na gig is a symbol of the generative power of Mother Nature (or the godess Gaia) which is so overt as to barely be a symbol. All humans were born through bloody expulsion. We do not come into the world through a magic emerald cabbage or a portal of light. Whatever else the Sheela na gig betokens, it is a reminder of this shared heritage (which you would think would be impossible to forget…until you talk to some of the people out there).

I guess we have been in society-wide quarantine lockdown for an entire year (at least here in New York City). The grim anniversary at least provides the opportunity to show you the artwork which I made during the spring of 2020 as nature burst into glorious life while humankind cowered at home in the shadow of the crowned plague.

I like to draw in little 3.5 inch by 5.5 inch moleskine sketchbooks (which i fill up pretty regularly). Last spring, due to an ordering error, I purchased a Japanese album (which folds out into one long accordion strip of paper) instead of my usual folio book. Since the pandemic left me stuck in my little Brooklyn garden, I began drawing a Coronavirus journey along a continuous garden path running from my backyard, through the stricken city, to the cemetery and then out to the sea. As spring turned into summer I rode my bike over to Greenwood to work on it. Usually works of this sort are destroyed by giant ink blots, spills, or catastrophic drawing failures (since I drew this freehand with a Hiro Leonardt 41 steel nib), and although there are lots of flaws (sigh), none of them destroyed the drawing outright.

Pandemic Album (Wayne Ferrebee, 2020) pen and ink on paper

as you can see, the one factor which made the isolation and anxiety of the coronavirus pandemic bearable to me was the one thing which makes existence bearable–the unlimited power of imagination to go anywhere and make anything happen! Thus we see a Byzantine/Gothic Brooklyn as suited to the plague of Justinian as to Covid 19.

I effectively finished the drawing in June, but I kept frittering at the edges. Plus there was an empty space in the path beneath the fountain (just before the musical garden filled with lyrebirds, siamangs, singing sphinxes, and aulos players). That space stayed blank until November, when I realized that the blank spot in the middle was where the vaccine belonged (you can see it there now just below the fountain).

Unfortunately, I am a better draftsman than a photographer, and it is hard to make out the small details of the little garden plants and bugs which were my original inspiration. Anyway, hopefully you can click on the panels and look at the musicians (C-minor), the plague doctor, the manticore, and the covid party filled with Bushwick Bohemians and sinners! If not, let me know and we will see if I can repost the drawing somehow. Maybe I will post some of the details later on anyway, since the virus pathway is filled with serpents, bats, dark gods, pigeons, bees, trees, and flounder (and other ferrebeekeeper subjects which are always close to my heart).

Speaking of things close to my heart, thanks again for reading this and for being here with me (at least in my writings and thoughts if not in the real world). Dear Reader, you are the absolute best. If the Fates are willing, we are nearing the end of this horrid covid chapter (just as the dark path from the drawing ultimately runs out into the great ocean and vanishes in the waves). I am sorry it took so long to post this little book, but it seems appropriate somehow. As always, let me know what you think, and for my part I will think about what delights to put in the spring album for 2021!

Health and peace to you and your loved ones! We are nearly through this!

Lately I have been thinking a lot about the Byzantine Empire and the long webs of connections which the Eastern Empire cast across western culture. We will talk more about this later, but, for now, let’s check out a world famous Byzantine treasure! This is the porphyry head of a Byzantine Emperor (tentatively, yet inconclusively identified as Justinian). In Venice, where the stone head has been located since the very beginning of the 13th century (as far as anyone can tell) it is known as “Carmagnola” (more about that below). Sadly, most Byzantine art objects were scattered to the four winds (or destroyed outright) when the Turks seized the city in AD 1453, however Constantinople, city of impregnable walls, had also fallen once before in AD 1203 as a part of the misbegotten Fourth Crusade (a tragicomic series of blunders and Venetian manipulation which we also need to write about). This porphyry head escaped the latter sack because it was carried off during the former!

Based on its style and construction, Carmagnola was originally manufactured by Byzantine sculptors at an unknown date sometime between the 4th and 6th centuries (AD). The diadem worn by the figure is indisputably the headdress of a late Roman Emperor who ruled a vast Mediterranean and Middle Eastern empire out of Constantinople (I guess we need to talk about the diadem of the basileus at some point too). Scholars have speculated that the original statue may have been located in the Philadelphion, a central square of old Constantinople. The figure’s nose was damaged at some point (perhaps during the iconoclasm movement or as a political statement) but has been successfully polished flat. Speaking of statue breakage, it is possible that the head goes with a large headless Byzantine trunk made of porphyry which is now located in Ravenna (although such a provenance would make it seem unlikely that the sculpture was originally located in the Philadelphion). Whatever the original location might have been, the statue was installed upon the facade of Saint Mark’s Basilica in Venice (the all-important main location of Venice) after it came to the City of Canals. The head is arguably the most important object among the strange collection of cultural objects which the Venetians arranged along the Saint Mark’s facade over the centuries like an Italian grandmother putting important knickknacks on a mantle. The head’s nickname Carmagnola originates from a Venetian incident and is not some ancient Byzantine allusion: a certain infamous condottiero, Francesco Bussone da Carmagnola was beheaded on 5 May 1432 on the Piazzetta in front of Saint Mark’s after the rascally mercenary tried to trifle with the Council of Ten (who had employed him to fight his former master Duke Visconti of Milan). The red imperial head perhaps resembled the severed head of the angry squash-nosed mercenary and locals began to jestingly call it by the same name. Isn’t history funny? Anyway, in case you were trying to find it on a picture of Saint Mark’s, I have marked its location on the picture below.

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