Flatfish Art

Last week I blogged about flatfish.  These fascinating benthic predators can be found in oceans worldwide…however my interest in the asymmetric masters of blending in transcends pure ichthyology.  I have been busy drawing a series of intricate pen and ink drawings of flatfish for a project.  I will show you some of these large drawings one of these days, but I have also been drawing a series of small humorous and surreal flatfish in spare moments…during the commute or lunch break.  I am putting these whimsical, comical, and absurd flounders in brightly colored frames for fun.

Here is some of the series:

This flounder seems to have an industrial refinery in Kazakhstan on his belly.  In accordance with his landlocked status, strange mythical beasts of Central Asia gambol in the twilight skies around him.

This flounder has Greco-Roman objects around him.  The chameleon above his back reminds the viewer of the true nature of flatfish. The strange quadripeds on his back betoken a different age of agrarian labor.

This flounder is at home in the ocean (where he is joined by apparitions and animals which look curiously like molecules or primordial forces.  Indeed, Gauss’ Law for electrical fields reminds us of the subtle but ineluctable flux which pervades interactions at all levels.

I have been trying to garner greater commercial interest in flatfish-themed art, and what is of greater commercial interest (and general prurient interest) than pop-superstar Miley Cyrus?  The famous singer coos atop a stolid turbot in the midst of an exotic and sensuous garden.  A musically literate person can play the musical phrase above the singer for a true multimedia experience. Miley’s cowgirl footwear hint at the true nature of this artwork.

Trailing streamers of ragged blue plasma, a wild eyed flatfish covered in squirming parasites rides a beam of yellow energy over an elongated pink woodchuck ghost.  What could be more straightforward?

A radiant orange flounder with the sun in his belly soars above some sort of pumping station or acetylene factory. In the sky above him, an overly eager gundam has fired an air-to-air missile at an endangered crane.  Oh no! What will happen next?

A long faced flounder made of stitched together toruses looks down upon a futuristic city of arcologies and bioengineered structures.

Mechanical innovation and the aristocratic southern lifestyle begin to seem increasingly at odds.  Predatory animals stock the riverine boundaries. A flying machine whirrs through the heavens.

The flounder at the top of the post–which features fanciful animals gathering around an elegant flounder with a brittle star on its belly is my personal favorite since I drew it with a dip pen–a style of drawing which generally results in the total destruction of the piece with the final stroke of the pen (as a huge blot of ink falls out), however in this rare case that did not happen so you can see some of the linear elegance of the medium.  All of these flatfish are created with ink and (generally) colored pencil, by yours truly Wayne Ferrebee in this year 2016 AD.  I’ll put up the second batch next week.  Thanks for looking and kindly leave any comments!

 

Santa

Today Santa Claus, an undead cleric from the early Byzantine Empire, is one of the most popular and beloved figures in the world.  In the Christian canon, only God, Jesus, and Mary are more recognizable than the jolly fat man (sorry, Holy Ghost).  As discussed in yesterday’s post, there were many different portrayals of Saint Nicholas/Santa/Sinterklaas/Father Christmas in different parts of Europe during the late middle ages and the early modern era.  As industrialization and mass media became more prevalent, these images became amalgamated into the contemporary image of Santa, a compassionate old man with a red and white suit who tends to portliness.   Much of this picture comes from Clement Clarke Moore’s 1823 poem “A Visit From St. Nicholas”.  Additionally a series of illustrations by German-born American caricaturist Thomas Nast filled out the vernacular picture of Santa (Nast also popularized the Republican elephant, the democratic donkey, the figure of Columbia, and Uncle Sam).  Coca-Cola did not first provide his signature red outfit–but they made it famous.  Breakthroughs in communication have further consolidated this modern identity.

The Coming of Santa Clause (Thomas Nast, 1872)

The mass-produced, mass-media portrayals of the gift-giving saint show a compassionate globalized executive who runs his supernatural empire from the geographic North Pole.  All the dark edges have been smoothed away from Santa:  he does not whip bad children or give them fossilized hydrocarbons nor does he subcontract such punishments to devils like Krampus.  Like me, Santa is a toymaker, but, unlike me, he has a tremendous grasp of worldwide logistics.  A huge team of competent elves run his modernized factories and provide him with support.

Even more shockingly, after one and a half thousand years of celibacy, the devout bishop suddenly obtained a wife.  Mrs. Claus is usually pictured as a matronly but vivacious partner: a kind of polar first lady who frets about child-welfare, PR, and housekeeping –unless Santa is indisposed, whereupon she seamlessly takes over the reins for her demi-god husband (or am I the only one who saw that Christmas special?).

“For entirely personal reasons, I would like to announce that I am immediately resigning from my office as bishop” -Santa

Santa can be omnipresent, traveling everywhere on Earth in one night with help from deathless flying reindeer and a bottomless bag of holding.   He hears and sees all. This globalized Santa no longer performs flashy individual miracles (like resurrecting chopped-up children from barrels of salt).  Instead he has become a polished politician—relying on vast support networks to change the emotional frame of reference for the masses.

A typical contemporary movie might show Santa simultaneously helping a sad little girl connect with her estranged business-executive father, reuniting lovers sundered by mischance, saving a shelter puppy about to be put down, and finding homes for a plucky group of orphans (maybe even trying to help a lost toymaker/blogger/artist).  Santa always accomplishes everything with a deft touch so that the plots all interweave and everyone discovers the goodness was always in their hearts.  The solutions—kindness, generosity, love–were always obvious and Santa didn’t need to be there at all…or did he?

Santa’s tale is one of the strangest but strongest story arcs imaginable.   Over millennia, Bishop Nicholas, a thin, ascetic church prelate from fourth century Anatolia has changed into a globally recognized god of generosity.   The orphan child has apotheosized into the spirit of giving: A Christmas miracle indeed.