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Nonnegarten (Wayne Ferrebee, 2022), ink on paper

Ever since the beginning of the pandemic, I have been working on drawing with ink using a steel nib. Of all the drawing media I have used, pen and ink provides the most expressive and beautiful lines–provided you can avoid blotting, smearing, or spilling the ink. Alas, it is exceedingly easy to destroy your drawings (and your wardrobe) through the least mishap with the INDELIBLE ink. In the spirit of the masters of medieval illumination (who also utilized pen and ink), I have been drawing a series of strange floral monastic people–well, perhaps it is a bit unclear if they are people or paphiopedilums. In the picture above, a loving deity of growth irrigates the sentient crops as a kindly sister looks on. Beneath the grass, a caecilian hunts for destructive grubs among the roots and mycelia. Speaking of mycelia, kindly note the little gnome collecting mushrooms. In the heavens, a pelican flies by with a fish struggling in its beak while a bat-winged putto plays religious music on a lyre. The odd-man out in the composition is the friendly ring-tailed lemur who seems perplexed by this harmonious tableau (surely this can’t be Madagascar), but takes in in stride with sanguine primate good cheer.

The Sisters’ Day Out (Wayne Ferrebee, 2021), ink on paper

This second drawing is more complicated and harder to parse out. A little chapter of nuns have left their onion-domed convent to luxuriate in the heavenly effulgence. I feel like that aerobic-looking fairy may well be a lay-sister. Unfortunately, their repose is disturbed by a big, stiff, skinny mummy which is just lyin’ around on the lawn. Who on earth left it there and why? Also, why does the mummy have a mummified flatfish? The day is additionally marred by the presence two faceless apparitions to the extreme right. Drifting through the air everywhere are little zygote-spores of some sort (or are they little seeds of the flower people). It is good to see that life finds a way, even if the sisters are putatively uninterested in reproduction. Also there is an ermine (the very symbol of purity and moderation in Christian art) who is looking quite closely at a banana split.

I am pleased at the way that using black ink and white ink gives these peculiar allegories a feeling of dimensional form. Speaking of which, drawing with sumi ink this way also gives a literal 3 dimensional aspect to the work (albeit a slight one). If you run your fingers over these drawings, all of the lines are palpable and i had to photograph them multiple times because of little shadows and strange reflections cast by the raised ink.

The Cauldron in the Columbarium (Wayne Ferrebee, December 21, 2021) Ink on French paper

Here is a somewhat dark drawing for the longest and darkest night of the year (here in the northern hemisphere, anyway–if you are in the southern hemisphere or the tropics, happy summer!). I am not sure what is going on here (as with much of my art, this tableau came to me in a perplexing nightmare), but the various mummies, revenants, and human remnants certainly don’t seem encouraging. Also, I don’t place much faith in that nun or the insectoid bishop at far right. Frankly, the figure with the mystery light seems pretty suspect as well. Unless you trust the larvae with the insect faces (and who really does?) the only source of hope here is the gleaming woman above the cauldron. Unfortunately we don’t have quite enough visual information to say with certainty what is going on with her. Is she an allegory of the sun, momentarily inconvenienced by the solstice, but always ready to shine forth? Is she an apparition summoned forth by necromancers or some kind of Yule sacrifice? Or is she a goddess, a hero, or a sorceress? It is all unclear, which makes me think she might have something to do with the mysterious year to come. It doesn’t look exactly propitious, but you never know–sometimes naked allegorical people who spring out of cauldrons in columbariums turn out to be the best people of all [citation needed]. Let me know what you think and happy winter solstice. Oh, also, you better get out your worry beads–the biggest (and most audacious) space launch of the past two decades is coming up on Christmas Eve, so we are going to need a Christmas miracle to make sure we get our all-seeing cosmic eye in place! We will be back on Christmas Eve to talk about it. In the meantime, happy Yule…and best wishes for a happy winter (giant human cockroaches notwithstanding)!

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).

The Rapacious Frog Among the Wee Folk (Wayne Ferrebee, 2021) ink on paper

Happy Halloween! I’m afraid that I didn’t write all of the posts I meant to write about graveyards, tombs, and memorial gardens. We will circle back to them later (if ever), but for the present moment–as the Halloween candles burn down low–there is, indeed, a final treat for you: these ink drawings I made for the season. I have been working on building more dimensional forms and more elaborate textures by using multiple tones of ink on colored paper. Here are two of the test images. The top image, which shows a giant hungry frog rampaging through a churchyard came out especially well. The poor little elves and goblins are trying to escape the rapacious amphibian, only to discover that not all carnivores are from the animal kingdom! (The woodcock flying by in the sky is indeed a nocturnal bird, but is otherwise uninvolved with the elf carnage). Presumably these elves, goblins, and fairies are members of the aos sí–the mythical mound folk who dwell in barrows and tombs in Irish folklore.

The second image, below, is in a similar vein, however the relentless frog has been replaced by a much friendlier-looking bear. This ursine goofball scarcely seems interested in eating anyone–even the strange elf pickled in a jar by his paw. The puritan and the mummy who are with the bear likewise seem fairly friendly (all things considered). Despite all of these friendly monsters and animals, this world is not without peril. Roving extraterrestrials (or somebody with a weird spaceship) are in the picture and they are up to their old tricks of making off with bystanders.

As always, the flounders represent the ambiguities of trying to live together in an ecosystem where everyone is hungrily jockeying for resources. There were supposed to be some more pictures (on purple, brown, and moss green papers) but I did not have time to finish them all. The real horror of the churchyard is that everyone there has so much time, whereas we poor folk who are still among the living never have enough to get anything done! Kindly let me know what you think of my pictures and enjoy the rest of your Halloween!

The Puritan Elf Explains Terrestrial Morality (Wayne Ferrebee, 2021) ink on paper

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!

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.

Today (March 3rd) is World Wildlife Day! Initially I was going to write about a charismatic mammalian species like the magnificent Siberian tiger or the mountain tapir, but then it occurred to me that I should write about a predator which is larger than the tiger and ranges farther than the tapir, yet which humankind regards with contempt (if we think about it at all). Behold the magnificent Atlantic halibut, the largest of the flatfish.

The Atlantic halibut (Hippoglossus hippoglossus) is a mighty predator of the North Atlantic. They range from Iceland and Greenland down to the Bay of Biscay and Virginia. These fish are capable of reaching a length of 2.5 m (8.2 ft) and can weigh more than 320 kg (710 lb). Like other flatfish, Atlantic halibut are lurking benthic predators which snap up unwary prey animal, however, unlike many of the other flounder species (which sometimes swim awkwardly due to asymmetric bodies), Atlantic halibut are strong swimmers capable of lengthy migrations and real speed. Just look at how different their tail is from other flatfish. Although they are not absolute apex predator of their habitat (which is also inhabited by orcas, sperm whales, and great white sharks), halibut prey on some pretty substantial animals such as cod, haddock, herring, pogge, lobsters, large crabs, and various cephalopods.

Atlantic halibut larva (greatly magnified)

Although it rarely happens today, in our world of rampant overfishing, Atlantic halibut can live to be more than half a century in age. When they spawn, the female fish lay up to 4 million eggs (!) which hatch after 16 days. The tiny larvae (above) are almost transparent and they spend about a year among the zooplankton, gorging on microscopic algae, eggs, and tiny invertebrates until they are large enough to undergo the strange metamorphose into adulthood. Once they attain sufficient age and size, one of their eyes migrates across their skull to the other side of their head (they are right-facing flounder, by the way) and the back/bottom side of the fish becomes white and pale. Young halibuts are pale gray and brown with little pebble-like spots, but as they age they turn into a uniform sable color (on the upward facing part of their body, I mean). They are among the largest teleosts–although sunfish can grow much larger.

As you can see, Atlantic halibut are impressive fish. Yet, when I was growing up they were mostly known as the source of discount fish sticks or as something to fry when the cod was all out. Because they are commercially valuable (and delicious), they have been overfished to such a degree that they were added to the IUCN Red List of Threatened Species in 1996. Commercial fishermen also used to catch these halibut with bottom trawls–an ecologically devastating method of fishing which ravages the bottom of the ocean and creates far more bycatch (“accidental bystander fish” which are thrown back into the ocean dead) than actual catch. Ecologists have compared bottom trawling to dyamiting a forest to hunt squirrels.

Regular readers know that I religiously draw flatfish after flatfish (here, check out my Instagram profile and see for yourself). I get the feeling that it greatly perplexes most people (even though I have previously tried to explain) and, even now, I suspect that there are readers who wonder why I am featuring a “food fish” for World Wildlife Day rather than a tiger, falcon, or killer whale or something. For one thing, I think there are many things which are legitimately beautiful, special, and amazing about flounder. Their hunting, and camouflage abilities impress me as much as their non-bilateral symmetry (which is unique in the vertebrate world). The flounders are taxonomically much more diverse and widespread than say, primates. They are also a great symbol of the living oceans–a sort of avatar of the primordial depths which we never really know (no matter how many frogmen, minisubs, and trawlers we send down there). Of course they are also our victims–and we kill them literally by the boatload to make money and feed and amuse ourselves.

Flounder also have a tragicomic mien which I find deeply compelling: they are both the comedy and the tragedy mask at the same time. Their sad, hungry grimace and weirdly knowing google eyes perfectly encapsulate the ambiguities of being alive (there is a reason that use of the word “floundering” leaped off of the charts during our annus horribilis in 2020). But in the end, it strikes me that life itself is floundering as humans desperately use up more and more of the planet’s resources. As much as I would love to live in a giant money shower like Wylan or Ed Hardy, somehow killer whales and tigers do not scream “victim” the same way that flounders do…and it is impossible not to conclude that that is exactly what the natural world is screaming right now.

Apollo and the Flounder (Wayne Ferrebee, 2021) ink on paper

Palace Progress (Wayne Ferrebee, 2021) Watercolor & ink on paper

Here is a watercolor picture from my the little moleskine sketchbook which I carry around. A pompous, three-legged grandee makes his serene progress through a palace landscape. Around him are fawning moth courtiers and little fairies (as well as a horrified little flatfish who has somehow wound up in the garden’s reflecting pool). Although it is good to poke fun at the airs of aristocrats, my favorite part of the picture are the fluffy pink flying fox in the center and the ancient monotreme. Watercolor is not my finest medium, but maybe if I keep trying to capture fantastical foibles with the set I carry in my bag, I will keep improving…

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Idolatrous Floundering (Wayne Ferrebee, 2019) Wood with polymer figures and panel paintings

The art of the middle ages was meant to be viewed the way motion pictures are in the modern world. By painstakingly combining different disciplines (sculpting, painting, jewelsmithing, architecture, and calligraphy), medieval artists created emotionally fraught works which told an ever-changing story. The hidden figures, complex allusions, and frame-by-frame narrative progression invited extended contemplation.

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Idolatrous Floundering (detail)

The sculpture “Idolatrous Floundering” is crafted to mimic these epic devotional artworks. Yet, whereas medieval art was meant to highlight the centrality of hierarchical religion in people’s lives, this sculpture apes such forms in order to examine the ways in which society uses emotional hooks to manipulate people for political or economic reasons. There is no sacred miracle at the heart of the hooked fish, just a dangerous trap. The strange addled worshipers and the natural world itself all stand in peril from this deadly devotion to false idols.

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Idolatrous Flounder (detail)

Like the artisans of yesteryear, I carefully sawed, carved, sanded, and engraved the elaborate frame (and using a lathe to turn the finials). Then I painted the panels and hand-sculpted (and baked) all of the little polymer figures. Hopefully the jewel-like work possesses some of the troubling power of devotional artwork, but I also hope it won’t serve as a reliquary for a world ruined and used up by desperate adulation of coercive seductions.

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Happy April Fish Day!  The French manifestation of April Fool’s is much nicer than the rather horrid Anglo-Saxon version.  There is still room for farcical fun, as friends try to affix colorful paper fish to each other’s backs (although, admittedly, wearing a pretty fish is no substitute for being badly frightened or lightly injured in an American prank).

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Anyway, I was thinking about these fish, and it gave me an idea for camouflaged sculptures that blend in with the surroundings.  One of the secret strengths of the flatfish (which have become an artistic fixation of mine lately) is that they are capable of changing color to blend in with their habitat.  Unfortunately, this is usually a muddy seabed, which never really allows turbot, sole, plaice, and such like flatfish to explore their frivolous fashion side. With this in mind I set about building a flounder mold to make some “crouching turbot…hidden flounder” sculptures.  Unfortunately I only managed to craft a handful of prototypes, and I was unable to position them to maximum photographic advantage in the concrete jungles of early Anthropocene Brooklyn (yet). However we can get to that later.  Check out these streetfish I made for April Fish Day!

 

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I couldn’t find anything made of shiny steel to put that last one on top of, but fortunately my friend and erstwhile roommate Jennifer was wearing some fashionable silver footwear to help the poor fish feel at home!

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This is just the beginning of this project and we’ll see some more exotic streetflounder in the near future (as soon as I find some more disposable containers for mixing plaster) but in the meantime, happy April Fish Day!  Let us revel in the beauty of spring! Additionally, this is the ninth anniversary of the founding of Ferrebeekeeper, an event steeped in mysterious lore. Celebrate the happy occasion by dropping me a line or telling me what you would like to see more of!  I, personally would like more comments, and, to that end, I promise I will be better about responding quickly and cogently.  Thanks again for everything.  My readers are the best!

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