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2020 Flounder clean

Wow! It seems like just a few days ago I was talking about Ferrebeekeeper’s 10th anniversary, but I guess that was actually back at the beginning of April…  back in the world before the quarantine.  Anyway, in that long-ago post, I mentioned that Ferrebeekeeper’s 2000th blog entry is coming up (if you can believe it) and we would celebrate with some special posts, pageantry, and little treats.  Boy I really failed to follow up on that, and now today’s post is already our 1999th…

But there is still plenty of time for a Ferrebeekeeper jamboree (“jamboreekeeper”?)! Let’s start the festivities today with a special gift for you: a free flounder PDF for coloring:

2020 Coloring Flounder with Invaders

If you don’t feel like downloading the PDF, there is the black and white drawing right up at the top of today’s post.  It features a timely flounder for 2020–a big invader flounder with dead black eyes and a pitted lifeless surface of desiccated craters and impact marks.  Upon the flounder are alien shock troops…or maybe cyborgs? (…or maybe they are more familiar political militia). Space seeds and mysterious cardioids float down from the night sky onto a writhing landscape of burning Gothic cloisters, ruined mechanized battle equipment, and little refugees (and wriggling, beached flatfish of course ).

In some ways, this chaotic picture is not what I wanted for a celebration (where is the lavish garden party flatfish PDF already?), but in other deeper ways it is perfect for this moment of international floundering. Anyhow, you didn’t really want to color more ribbons, jewels, and roses did you?  Well maybe you actually don’t want to color at all, but if you do break out your pencils and crayons, send me a jpeg of your efforts at wayneferrebee@gmail.com and we will post a little disaster gallery! And, as always, keep tuning in! There is more excitement for our big MM celebration…or there will be, as soon as I dream it up…

Parasite Flounder

Larval Flounder with Parasite (Wayne Ferrebee, 2020) Ink and colored pencil on paper

The strictures of the world’s new routine have allowed me to finish coloring/inking an ocean-themed drawing I have been working on.  Unfortunately, no matter how I adjust the darkness and the contrast, I can’t get it to look like it does in the real world, so I am afraid that you will have to accept this frustrating digital simulacra (aka the jpeg above).

Broadly speaking, this series of flatfish artwork concern the anthropogenic crisis facing Earth life (particularly life in the oceans, which most people tend to overlook and undervalue), however they are not meant as simple political polemics.  Hopefully, these artworks reflect the ambiguous relationships within life’s innumerable intersecting webs of symbiosis, predation, and parasitism.

Humankind appears directly in this artwork–but symbolically rendered as sea creatures so that we can contemplate our nature at a level of remove.  From left to right, one of these merpeople is the host of a big arrow crab which seems to have stolen his mind (in the manner of a cunning paper octopus hijacking a jellyfish).  The larval flounder is itself being ridden (and skeletonized) by a great hungry caterpillar man thing which has sunk its claw legs deep into the bone.  A lovely merlady plucks away a parasitic frond from a cookie-cutter shark as a shrimpman hunts and a chickenman stands baffled on the ocean bottom.

As we learn more about life we learn how it melds together, works in tandem, and jumps unexpectedly from species to species, or speciates into new forms. I wish I could describe this better, since to my comprehension it seems like the closest thing to a numinous truth we are likely to encounter in a world where gods are made up.  I have abandoned essays to try to portray the sacred and profane ways that lifeforms come together with art.  Let me know what you think, and I will see if I can scan it better.

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Cellular Flounder goes Viral (Wayne Ferrebee, 2020) Wood and Polymer

Pursuant to the international coronavirus pandemic and the strange world of quarantine we find ourselves living in, here is an artwork I have just finished.  I made the cell/flounder sculpture last year to explore the nature of cells (which are underappreciated by everyone except for biologists…and biologists now basically only study cells, since they have recognized that they are all important).  I am always shocked at how much the diagrams of cells look like diagrams of big crazy cities.  I think there may be instructive reasons for that similarity, however it is unclear how to articulate these abstruse concepts except through the symbolic language of art.  I made the cell a flounder because that animal is my current avatar of Earth life, and since the flat oblong shape is ideal for art presentation (and because of the sad, anxious, comic eyes of course).

cell flounder

I finished the cell/flounder part of the sculpture last year, but it has never struck me as complete.  The present crisis sharpened my thinking and so I added a little army of viruses which were enormously fun to make and which are cuter than they have any right to be. Admittedly these are phages rather than coronaviruses, but I find icosahedrons and spider legs more visually interesting than spheres.  It is all part of the magic of art.  As always, kindly let me know what you think and stay safe out there!  Things look a bit bleak and odd, but I wonder if we are not doing better than we recognize!  We are all trying at any rate, and we will know more soon.  Also spring will be here tomorrow (and with it, a bunch of flower posts, so there is that to look forward to).

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Original form (before the invasion)

Plague Doctor Flounder

Plague Doctor Turbot (Wayne Ferrebee, 2019), Ink and Colored Pencil

To celebrate this day of pestilence, world economic collapse, and political discord, here is a plague doctor meticulously sewing a poor maimed flounder back together.  In the background a stitched together heart glows red with life above a lady’s slipper orchid (although a cold frozen heart and a fly also hint that other outcomes are possible, if we don’t get our act together).

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The Heavenly Corn Bounty (2018) Wood with Mixed Media

I got sucked into the affairs of the nation and failed to write a blog post, so here is a classic flounder sculpture I made back in 2018.  The piece is a reflection on the heavenly golden staple crop maize which fuels and feeds our nation…but it also reflects on how strange, alien, and disconcerting corn is.  The post is a way to highlight a sculpture which I made, but is also a reminder that I need to write more about maize here in the upcoming year!  For good and for ill it really is a golden staple which holds the nation together.

Also, I chose that title back in 2018, and now I can’t remember why.  Does anybody have any better suggestions? “Maize Place” maybe?

Palomino-Flatfish

Mustang Sole (Wayne Ferrebee, 2017) Wood and Mixed Media

I got wrapped up working on a strange allegorical fish sculpture and failed to write a post today, so here is a sculpture which I built a few years ago which captures the wild freedom of the west (in, um, the form of a sleek predatory pleuronectiform).  The wheels, the running horse, and the fish all connote mobility and streamlined speed.  The mustang is emblematic of North America, but horses were actually introduced to the continent by Spaniards in the early 16th century.  Equids actually originated in the Americas (back in the Eocene, of course) but through the vicissitudes of continental drift, land bridges, speciation, and extinction they died out here and became quintessential Eurasian animals (we’re not even going to talk about zebras).  My favorite parts of this sculpture are the bend wooden components (which were a pain to steam and glue) and the 1970s rainbow of caramel, cream, and gold colors.  it is one of my favorite fish sculptures…but I am still trying to figure out exactly what it means.

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Ghostly Sole (Wayne Ferrebee, 2019) ink on paper

I meant to post a weird evil clown flounder picture which I had (a “clownder”?), but, infuriatingly, I could not find it among my boxes of drawings.  I suspect it will show up next year, during election season when we have forgotten all about evil clowns (rolls eyes).  Anyway, for Halloween, I will just put up the drawing I was working on for All Soles Day, the biggest holiday in the flounderist’s calendar (?).  It is a picture of a ghostly sole, on the bottom of the ocean surrounded by apparitions playing musical instruments and ethereal sea creatures and monsters.  There are some other things in there as well.  Hopefully it is becoming evident that my flatfish series of artworks represent an elegy for the dying oceans.  Shed a pearlescent tear!  But also remember: the oceans are in deep trouble, but they are not dead yet.  Filled with plastic and floating Chinese fish factories and bleached coral and acidified warm water they still team with life.  We could safe them and live together on a beautiful planet, but we will have to be better versions of ourselves.  It is a chilling message for All Sole’s Day (and an unhumerous end to Halloween season) but it is the most important advice you will find on the internet, despite the fact that it is abstract and open-ended.  Just look at the picture though, you wouldn’t want to live in a world with dead oceans would you…I mean even if you could.

IdolatrousFlounderingWooden

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.

Tiger Flounder Omega

Tiger Flounder (Wayne Ferrebee, 2019) Wood and Mixed Media

Here is another flounder artwork which I just completed.  A majestic Amur Tiger is “hiding” on the pink, purple, and green stripes of a lurking flatfish.  Something which has forcefully struck me about the popular understanding of flatfish is how many people are surprised at what successful predators flatfish are (I guess perhaps people unconsciously thought they were carrion eaters because they live on the ocean bottom?). Anyway, like tigers, flounders lurk in wait, blending in with their surroundings until the perfect moment and then “snap!” they grab up their unsuspecting prey.  Tigers are of course a beloved super charismatic animal which people think about all of the time (although flatfish make up an entire taxonomical order, I get the sense that people who aren’t anglers or ichthyologists don’t think about them quite so much).  Frankly our fascination and love haven’t helped the big cats all that much though: they are rapidly going extinct in the wild due to habitat loss and poaching (mostly for moronic traditional nostrums).  This juxtaposed flounder sculpture hints at the sad fate facing the world’s brilliant animal predators.  It is also a study in the dazzling color and form of stripes!

Great Flounder

The Great Flounder Float at the start of the 2019 Mermaid Parade

I’m sorry about last week’s paucity of blog posts.  I was busy building a float for the 2019 Mermaid Parade at Coney Island! This annual festival to Poseidon occurs on a Saturday close to the Summer solstice and is the scene of enormous creative extravagance and burlesque merriment…all in the name of ocean appreciation, of course.  Last year I attended with a rolling flatfish float, and although that was a hard day, it was also a noteworthy success.

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Mermaid Parade 2018

Alas, parades are like Hollywood blockbuster movies…sequels require even bigger and better special effects (and it is easier to get things wrong).  Last year’s float worked and people really enjoyed the spinning wheel of horoscope signs, but it was nearly impossible to transport.  After an unhappy run-in with the front door, my roommate and I ended up death marching the thing to Coney island (which is about 7 miles away) at 2:00 AM the day before the parade.  Thus, for this year’s Mermaid Parade, I decided to build a magnificent 6.5 meter (21 foot) flounder puppet out of fabric which I could roll up and transport with ease! Genius! We could handle the flounder high above our heads with 3 meter (10 foot) wooden poles and their would be no difficulties like last year.

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A quick trip to the trimmings district provided me with hundreds of iridescent ultrasequins to use as scales. Then it was just a matter of hours and hours and hours with the scissors and the hot glue gun (coincidentally, I don’t think I have fingerprints anymore).  I bullied some hapless friends into attending the parade with me and another one of my friends, the great Lebanese artist Lara Nasser took these pictures (you should check out her brilliant but disquieting art which contextualizes the uneasy nexus of religion, politics, and gender in contemporary Beirut).

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Now, people who have jobs as actuaries, account supervisors, and crooked economists do not recognize this, but when you make actual things, there are always unexpected problems.  I should have built some prototype giant puppets, or at least watched old footage of carnival in Brazil.   Although I did some test runs and reinforced the fish with some struts made of rigid plastic tubing (cough, chopped-up hula hoops), the great flounder float had a tendency to droop when there was not a stiff wind.  When there was a stiff wind, the mighty halibut was more than capable of manhandling the puny humans trying to move it around the Coney Island environment.

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The giant tablecloth was weirdly translucent, yet it was heavier than expected as well, as were the 10 foot poles.   In the disorganized scrum to line up we kept getting stiff armed by groups of majorettes and half-naked flamingos.

Then, as the parade started in earnest, so did the wind and we were suddenly wrestling a giant sky halibut.  It must have looked like a sad episode of “America’s Stupidest Catch” as we reeled around Surf Avenue trying not to get knocked down.  The fish gods were angry!

Although we tried valiantly to contain this situation, the float was stronger than the three of us.  The glistening flatfish snapped the two outermost poles and then angrily bludgeoned the woebegone attendants with its fins as the audience watched with good-natured drunken derision.  We tried to carry the flounder horizontally (like the tablecloth it originally was), but soon there were recriminations, counter proposals, and a decision to withdraw.  Arguably this was the right decision, but we were trapped in a 2 mile chute bounded by steel barricades.  There was no escape except a long sprint of shame with the now unworkable fish sadly dangling behind us.

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This stung at the time, but, in retrospect, who cares about a good competent performance? This is America in 2019 and what we love most here and now is a hot mess!  Parades are about spectacle anyway.

So, um, does anybody want to come with me next year? I am not sure how I can top being beaten up by a 21 foot long flatfish in front of 50,000 people but we will think of something (although this particular group of friends may not be into additional parades).  There is no way to know what will happen in 2020 (not without some sort of all-knowing oracle, anyway), but I have a feeling it is a year which will feature plenty of new melt-downs and unintentional floundering.

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