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Has anyone noticed the rash of giant snake attacks in Indonesia?  These alarming stories of giant snakes  follow a very ancient (and horrifying) narrative pattern: a lone villager or traveler chances across an enormous predatory reptile from 20 to 30 feet in length.  Mayhem ensues.  Usually the human survives and fights off the monster with a machete (or with aid from a torch wielding mob), but sometimes the human vanishes…only to be found being slowly digested inside a reticulated python.

Taken from an individual human perspective, it is hard not to think of the pythons as the insatiable villains of such stories, but the real narrative is more complicated.    Palm oil is made from fruit of the palm oil plant, a tropical generalist. Not only is this oil a lucrative (and delicious) additive to desserts and other processed foodstuffs, it is also extensively used in cosmetics, shampoo, and soaps.  Indonesia has the third largest rainforest in the world, but palm oil growers are destroying these forests at an unprecedented rate. Indonesia’s tropical rainforests are vanishing even more quickly than the rainforests in Brazil or the Congo.  These forests are cut down and replaced with palm oil plantations, enormous monocultures where most traditional rainforest animals cannot live, however rats can and do live there on the oily palm fruit.  The pythons are hunting rats in these plantations because their forests were destroyed.

 

Humankind the great hive organism is swallowing these forests whole (in the form of delicious candy and aromatic toiletries).  The animals which live there are likewise being eradicated. Indeed the most recent giant python to attack a villager who molested it was literally cut into pieces, fried, and devoured by hungry villagers.  It makes one wonder if the Saint George and the Dragon pictures were not so much about humankind surmounting evil as about the tragedy of deforestation in medieval England.

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Today’s news was filled with bluster and foolishness to such an extent that I am just going to disregard it all for the moment and write a throw-away humor post about consumer goods.  Presumably we can work on restoring science, democracy, and art to humankind at some later point when I am less tired from work.

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It has been widely noted that honeybees have been disappearing from the world.  Although this problem was exacerbated by climate change, invasive varroa mites, and disease, the main problem is the overuse of neonicotinoid pesticides, which take a terrible toll on hymenopterans in general and are especially hard on eusocial bees (which extensively rely on elaborate organization, communication, and teamwork).

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This past week, General Mills, the maker of Cheerios decided to cash in on this tragedy, with a marketing campaign in which “BuzzBee” the cartoon bee who is the mascot of HoneyNut Cheerios has likewise gone missing.  The firm is distributing packets of “wildflowers” with their cereal so that children can help out our beleaguered insect friends by planting bee friendly gardens.   It is a bit unclear how wisely or carefully the flowers in the packets were chosen, but I am generally a fan of flower gardening and this sounds like a potentially fun promotion (although I have a suspicion there will be a lot of people who end up disappointed by the “Diving Dolphin” nature of cereal box seeds).

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Although he comes from a rogues’ gallery filled with monsters, addicts, and leprechauns, the Honey Nut Cheerios bee was a fairly amiable cereal mascot: he was sort of good-natured and slightly anxious bee who wanted you to experience “one honey of an O” with his delicious sugary cereal (which really is pretty good).

Yet I tend to regard BuzzBee not as a victim of colony collapse disorder as of poorly thought-out branding.  He seems like he was created by a room full of MBAs without a particularly good grasp of hymenopteran life cycles.  Notably, the honey nut bee was clearly male—even though male honey bees are stingless drones of limited utility to the hive. It seems unlikely that he would ever obtain reproductive success hanging around human kitchens (fertile queens tend to be found and courted in harrowing aerial circumstances), however people also do not tend to use agricultural pesticides in their kitchen, so Buzz most likely did not die of neonicotinoids:  more likely he was a victim of starvation, winter, or possibly a bee-eating predator such as a lizard or a bear.

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And if Buzz did manage to get his act together and find an unfertilized queen, then we will certainly never see him again!  Reproductive consummation proves fatal to drones.

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No doubt, General Mills is hoping to bring Buzz back in the style of Coke Classic with much fanfare and, um, marketing buzz, however, I hope that when they do so, they stop and think about actual bees.  To my mind, a honeybee mascot would be much more powerful if it was a formidable queen bee or, even better, a group of terrifying clone sisters who all speak the same thoughts in the same hive voice.  That would truly be an appropriate image for the group-think world of brand marketing.  Also it would leave an indelible impression on the mind of today’s youth, the same way “Crazy Cravings” scarred a group of children with his disturbing need for Honeycomb.  Crazy Craving taught all of us how giant corporations would like us to be, maybe the fact that GM is so willing to disappear the friendly face of its sugar cereal for a bit of tawdry publicity will remind us afresh of the world they are trying to build.

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Chartreuse Cloud Monster (Wayne Ferrebee, 2016, cardboard and paint)

Hypothetically, sometimes, at one’s day job one has a pushy colleague who loudly demands things and stridently lobbies for oh say…all new office furniture.  It is a conundrum whether to simply bow to the wishes of the assertive colleague who demands a credenza from the internet, or whether one should go to one’s superiors and assess whether this is the right use for the office credit card.  One could potentially be caught between bickering superiors fighting over a cheap credenza. Hypothetically.

In unrelated news, office credenzas come packed in extremely heavy cardboard boxes.  This cardboard seemed perfect for building something, so instead of throwing it into a landfill, I cut it out and brought it home to build into strange new life (thereby erasing any unpleasant office politics which may or may not have been involved in its acquisition).

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Tawny Elder Monster (Wayne Ferrebee, 2016, cardboard and paint)

Last year I crafted a three-dimensional anglerfish/horse type monster in bright fluorescent colors to go with the blooming cherry tree.  This year I decided to build three ambiguously shaped blossom monsters out of the heavy cardboard from some, uh, office furniture.   The first monster (chartreuse, at the top), was meant to represent the life giving power of spring clouds.  He is a cloud creature squirming with tadpoles–or maybe Yin/Yang spirit energy…however the guests at my party thought he was a three eyed camel with sperm on him (which I guess is also true, from a certain point of view).  I wonder if Henry Moore had to deal with this sort of rough-and-ready interpretation of his abstract sculptures.

The second statue, which may be the best, is an orange figurine somewhere between a wise bird and a tribal warrior.  It has the cleanest lines and the best paint job and it is only marred by a slight tendency to curl up (there is always something!  Especially if one is dealing with cardboard sculpture).

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Pink Sphinx Figure(s?) (Wayne Ferrebee, 2016, cardboard and paint)

Finally I made a sort of pink octopus/sphinx with a glowing pink interior. Again one friend looked at it and said “It’s a Pierson’s puppeteer!” (this being a meddlesome three-footed, two-headed extraterrestrial super-being from Larry Niven science fiction novels).

Another friend looked at it and said “Why is it so explicit?  I can’t believe you would show such violent erotic ravishment at your cherry festival!”

So, I guess my blossom monsters are more evocative and more ambiguous than I meant for them to be (I was sort of thinking of them as a cross between Dr. Seuss and African carvings).  Please let me know what you think!  Oh and here is a colored pencil drawing of the orange one cavorting beneath the cherry tree!

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Blooming Cherry Tree (Wayne Ferrebee, 2016, colored pencil and ink)

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The Blossom Monster Sculpture (last year, after I had just made it)

Last year, for a cherry blossom viewing party, I laboriously built a human sized blossom monster out of papier-mâché.  But what does one do with a blossom monster when the party is over and the blossoms have fallen?  I really meant to throw him away. Yet, somehow, whenever I went to discard him, something else always came up.  He was lurking in a different part of the garden..or it was not garbage day. There was always and excuse to save the fluorescent monster, no matter how threadbare he got.

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But winter was not kind to him: he had sunk to the ground and his legs were coming off. One of his glitter lantern eyes was gone. It really was time for him to go (plus I made a new group of blossom monsters to celebrate this year’s cherry blossoms).  So I had to toss the poor art creature (a fate which will seem instantly familiar to arts professionals).

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However, once I threw him in the garbage he gained his creative fulfillment. Indeed the pathos of the discarded monster was quite moving.  His last act was his finest and now I will forever think of him like the maimed protagonist of a Caravaggio religious painting, with divine light shining on his fallen countenance.

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Namorodos

Namorodo Spirit (Mick Kubaku, 1971, earth pigments on eucalyptus bark)

Ferrebeekeeper has not written about the undead for quite a while…so here is a terrifying monster from Australian aboriginal folklore. Namorodos (Namorroddos) are a type of evil nocturnal monsters from the mythology of Western and Northern Arnhem Land. Namorodos come from broken lands of rocks and sharp cliff faces. Made of dried skin, gristle, and bones, they fly through the night on howling desert winds. They are desiccated and thin and horrible—desert corpses brought to savage hungry life by supernatural force.

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Mimi Spirits and Namorodo Spirits (Bobby Barrdjaray Nganjmira, ca. mid to late twentieth century, ochre on bark)

Like vampires and other undead, namorodos seek to suck the moist insides out of living humans (and thus transform the living into fellow namorodos). As with the horrible Alpine Krampus monster, namorodos seem especially fond of preying on willful children who become lost because they fail to listen. They seem like the savagery of the arid lands personified as a villain: a lesson written in horror.

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Namorodo Flying in the Sky (Wesley Ngainmijra, 1988, Chalk on paper)

Namorodos are also illustrated in the beautiful art of Arnhem land. Look at these disquieting yet elegant pictures of the arid monsters.

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There are four great masterpieces of classical Chinese literature (or possibly five, if you count erotic fiction…but that is a story for another day). The most fantastical and supernatural of these four masterpieces is The Journey to the West…and the indelible hero of The Journey to the West is a monkey, Sun Wukong AKA the Great Sage equal to Heaven AKA Pilgrim Sun AKA the Monkey King (classical Chinese literature has a lot of sobriquets).

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At the beginning of the story a vast round stone boulder sits atop the Mountain of Flowers and Fruit (a paradisiacal mountain island off the coast of China). Warmed by the sun and caressed by the wind since the beginning of time, the granite egg cracks open and Sun Wukong emerges, a fierce clever monkey made of obdurate stone. Immediately after emerging from this egg, golden beams shoot from his eyes which are visible throughout the firmament (a harbinger of the monkey’s future).

Sun devotes himself to mastering Taoist magic (eating sacred fruits, drinking elixers, collecting magical items and learning spells). He becomes king of the monkeys and starts to participate in the wider affairs of the world…but as a demonic monster who eats people and kills for fun. When he learns of the splendors of heaven and the power of the Jade Emperor (the Celestial monarch at the center of a vast spiritual bureaucracy) he decides to make himself into a deity and hilarious, horrifying chaos ensues.

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But all of that is backstory. In the story proper, Sun has grown up. His attempt to overthrow the cosmic order is behind him…mostly…and he has devoted himself to self-mastery. With a bit of (coercive) help from Kuan Yin he has transformed his personality. The chaotic animal demon who killed innumerable people with dark magic has become an ascetic Buddhist monk and he has a difficult assignment: take care of a pathetic weakling (human) monk in a seemingly endless journey across monster-haunted wilds of mythical Asia. Along the way the monk (the spirit) and the monkey (the mind) are joined by a pig god (the appetites) and Sandy, a river monster (???). It’s like a twisted cross between Kung Fu, Pixa, and Homer.

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That is a sort of book-report blurb about an epic which is really an allegory of Buddhist virtues. The monkey king’s Taoist powers mirror the intellect: he has godlike powers of transformation, apprehension, and trickery, but these are of no use without more subtle virtues. The search for these elusive strengths is the real Journey to the West. The story has shaped Chinese cosmology and mythology ever since the book came out in the Ming Dynasty. Since then Monkey has been kind of an actual religious figure…but one who has moments where he is more like Bugs Bunny or Charlie Chaplin than like Jesus or Kuan Yin.

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This all sounds ridiculous—and it is. The juxtaposition of high-minded religious philosophy and low comic hijinks has made the Monkey King universally known in China. There is a deeper reason for this popularity: reality itself is a ridiculous mix of cerebral, noble, and profane elements. The monkey king is a fine mirror for our own madcap primate attempts to reconcile these incompatible impulses.

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Knight Town (Wayne Ferrebee, 2015, colored pencils and ink)

Knight Town (Wayne Ferrebee, 2015, colored pencils and ink)

It is already the winter solstice.  What with the Christmas rush and year-end business at work I have not had time to pick out a suitable theme for the longest night of the year.  But my subconscious has not been so quiescent.  Here are the three most recent drawings in my little book.  I suddenly notice that each of them takes place at night.  Above is a knight in jaunty paisley wandering the streets of a nocturnal city.  Dinosaurs grapple as a glowing lizard glides down toward the warrior.  A little glowing plant man and a strange luminous crystal add interest.

Bar in Alphabet City (Wayne Ferrebee, 2015, colored pencil and ink)

Bar in Alphabet City (Wayne Ferrebee, 2015, colored pencil and ink)

Here is a scene at a bar in alphabet city.  The patrons were jostling and squiggling pretty vigorously (which made them hard to draw), but I think I caught the milieu.

Fallow Hill (Wayne Ferrebee, 2015, colored pencil and ink)

Fallow Hill (Wayne Ferrebee, 2015, colored pencil and ink)

Last is my most recent piece, which somehow looks like it something from a heavy metal album.  I have no idea what is going on here. Demons and ghosts are gathering around a terrible haunted face growing up out of the fallow fields.  A hellish glow pervades the horizon.  No more horror novels before bedtime.  The great thing about the winter solstice is that it will keep getting lighter from this point on. Although admittedly the coldest times of winter lie before us, the darkest times are passing.  And they aren’t even that bad…well, not as bad as this horrible undead scarecrow thing.

Strange Ocean World (Wayne Ferrebee, 2015, colored pencil on paper)

Strange Ocean World (Wayne Ferrebee, 2015, colored pencil on paper)

Well…it was another day that got away.  What with work and dinner and the grind, I failed to write about beaked whales.  Don’t worry: those magnificent diving experts cannot escape our pen forever, but, in the interim, we must fall back on my daily doodle book (which Ferrebeekeeper cognoscenti know is a little moleskine sketch book that I carry around and draw in during my spare time).  I have a big sarcophagus-shaped pencil tin too—which is full of colored pencils and markers to bring my drawings to life.  The first sketch however (above) only required one “Blue Denim” colored pencil.  It’s a little unclear, but I think it is a picture of the future oceans filled with bathyspheres, synthetic ocean life (to replace the fish we are recklessly killing off), and ships driven by fanciful propulsion.  Synthetic beings and post-humans fly through the weird clouds of this strange ocean world.  In fact, maybe it’s not Earth at all, but somewhere else entirely—an ocean world of oddly familiar alien marvels.

City with Glowing Crystal (Wayne Ferrebee, 2015, ink on paper)

City with Glowing Crystal (Wayne Ferrebee, 2015, ink on paper)

Next is another troubling pastiche of nature and technology.  A happy monster ambles by a shambling city while a gambling demon tosses dice at a magic crystal.  Reptiles and weeds fill up the foreground as strange elongated opossums creep in from the sides.  It’s just like now!  This might as well be a CNN photo about the 2016 election.  This image may need to be colored in.  What do you think?

Succulent Fruit (Wayne Ferrebee, 2015, Colored Pencil and Ink on paper)

Succulent Fruit (Wayne Ferrebee, 2015, Colored Pencil and Ink on paper)

Finally, thanks to enthusiastic comments from my favorite readers, I included more fruit.  One of my tasks at my new day job is overseeing the fruit supplies for a big office full of desk jockeys who spend all day looking at important documents.  Because of ancient precedent, almost all of the fruit is bananas, and my colleagues beg piteously for different fruit.  I have provided their wants…in this fantasy drawing which shows a succulent world of juices, seeds, and glowing tutti-fruit color. It could also be that there is a statement here about our world of agriculture, selective breeding, transgenic alteration, and over-consumption…or possibly it is just a fun doodle I made at lunchtime.  As always, thanks for looking at my little artworks. I treasure everybody’s comments (though I realize I have been slower than usual to respond).  Let’s keep enjoying the rest of summer. I’ll keep drawing (and the post about beaked whales will appear soon). Cheers!

Inku-turso (drawing from minnasundberg.fi)

Inku-turso (drawing from minnasundberg.fi)

In Finnish mythology, Iku-Turso was a malevolent ocean deity who took the form a terrible sea monster. Due to the vagaries of language, it is unclear whether he (?) had the shape of a colossal walrus or a giant terrible inkfish (i.e. an octopus).  Contemporary Finnish artists apparently see no reason he can’t be both and the internet has some amazing and disturbing images of the dark god of the depths.

Iku Turso (art by Nuctameron)

Iku Turso (art by Nuctameron)

Not only was Iku-Turso’s appearance formidable, but he seemingly had powerful and weird magic—a sort of divine antagonistic surrealist. The god makes a typically bizarre appearance in the Kalevala, the great mythological epic of the Finns (which Ferrebeekeeper has already visited—to tell the dark story of Lemminkäinen and the Swan of Tuonela).  In the second canto, the god rises from the depths and burns a huge hay stack.  From the cinders grows an oak so large that it threatens to blot out the sun and moon—and so the tree must be cut down.  Later in the epic, Inku-Turso is enlisted by the goddess of the North (the witch Louhi) to prevent the theft of the powerful magical artifact Sampo.  However one of the sorcerers seeking Sampo was too powerful for even a bizarre walrus/octopus sea god to stop.  Poor Inku-Tursu ended up magically cursed to haunt the bottom of the ocean.

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The dark god has made few appearances since then, but I imagine a Finnish epic about exploring the abyssal plains would be exceedingly exciting!  In fact that sounds great for all sorts of reasons! Could some of you Finnish bards get busy and make it happen?

Blossom Monster (Wayne Ferrebee, 2015, paper mache and mixed media)

Blossom Monster (Wayne Ferrebee, 2015, paper mache and mixed media)

Today’s post touches on larger aesthetic and moral issues, but first let’s showcase some weird art!  This is “Blossom Monster” a 3 foot by 7 foot chimerical monster which I made to celebrate the annual reappearance of the cherry blossoms.  It is a sort of cross between a deep sea fish, a scorpion, and a horse. The creature is crafted from paper mache (or papier-mâché?) and has LED-light up eyes and fluorescent pink skin which glows faintly in the dark.  I initially placed it beside the tulip bed, but then I realized it was on top of the iris, so now the creature has been shuffling aimlessly around the garden looking for a permanent display spot. “Blossom Monster” is made of discount glue which I bought in bulk from the 99 cent store, so, as soon as it rains, the sculpture will probably dissolve into a heap of gelatinous ooze and that will be that.

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There is nothing more beautiful than cherry blossoms, so why did I make a weird ugly fluorescent monster to go with them? I have a story to answer that question: every year the Brooklyn Botanic garden has a famous cherry blossom festival which is attended by tens of thousands of people (at the least).  Although I think the tree in my garden is prettier than any individual specimen they have, the Botanic Garden has orchards full of Kwanzan cherry trees along with hawthorns, quinces, magnolias, plums, horse-chestnuts, and other splendid flowering trees.  The effect is truly ineffable—like the Jade Emperor’s heavenly court in Chinese mythology.  Yet over the years people became bored with the otherworldly beauty of trees in full flower, so the Botanic Garden was forced to augment their festival by adding odd drum performances, strange post-modern theater, and K-pop music.  They also invited cosplayers–so now the blossom festival is filled with space robots, ronin, mutant turtles, and provocatively attired cat-people (in addition to the already heterogeneous citizenry of Brooklyn).

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Adding layers of kitsch, tragic drama, manga, and human aspirations (of all sorts) has greatly augmented the peerless beauty of the blossoms.  The prettiness of the garden has been elevated into high-art by the plastic hats, spandex, and makeup.  The blossom festival now has a fascinating human element of ever-changing desire, aspiration, and drama which the blossoms lacked by themselves (except maybe to gardeners, who know exactly how hard it is to get perfect flowers to grow).

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Of course the shifting annual particulars of novelty do not match the timeless beauty of the cherry trees. In a few years we will all hate princesses, k-pop, and furries which will seem like hopelessly outdated concepts from the ‘teens. The blossom festivals of tomorrow will be attended by future people wearing neo-puritan garb, or hazmat suits, or nothing! Who knows? The allure of the cherry blossoms will never change, but the whims of the crowd beneath will always make the blossoms seem new.

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Novelty has always struck me as weak sauce, but it is, by nature, a new sauce.  It needs to be drizzled on things to make them appealing (even if they are already the best things—like cherry blossoms).  This is a monstrous truth behind all fads, tastes, and art movements.  I have represented it in paper mache and fluorescent paint! Once my monster dissolves I will have to come up with a new act for next year.

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