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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.
Our week of dark art continues apace…hopefully you aren’t too overwhelmed by the vistas of beauty and horror…yet…MWAHAHA… Today we feature an image from a living artist, Santiago Caruso, an Argentine illustrator who is well-known for creating unique artworks for horror literature. Gustave Doré and Alfred Kubin have passed on their great reward, but Santiago is very much in the world of the living, so I am just going to post the one sample image above and recommend that you look him up or, better yet, go to his web gallery (so he gets the traffic for himself). The picture above shows the mind as a haunted cabinet of curiosities–a conceit which appeals to me greatly. Among the oddities on display are a cornucopia, a snake skeleton, and a twisted dark duck, but clearly there is more in the cabinet…and more which might be in the cabinet. The Latin epigram is from the great dark masterpiece of silver-aged Roman literature The Golden Ass. Roughly translated, it says “That which nobody knows about almost did not happen.” It makes one wonder what skeletons are in this ghastly closet (as though that was not already the foremost thought in everyone’s head as our ghastly election enters the homestretch). Go check out Santiago’s other work (although some of it is pretty NSFW) and think about the strange curiosities in your mental cabinet…if you dare…MWAHAHAHA.
Serpent d’Océan (Huang Yong Ping, 2012, aluminum sculpture)
Here is an amazing giant sea serpent sculpture by the Franco-Chinese artist Huang Yong Ping. The 130 meter long artwork is made of aluminum and is appropriately titled Serpent d’Océan (“Sea Serpent”). The sculptor completed the piece in 2012 for the Loire “Estuaire” festival. He erected the monumental work at the mouth of the Loire River where the great waterway empties into the Atlantic Ocean–just west of the port city of Nantes.
Serpent d’Océan (Huang Yong Ping, 2012, aluminum sculpture)
The head of Serpent d’Océan lies just above the high tide mark and its tail is just below the low tide boundary. Thus, every day the serpent goes from being mostly submerged to mostly on land. At low tide, art enthusiasts can walk around the piece and see it close up like a museum specimen. At high tide it takes on a mythical supernatural character as it appears to writhe through the waves.
Serpent d’Océan (Huang Yong Ping, 2012, aluminum sculpture)
The artist Huang Yong Ping designed the serpent to straddle all sorts of boundaries. It is neither at sea nor properly on land. Likewise it lies where river meets ocean and the ecosystem is neither fully marine nor riverine. The serpent is a metal sculpture designed to look like a living skeleton of a mythical creature. The sculptor himself self-identifies as neither entirely Chinese nor French: he used myths from both cultures to inform his sculpture. Indeed the serpent takes on even more facets when considered in the light of world trade (where monsters–real and imagined–abound). Additionally, as a youth, Huang studied with the French master of artistic ambiguity Marcel Duchamp. Most of Huang’s artworks blur the lines between art and non-art (though, like Duchamp, he tries to stick to the former category).
Serpent d’Océan (Huang Yong Ping, 2012, aluminum sculpture)
The artist has expressed his hope that, as the sculpture ages, various tidal plants and animals will begin to colonize it and live within—or atop–the metal creation. As seabirds build their nests there and living amphibious beasts hide and feed within the snake, it will stretch across even more boundaries.
A Gold Moche Headdress portraying a Sea Goddess
The Moche civilization was a culture which flourished between 100 and 800 AD in northern Peru. Although the Moche had sophisticated agricultural know-how and created elaborate irrigation canals to water their crops, their religious iconographs shows that their hearts belonged to the ocean. This seems to be literally true, their greatest god, Ai Apaec (AKA “the decapitator”) was a horrifying aquatic deity with the arms of a crab or an octopus [I desperately wanted to feature this deity in my Gods of the Underworld Category, but there is not much hard information about him. I’m still tagging this post to that category because…well, just look at him]. Ai Apaec thirsted for human blood and Moche religious ceremonies seem to have been based around human sacrifice. There is substantial archaeological evidence available about the Moche people and their civilization. Several large structures remain extant in the dry climate of Northern Peru. From these temples and graves, we can get a sense of Moche society.
A Sculpture of Ai Apaec, the Decapitator (Gold, copper, and polished stone)
One of the most important Moche sites is the Huaca del Sol (Shrine of the Sun) an adobe brick temple pyramid which is believed to have functioned as a royal palace, royal tombs, and as a temple. Although a substantial portion of the complex was destroyed by the Spanish, who mined it for gold, enough remained to provide archaeologists with a picture of Moche life. Additionally an untouched smaller temple the Huaco del Luna was discovered nearby. The conclusions drawn from studying these compounds were dramatic and horrifying. Archaeology magazine describes two excavations and their grisly discoveries:
Bourget and his team uncovered a sacrificial plaza with the remains of at least 70 individuals–representing several sacrifice events–embedded in the mud of the plaza, accompanied by almost as many ceramic statuettes of captives. It is the first archaeological evidence of large-scale sacrifice found at a Moche site and just one of many discoveries made in the last decade at the site.
In 1999, Verano began his own excavations of a plaza near that investigated by Bourget. He found two layers of human remains, one dating to A.D. 150 to 250 and the other to A.D. 500. In both deposits, as with Bourget’s, the individuals were young men at the time of death. They had multiple healed fractures to their ribs, shoulder blades, and arms suggesting regular participation in combat. They also had cut marks on their neck vertebrae indicating their throats had been slit. The remains Verano found differed from those in the sacrificial plaza found by Bourget in one important aspect: they appeared to have been deliberately defleshed, a ritual act possibly conducted so the cleaned bones could be hung from the pyramid as trophies–a familiar theme depicted in Moche art.
A view of the Huaca de la Luna, with Cerro Blanco in the background.
In 2006, Archaeologists were fortunate enough to discover an extremely well-preserved Moche mummy. Peru This Week outlined the discovery, writing, “The mummy, herself 1,500 years old, is of a woman in her 20s, believed to be an elite member of the Moche tribe. The skeleton of an adolescent girl offered in sacrifice was found with a rope still around its neck. The archaeologists from Peru and the US found the mummy at a site called El Brujo on the north coast near Trujillo. They have dated the mummy to about 450 AD.”
We know a great deal about Moche culture not merely from such rich archaeological finds but also from the vivid artistic skills of the Moche themselves. Not only were they accomplished painters, the Moche were among the world’s great ceramics makers. They crafted vessels which beautifully portrayed deer, birds, mollusks (like the spiny oyster), and other sea creatures. They also made many ceramic art objects portraying war, agriculture, economic activities, and copulation. Many of these Moche ceramics grace the world’s great museums: the expressive grace of the crafting speaks to a society which understood and revered beauty.
A Frog-shaped Moche Vessel (Ceramic with earth glaze)
The decline and failure of Moche civilization is something of a mystery. The civilization reached an apogee early in the 6th century. Then the great communities of that era appear to have been wiped out by the climate change which affected civilizations worldwide. It seems like the horrible weather events of 535–536 played particular havoc with Moche society. However the Moche survived these upheavels and settlements have been discovered from the middle of the seventh century onward to 800 AD. The character of these latter communities is different from that of the golden age Moche civilizations. Fortifications were much in evidence and the trade and agricultural underpinnings of civilization seem to have been much reduced. Perhaps the Moche were involved in a series of internal battles among varying factions and elites.
The Skeleton Coast of Namibia (photo from grandpoohbah.net)
Try to imagine the Namib Desert, where a stormy foggy shoreline gives way quickly to endless bone-dry dunes of shifting golden sand. It is one of the starkest contrasts in the world’s geography: the fury of the cold waves is juxtaposed with the opposing starkness of the sun-pounded dunes.
The coastline where the Namib Desert runs up against the Atlantic is known as the skeleton coast both because it is a place where whalers and sealers once discarded the stripped carcasses of the marine mammals they killed in droves and because it is one of the world’s most treacherous coastlines. More than a thousand major modern wrecks dot the coast (where they mingle with countless older shipwrecks). Portuguese sailors trying to get around the horn of Africa to reach the riches of Asia called the area “the gates of hell.” A human powered craft can make its way through the pounding surf to the desolate coastline but it then becomes impossible to re-launch. Sailors shipwrecked on the Namib coast thus faced the daunting prospect of walking through a vast expanse of waterless desert. Before the modern era, most ship-wrecked souls did not escape and their skeletons soon became part of the landscape.
The shipwreck of the Eduard Bohlen (photo by Michael Poliza)
The desert is ancient. For more than 55 million years it has existed as a wasteland with almost no surface water. Since the end of the age of dinosaurs, the warm tropical air of the Hadley cell has intersected a cold oceanic current welling northward from Antarctica. But the region was arid long before that. West Gondwanaland shifted to its present position along the Tropic of Capricorn nearly 130 million years ago and has remained there since—a wallflower in the great dance of continents.
The Namib Desert photographed from The Space Shuttle Columbia
Namibia was a German colony during the colonial era. Unsurprisingly, the Germans made their Namibian colony the sight of the twentieth century’s first genocide when they tried to extinguish the unruly Herero and Nama peoples in 1904. The nation was seized by South Africa after the end of World War I but after many decades of gradual power shifting Namibia gained complete independence in 1990.
The Republic of Namibia is the second sparsest nation on earth with only 2.1 million people spread across a landscape roughly the size of Germany, Poland, the Czech republic, Belgium, Denmark, and the Netherlands combined (not that those nations should ever be combined!). It is one of the few stable multi-party democracies in Africa (maybe I should say the world). Namibia makes most of its money from mining uranium, gemstones, lead, tungsten, gold, tin, fluorspar, manganese, marble, copper and zinc. Natural gas can be found just off the coast (though it may prove challenging to drill there).
The Navachab Open Pit Gold Mine, Erongo Region, Namibia
Why am I writing about this beautiful harsh anomaly of a nation? The unique and isolated geography of Namibia have made it a unique ecosystem of creatures capable of surviving the harsh desert environment (to say nothing of the creatures which team in the rich coastal waters). Desert dwelling creatures have had a long time to adapt to the hostile conditions of the world’s oldest desert. One of the most unique of all placental mammals is found in Namibia. I’ll address this bizarre fossorial hunter in my next post.
Hint: It's not the mighty African Elephant (one of my favorite creatures), but strangely enough african elephants do live in Namibia.
ferrebeekeeper 