I submitted three artworks to “Not for Print, Issue 02 – Resist” on ello.co, sponsored by WeTransfer
The first piece is an old sketchbook drawing, called “Meditation”. It is quite simply about withdrawal from the world and seeking refuge in nature, a “silent resistance” if you will.
Original “Harvest Seal”, 2011
I am writing this due to recent events. I thought this was yesterday’s news, but apparently it isn’t. So once again:
The above design is my work.
It has been spreading on the internet, which is great.
What is not so great is, that it continues to be mistaken for being in the “public domain” (it isn’t). E.g. it has happened repeatedly that people used it for promoting their events, printed it on t-shirts and other types of merchandise, without knowing that the original design was by me and without awareness of the original context and purpose for which I designed it.
To shed some light (and hopefully to prevent future abuse and misuse), I explain here the concept behind the image and why it would be not particularly smart to employ it out of context.
I created the sigil in 2011 with ink and initially titled it “reaping seal”. I designed it for myself, as I was looking for a suitable sigil to burn on my altar table. It is pyrographed in the center, along with other esoteric glyphs and illustrative elements (the usual “satanic” suspects, serpents, pentagram etc.). Here are some photos of the table with different powerful herbs placed on it (some harvested by myself, others sent to me by fellow practitioners):
My other sigil designs are inspired by my study of and practical work with traditional “witch herbs”. But before that I had been illustrating occult books, where my job was mainly to execute other’s ideas and visions. I literally “inked” hundreds of sigils from another author and this way became familiar with current specific symbolism and its peculiarities. I understood that in order to develop artistically I would have to come up with my own designs, also in my personal ritual work, rather than replicate another’s. This posed a challenge since the illustration job had inevitably left a trace on me and I was stuck in its forms.
The then so-called “reaping seal” serves as an example for a transition period, both in my art as well as ritual work.
The design plays with harvest symbolism, with sickles and quarters (connected to the four seasons, the four elements and returning cycles). It carries obvious references to the aforementioned occult forms employed within said books. (I do not name the book titles here, not because I do not want to give credit, but because the magi of said current do not like to see official links made between real names and their esoteric teachings, which is a rule I generally respect, but which was also the reason why I had to start creating my own designs if I wanted to get more jobs as an artist).
It should be clear now why (due to the aforementioned influence) it would not be smart to use the seal out of context. I uploaded the digital image to my Pinterest account years ago (I do not remember when exactly I pinned it there and Pinterest does not provide such information). I also uploaded (and later deleted) the image to my occult art page on Facebook, as well as a photo of the pyrographed altar table. I changed the title to “harvest seal”, which does not sound as grim.
I always note in the comments that I am the creator of the work and do not wish for my work to be used without permission. Most of the time people respect this wish. But apparently sharing a work on online platforms such as Pinterest means that some people consider it free to use as they please: from changing or deleting the original artist comment, to downloading and re-uploading, this way erasing all traces of the original source. Low resolutions seem to be no obstacle either these days, because there is software capable of vectorizing the smallest images. Due to this (and because the sigil seems to be really popular with esoteric online folks) it has sadly become one of my most stolen artworks. From witches printing it on their products to bands using it on their merchandise or for advertising events – it has happened and continues to happen. Once some band even claimed old illustration work of mine as their “graphic designer’s own creation”. But even individuals that bother doing a check-up and search the original artist behind artwork they find online and would like to use, end up being fooled. The question is not so much, who is to blame, but what to do about it.
No longer uploading my work online cannot be the way. Marking all works with bold ugly watermarks cannot be the way either (especially if the work is already a mark of sorts on its own). Putting a lawyer in charge – sorry, but I don’t make that much money. Contacting google – I have been told this would be the most efficient way, alas I may need help there by someone, who has already been through the process and could guide my step by step.
I am hence thankful that my followers are keeping an eye out and bring art theft to my attention. I am also thankful for everyone that reacts positive and respects my copyright. As it happens to be, once the connection is made, I sometimes end up with new illustration jobs. An example is the altered “harvest seal” I created specifically for the “Samhain Celebration” in Gotha:
“Samhain Celebration” merch bundle, Nov. 2016
With my consent and being compensated, the organizer was welcome to use the design on all merchandise sold on that evening and it was also painted on the backdrop used only on that night:
“Samhain Celebration” Gotha, 2016
Earlier, I made my own set up with the seal, employing it in the blessing of my seed boxes before they were shipped to customers:
Harvest Blessing, 2016
In this ritual I constructed the seal with dried plant parts strewn on soil – a meditative and joyful work. I used vervain (Eisenkraut) for the sickle blades and fennel stalks for the sickle handles. The center circle is strewn with aromatic fennel seed. The symbols for the four elements are made out of corresponding herbs: fire – wormwood (Wermut), water – belladonna (Tollkirsche), earth – mugwort (Beifuß) and air – bittersweet nightshade (Bittersüßer Nachtschatten). The forked stang in the center is a dried thorn-apple stem. The triangle at the base (representing the “fifth” element – spirit) is made from dried thorn-apple leaves and seeds. The wooden boxes placed inside the four sickle blades are my “seed boxes”, which are pyrographed by hand and filled with seeds from different witch herbs – many of which are gathered by myself and then filled into little bags to be contained in these boxes, which are then shipped to fellow practitioners for sowing in their own witch garden.
To quote much admired fellow artist, Harold Roth, I am “working my butt off” on these boxes. And in the same way I am putting a lot of thought and work into all other art I do, and of course I wish to share this work with the whole wide world.
So all I can hope for is, that awareness will grow and that more people know about me and my work, respect it and not trying to take advantage.
This time it is not about a surreal dream and also not about the fennel. But it is about another plant’s “fingers”. In folklore the male fern’s “hand” is a lucky charm, meant to bestow fortunes and the power over the souls of the dead to it’s owner. In order to obtain it, the sorcerer must harvest the male fern’s root on the Eve of St. John. Then he must roast the root in the fire. The hand is made in such manner as to bind five strands of the fronds together: the root base of the stem is left attached and the rest of the frond’s foliage is removed. The result resembles a “hand”, with tendons (hairy stems) and fingers (stipe bases). Frankly, I never made such “hand” in this manner. But I’ve gathered plenty of male fern roots and had the most magical experiences granted through working with these roots in various ways, always discovering new aspects to this wondrous plant. Above is another version of this “lucky hand”, formed by the stipe bases and a single frond.
Btw., the stipe bases of the male fern’s fronds are green and spongy towards the center, whereas as the outer (old) parts turn black and rot. So if you were to use the root, make sure you actually use the parts that still have juices in them. Below is a close-up of how that should look:
Male Fern stipe base, light green in color and of a spongy texture
Male fern root: in the bowl are the vital parts, to the left are the rotten parts
More about the male fern
Male fern inspired art:
“Dead Man’s Eve”, pencil drawing, 2010
Male Fern plant sigil, 2010
Only few days left until the Winter Solstice, I am excited to share my next plant riddle with you. This time the herb I’m looking for is not a poisonous one – quite the contrast! It is a classic healing herb, which belongs in any herbal apothecary. A giant in the garden, its name relative is associated with an adversarial hero, who helped man and offended the gods.
The riddle is again accompanied by a new illustration I did earlier in autumn and which may help or confuse…
Which is the plant in question?
Sharing this here as well…
The game is as usual: guess the plant depicted and leave a comment with your suggestion! If you have been following my recent postings on my new herbalism blog you will easily find the plant in question. A hint: it has to do with autumn. 😉
Today arrived my contributor copy of Pillars Journal 1.III, The Ebon Kteis, which contains my very first published essay and where I delve into the concepts and personal motivations behind one of my artworks. The topic is inspired by the many question I keep receiving about the Mandrake and is titled Regina Amandrakina – Exploration of the Image and Strange Idol. So now all those, who asked me questions, receive here 11 pages food for thought (and of course everybody else is welcome to read this as well, because it’s a heart piece and will help you understand how and why I do what I do!) (;
I immediately started reading and, as with the previous Pillars issues, this one has become again a masterpiece of editing and type setting! It’s obvious there was put again a lot of thought into the editing and arrangement of the different contributions. Photos, art and texts by different authors come together and compliment each other seamlessly. Also the line breaks and paragraphs of written contributions are arranged thoughtfully. Besides this the bronze print on the cover compliments the vibe and aura of this tome just perfectly.
“‘The Ebon Kteis’ is a journey back into Darkness; somber in tone than its older siblings and aiming to be more of a visual feast to inspire Minds & spark the Sacred Flame Within.”
But it is not only the visual side that is utterly appealing about this publication. Anathema has specialised in bringing together artists, occultists and lonesome wolves, which, as different and individual each of them may be, share a mutual vision and idea of truth and searching. And there is another interesting aspect that emerges once you skim through the pages. The topic was given, but each contributor works independently and usually there would not be much interaction, yet each piece of art and writing seems to harmonize with the other, as if led and guided by the same spirits. This is the subtle magic of Pillars, which strikes me with each new release.
This issue is the last in the series (though a new volume, with different outfit is planned). There are once again 230 copies available, half of which have already been sold. So better hurry, least you’ll have to spend ten times as much, once the sold out publication ends up on eBay!
Pillars 1.III – The Ebon Kteis | out January 2015 | www.anathemapublishing.com/
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An alternative card, different from my standard photography business card
This card focusses more on my drawings and illustrations. I will use this card to promote my traditional work and give it to people interested in or in need of something hand-drawn, traditional portraits or unique illustrations for any purpose. Fitting to the theme the card is printed on paper Vergé.
Motto for the Poisoner
Motto Labels for Poison Seed Boxes
The motif was drawn with pencil, scanned, edited and printed on strong laid paper. It is to adorn the next row of Poison Seed Boxes available via Teufelskunst. The paper is by Buchbinderei Dresden.
Finally… This journal has been on a long journey from Canada to Germany (thanks to German customs) but after 8 weeks I could finally hold it in my own hands. Others, who had received their copy weeks earlier have already been marvelling on the issue’s excellence. Indeed I was impressed too now. Some facts: Great editing and design by Gabriel Mc Caugry. Essays and Artwork are thoughtfully arranged. I am happy about the placement of my Heqet-Hekate illustration in between the contributions by Ash Nostro Morg and Jeremy Christner. There is also the extra card that came with the release, which has my illustration and sigil design printed on fine art carton. Lastly the transparent end-papers are a nice touch too. Here are some photos for your viewing pleasure:
The journal can be ordered here:
http://www.freewebstore.org/ANATHEMApublishing/-PILLARS_-_Vol1,_Issue1
Preview of the Illustrated Card to go with Pillars Periodical Journal, Issue 1, Vol. 1
Card contains:
Hand-inked Lucifer Seal with characters and evocational formula from the Grimorium Verum and personal Teufelskunst seal. The surrounding illustrations are semi-automatic, born from chaotic lines drawn randomly on paper until figures took shape. I was aiming for a sketchy and relaxed style, something which does not want to be admired but communicates essence and inspiration to fellow practitioners on the Path, passing on overall positive energies. I still traced and erased much in the search for fitting figurative elements and I did not use any references except for a pair of crossed human femur bones.
This is a preview. The entire illustration will come as a card to go with the first issue of Pillars Periodical Journal.
To buy the journal go here http://www.freewebstore.org/ANATHEMApublishing or write to strychnine357@gmail.com
Here is another snippet from the card as well as an obscured preview of the Heqet-Hekate illustration going inside:
Images are done as Xonia Abyssos
Wiebke Rost 