Master Ingels

I've been looking through all the EC annuals I bought earlier this year covering the entire runs of Tales From the Crypt, Vault of Horror, Haunt of Fear, Crime Suspenstories and Shock Suspenstories. Since I have been deciding I didnt want most of my comics anymore, since most of them pale next to a lot of the art I've been seeing on the internet and in fine art/classic illustration books I've been buying. I've certainly benefitted from this discriminating hard-to-please attitude I've been getting.
I was originally going to scan all my favorite Ingels images and post them like what Mr Meyer did with Kirby,, but the task was just far too enormous and overwhelming and the copyright holders may have not approved of posting so much. So I was pleasantly surprised that most of his comics really were worth keeping,, and some things really are sometimes worth the hype((the art, not the overwritten repetitive style of the writing)). For all that has been said about Berni Wrightson,, and my more recent love of the sweaty stinking bulbous pussfilled art of Rudy Palais, the sheer black nastiness of Bernard Bailey and other foul artists like Tom Sutton, Al Eadeh, Bob Powell, early hellish Ditko, Russ Heath, Bill Everett and many many more ((I'm exaggerating a little here so dont beat me up if any of these artists are not as nasty and hellish as you imagined they might be,, but they are certainly darker than your average horror comic artists))).
Ingels really was a great artist and I dont think anyone has stole his crown yet. I'm going to clip all his pages from those comics. If they release a complete Ingels book, i will have just cut up a lot of comics I could have sold,, but it's too late now, i've wasted a hell of a load of money as it is,, but I think it's going to be nice to have this big chunk of Ingels pages, with a few Johnny Craigs here and there.

I beg you to go to comicsworld.wordpress.com or a similar site and download those 5 EC titles and clip out lots of Ingels pictures. Dont read them,, just look at them.

Nice re-colored classic cover
Painting 1
Painting 2
One of my favorite stories with a really cool monster

The Last Known Picture Of Joseph Merrick

Here is my contribution to the David Lynch art show going on at The Alcove Gallery in Georgia next week. I printed it at 16 x20. There was a weird side effect of printing a black and white work on a color printer, a strange violet hue and metallic effect in the white areas. It looks fucking amazing in printed form. Some damn fine artists will be contributing to the show such as Chet Zar, Dan May, Aaron Nather to name a few, I'm honored to have my work in their company. Info on the show can be found here.

FU, CF

Doom from the Deep

Have you guys seen this? While it's probably not an "unknown lifeform", only something which hasn't been properly identified, the video is just fantastically creepy.

The Boy With The Troll's Heart.

Brandishing his little knife, Yoan held up a turnip, yelling to the troll that he had stolen his heart. The troll, terrified, was ready to do whatever Yoan asked, starting with the destruction of the witch's house.

Trolls can probably be domesticated for use by evil wizards. They lose alot of their crusty natural layers & end up looking like this.

Mix of Misc

Cleaning out my computer at 2 in the AM, watching Armageddon for the millionth time, came across a folder marked "sketches" and thought I'd dump it here. It's a mess of stuff from the last couple decades, though there's a few newer things here as well.

David Lynch - "Paris Industry" 1980

8" x 5.5" gray-toned watercolor

Found this while digging around for Lynch related imagery. Dune came out in 1984 and The Elephant Man was released in 1980, to give perspective on where his head was at as a director when this artwork was made.

preparing chicken

Covered

my recent contribution the Covered blog...







http://coveredblog.blogspot.com/

Ivan Albright, All Right with Me

Poor Room-There Is No Time, No End, No Today, No Yesterday, No Tomorrow, Only the Forever, and Forever and Forever without End (The Window) (1942-63)

That Which I Should Have Done I Did Not Do (The Door) (1931-41)

Into the World There Came a Soul Called Ida (1929-30) [note the "floating" handkerchief]

Three pieces by Ivan Albright, one of my favorite painters, whose "The Door" (above) is one of my very favorite paintings. Amazing, humbling stuff, in my opinion. Never had the privilege of seeing any in person, unfortunately. I suppose you can see the influence here on people like Joe Coleman (who I love) but Albright's work has its own sort of mystical ambiguity which I find really compelling and much more frightening than something like Coleman's murderous hobos or whatever. But that's probably not a sensible comparison... Any way, good stuff, skill beyond any normal human measure as far as I'm concerned.

Circuit Moods

Gregarious pirates against post monotheist organisations

Many things which we express are disturbing. When I enter a supermarket I’m not expecting to listen to punk rock, experimental music or classical music… etc. I perfectly know that “the music” I’m vaguely going to hear will be supposed not to annoy me. Sometime it does. All artists on this blog are disturbing. Sean’s army and group of characters bear loads of signs and accessories which contrast (on each character) and bring a sort of polymorphic identity (you punk!) and it is disturbing. The aggressiveness which is transcribed by some of them seems to prepare a fight which may happened and may also have the function to protect and scare or energize (you should have a look at this chainsaw sword goblin’s face when you’re angry it works very well). It is disturbing and it is related to power. I can’t help looking at Uland’s abstractions as being related to spiritual nihilism and the taboo of representation (Arabic ornamentation, Celtic art, Viking art, Christian rejection of idols, minimalism) and his capacity to encounter art criticism in the context of post anti-art morals (graphic design aggressions against "Art", conceptualism) and not to give a fuck about people who could think he is disrespectful are disturbing. Uland wrote “Tell me I’m wrong”… we all knew that this wasn’t going to be peaceful and politically correct. (I may need to thank him for being so challenging – I like the way the word challenge issued from latin “defy” and the way French people pronounce it and understand it as if it was a very American concept… We both can also be so petty and I must have too much Spanish blood). Jeffrey wrote “I hate ALL artists” and we may have understood anti-art provocations was not going to surrender… It was disturbing as any racist pun made by somebody who may not care at all about racism or anti-racism. Aeron’s evil faces, grotesque heros and dehumanised monsters reject most “human emotion and perceptions” and incarnate pure evil! Zeke’s cartoons may express: don’t be too self serious (they also contain all the tragic dimensions). And when everybody expect him to produce and develope Zeke he will encourage us to be experimental: That must be disturbing. If you’re not disturbed you must also be very disturbing. Robert wants us to understand greatness but at the same time he wants to be allowed to draw and represent whatever he wish in a confined universe. Gosh! I remember some of us worried so much about him (I did). Chad’s female ejaculation just revolts me: How can I sustain the contrast between something which is analysed in our society as a scientific fact and the decorative qualities of those landscapes! Disturbing. MD expressed frontally his social reality when the middle class just want to be a “democratic aristocracy”. I attacked contemporary drawing: was I not disturbed by its normalopathie? Is Fufu’s molluskhead an animal (mollusc) with perceptions which are part of the world and are so different to human perception or is he a “humble human thing”? I must be out of my mind: this fucking screen damaged my brain! But actually what reassures some disturbs others. Human beings are mortal predators. We just felt as any animal did that we were going to die. We understood it with our language and used is as an instrument of survival, power and spiritual aggression or flattery in our social goups or towards fantasised “super beings” (if they exist and if they communicate with us they are cowards or impotents. Paranoid! Paranoid!). We may be shy when we protect, we may be misunderstood when we destroy. Sometime it is the other way round. What I mean is: we are a gang! If any of you think this post is too subjective or too ceremonious or bland or dumb or partial I’ll remove it so it doesn’t endanger the blog (I think it is). Sorry for my bad English.

Shirley Bellinger

My new replacement for my personal art blog is...
Here

Touch It