Diamond Life

 Though little known, if not wholly obscured by more flattering fashions and styles in contemporary art, the paintings, comics, sculptures, poems, jewelry, films, musics, and performances of J.A. Bernard Meijer (a.k.a. Bernd, Bnine, Bmen, Ben) of Den Haag together constitute a body of work which, in its complexities, the craft exemplified by it, and through the raw energy it projects, compacts 21st century life like few of his contemporaries' oeuvres can.

If encountered through the singular aspect of one medium only (the way time and circumstance unfortunately force me to let you experience it, with this brief introduction), his poetry might seem like the ramblings of a dyslexic, his paintings those of a typical outsider artist, his street-art a mere party-trick; only when held up to the light for examination of its sum totality does it reflect mercilessly the unified thrust of its maker's intentions. Versatile and erratic, Meijer traces a private mythology across myriads of media, combining the stately grace of Byzantine ikons with the gutter dynamics of pop culture, and a dash of Dada.

Many of his comics start with, or otherwise incorporate the phrase (in his own ideosyncratic orthography): IT WAS T'AGE OF MACHINERY. Inspired perhaps by Meijer's time in India, this is a reference to the Kali Yuga, or Age of Discord,the last stage of human history as predicted in orthodox Hinduism.

Across scrawled graffitti and junkyard altarpieces and photocopied zines, Meijer draws us a map of the Apocalyptic desert of this terrifying age; a nightmare landscape where pop culture detritus fights itself in an endless loop. Across this desert, an eternal West (the Western Lands, Egyptian land of the dead, land where the sun of civilization goes down?) , riddled with vampire robot cowboys and cybernetic crustaceans, ride the Kings of the West. Are they the good guys, the bad? Prophets or Anti-Christs? None of it resolves.The magician's-apprentice figure of Stick Boy, a youthful ninja-moses forever confronts the G.O.D. (Genmatic Ord'ring Device), is forever trained by the wizened old wizard in the cave. This is the Apocalypse as Coda. It is an eternally sinking ship with the band playing on, and on, and on.

All this reflects perhaps a lifelong struggle with the Black Dog of depression which ended when Ben decided to end his life in 2013. He had always proclaimed that if it hadn't been for the hopeful message of X-men comics he read as a kid ( i'm a weird kid/i'm a mutant-that's okay!), he would have long since given up, but in the end, that energy and hope could not be sustained into an adulthood which had begun far too early (by his own admission- accounts of playground knife-fights abound).

Where are the heroes when you need them?

Ben's end shows up the Myth of the Campbellian Myth, umasks the Hero with a Thousand Faces and its positivist anthropocentric view that we must learn to recognize these mythical threads in everyday interactions, organise our inner life in accordance with narrative structures, and work through these stories to emerge healed and whole, a fuller human being. That, too, is just a story, and stories won't save us. No matter how many we tell or consume.

Even if i was too late in comprehending this truth to save my friend and mentor and colleague from his essential loneliness, i hope his life and work persist in being reminders of this mineral truth upon which others may yet sharpen their swords.

Loneliness is fundamental, but that fact is the rock we should build our humanity upon, and not upon stories.

Note on the illustrations: this is only a fragment of a vast body of work, the actual physical manifestations of which are scattered widely, not only across media, but amongst diverse archives and owners. His graphic output is in need of proper scanning, the paintings, once located, are deserving of more than quick Iphone photographs.

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Exit Thru The Gift Shop:

It is in honour & remembrance of our brother that fellow cartoonist Mattijs van Katwijk & i have put together a zine featuring some collaborative drawings & comics. Comes with a facsimile of one of Ben's pamphlets. Interested parties may email to: ibr.ineke (at) gmail(dot) com

Hieronymus Bosch the unauthorized biography

It came from the printers the other day. In English, Dutch and Danish for now. German and other languages are to follow. Over four years in the making. Now the promotional gauntlet awaits... 

HALLOWEEN IS EVERY DAY!!!

Hello Ducks. Long time - no see... I've been going Halloween crazy - first re-committed PORK magazine to establishing a permanent Halloween populated by monsters. I'm quite stoked with this cover. It's an ultimate dungeon party with a hallucinogenic witch's brew. We also got KAZ on board doing comix now which is fucking radical.

Meanwhile I've been launching tons of new Halloween products like this Halloween Haunted House poster. I thought about the crazy feeling I'd get Trick or Treating as a little kid, how disoriented I'd get going door to door, especially if the house was decked out. There were a couple Haunted Houses that were really nightmarish as a kid. One of them had a Vampire in a coffin that would come out & chase Trick or Treaters that got too close. I was also thinking about the first Punk House parties I went to & how I'd get a similar, disoriented, freaked out, but very pleased feeling at them.

Finally, I designed these Halloween Cut-Out Decorations. All this stuff is coming out under the Halloween Island brand from the GOBLINKO MEGAMALL. These are inspired by the old Beistle Halloween Vintage Paper Decorations, but obviously in my WEIRDO ART style.

I'm doing very well, I'm working too hard, but it has payed off. We've got seven paid employees at GOBLINKO now & it's all housed in its own house even! Me & Katie are the lowest paid employees as the owners, but it's cool cos we're doing exactly what we want to do & it's really been taking off.

You can get them all at the GOBLINKO MEGAMALL. 

BILDERBERG featuring Ray Murphy & Molluskhead

Here's my contribution to the Bilderberg Zine. It's a cover version of a page from Swamp Thing.

recent stuff

hello

some asked what's our volontary influence... that's strange to say but i'm actually trying to be influenced by myself ^^ well, i checked my drawings from oldtimes, since 1987, trying to catch what is "my own style" without big success! I can see 3 general group, some cartoonish/punkish morbid stuff, some dark morbid surrealism, and some morbid design... so the only common point here is morbidity! Then I feel like never been able to choose one single way of doing/express it! Oh and yes sometimes i like doing fake medieval or any fake stuff!

well, no matter! here's some new drawings recently done...

Pride devours the Lion/Lion devours the Proud

How long can i keep up saying this is not what i usually do?

cloud of unknowing

Don't usually do this sort of thing, but here seemed to be the appropriate outlet for it. Hm. 'This sort of thing.' Oh well.

Sous vide 3

76 pages impression numérique

 Couverture Dominique Lucci

Images : Dominique Lucci, Eric Demelis, Alkbazz, Gaspard Pitiot, Nuvish, Manon Guillet, Petite Poisone, Jean Kristau, Marcel Ruijters, Bernharda Xilko, Tony Burhouse, Margaux Salmi, Tatiana Samoïlova, Archie Fitzgerald, Caroline Dahyot, Mélès, Anne Van Der Linden, Pauline Musco, Françoise Cuxac, Sylvain Florin, Stéphane Mercier, Hui Zheng, Christian Dell’Ova, Marilyne Mangione  

Textes : Céline Maltère, Pauline Catherinot, Charles Pennequin, Laura Vazquez, Thibaud Bernard Helis, Louis Doucet, Eric Ferber, JosRoy, Gaspard Pitiot, Margaux Salmi

5euro+port (1,70euro)

Contactez-nous pour obtenir une copie

Novo Doba Festival Poster

Here is a poster illustration to be printed in silkscreen. It is announcing the new edition of the Novo Doba (New Era) Festival here in Belgrade. Below is the announcement and a text written as a thematic guide for our festival this year. The festival is taking place from 22nd to 27th of September this year with a lot of guests from the region and remote parts of the world. More information can be found on our facebook page.

Pseudocannibalism

Work in progress.

Bilderberg (Jan Lööf cover version)

This is my contribution to our upcoming Bilderberg-zine due for release on the underground comic fest "Bilderberg Konferenz" on the 26th of september. It's a cover of page 26 in Jan Lööf's "Felix och varulven", or let's say that I've paid tribute to one of Swedens greatest cartoonists... ever. To my disappointment I noticed that there was no penis in sight on his original page, so I added one for more adult entertainment.. Yeah, 'n some other shit with philosophical and sublime hidden messages..

The original page: 

Disturbing

Disturbing news from France. Some of you already heard, but today's nazis, the Front National, have no qualms about making life difficult for alternative artists - just months after the attacks on Charlie Hebdo. Case in point is an exhibition of Stu Mead and Richard Scheibner at Le Dernier Cri's headquarters in Marseilles.

The ugly political strategy of slander, false accusations about something unseen (the show was already over when protests were raised), we have seen it all before. You can support Le Dernier Cri by signing this petition. Say no to censorship.

¡M M!

Drawing for a local zine that also includes several hilarious comics by newbie Ducker Muriel Bellini

Poster in progress

Hello!

Hello to all. Thanks for the invite!
(Xilko)

Exposition : Sous vide avec des invités à l'atelier des arts

Poster : Nuvish

Trying to remember influences

 I feel like I have to keep reminding myself of a lot of the influences that seem ingrained in me but don’t have a constant and obvious presence at the forefront. There’s a lot of passions that have always been there but somehow it’s easy to forget about them, possibly because I just don’t see them enough in daily life.

 I usually remember to keep up the detail and complexity but occasionally I’ll see something that reminds me I need to keep taking it to the next level if I can. It’s easier to forget about the colour combinations, delicacy and textures that excite me.

 I’m always seeing images that remind me of things I need to do more and I’m starting to become more conscious of the idea that maybe I can’t do some of those things, or at least the same way that other artists do them.

  The most obvious non-ingrained influence that I have to keep reminding myself of is the lovely and elegant but seemingly effortless linework of artists like Carlos Nine, Lorenzo Mattotti and Christophe Blain or sculpting of Bernini and Dino Cunsolo. It was age 12 or 13 I started to want less sharp, unvaryingly thin and angular lines, in favour of something more wavy and curvy like the way the wind blows around things.

 This style has grown a bit more popular and I’m glad about that. Even artists a bit further removed like Blutch and Sergio Toppi have that full and free flowing quality.

 There’s a fairly new artist called Loic Locatelli that also really impresses me but he and a lot of the aforementioned drawers are far more sketchy and loose than I want to be. I really like the sculptural solidity of my best work but I want more of a free flowing feel to go along with it.

  One thing that seems like it should have been an ingrained influence by now but I have to keep reminding myself of is the whole dreampop/shoegazing look with all the blurring, faded, hazy shapes, colors and overlapping semi-transparent images. It’s probably just because I’ve been using linear tools all the time that I don’t remember these approaches often enough.

 I’ve also been reminding myself of colourful monsters more that used to thrill me as a child. All those toys and Halloween masks with very varied designs and colors. Also been thinking about the gardens and buildings I dimly remember long ago that have a large place in my subconscious but don’t get drawn enough. Just remembering all the things I want to see more of. The solution to all this is usually as simple as drawing more.

NOW SHOW ME YOURS

This post stems from Robert Adam Gilmour telling me of the need or intention currently in the air to revitalize EBD. I suggested doing a series of posts not about 'ingrained' influences, which are usually what process-oriented pieces are about, but instead 'deliberate' or conscious influences that one allows into one's work, to precipitate a change in approach. Things we want to learn.

Robert suggested i start off the series. I hope it will provoke the other bloggers here to redeem my bad writing with their better example.

 I make comic-books, which clarifies most of my aesthetic preferences in the realm of art.

I wish i could draw the female figure with the elegance of Jeffrey Catherine Jones, and hope i may one day reach Alberto Breccia's or Bernard Krigstein's supreme indifference to elegance. Perspective to me means Moebius, not Ucello or Giotto; chiaroscuro Alex Toth, not Michaelangelo Merigi da Carravaggio. My interest in William Blake was awakened because i saw in him a proto-comic-book auteur. Even where i am inspired by Barnett Newman, it is because his zips showed a path to a deeper appreciation of the mystical gravitas of the common comic-book gutter.

So these are the things that i will often return to, but they are also the things i needn't really look at all that much, because i have to an extent internalized these influences.

And where drawing is concerned, this deep geology of influence is mostly a good thing. That's after all how drawing works; only with all the influence sifted through the prism of the practitioner's own personality do these layers of knowledge work their subtle effect. Drawing is linear, and should therefore show lineage.

But the essence of comics is juxtaposition, which is a part of composition, and composition works differently. It is a craft that needs the fresh glance, the quick look, the knowledge stored at the front of the mind, so to speak. Less intuition, more reason. It necessitates a different way of studying. And it in this area that i find i often look for new influences, new ways of looking, new ways of constructing not just the panel, or the page, but the entire approach to story. How you tell it, what you use to tell it with.

The point being, i've finally gotten round to reading Stephen King.

I'm reading It at the moment, and quite unexpectedly, i am getting a lot out of it.

For twenty-plus years i'd always maintained that mr. King's workmanlike, unadorned prose, his annoying habit of describing through brands or pop-cultural phenomena, even his ubiquity and his avowed dislike of Kubrick's The Shining, were of themselves sufficient reason not to read him.

I'd always, in the matter of doorstop blockbusters as it were, preferred the elegance and eccentricity of someone like Clive Barker, who prepared me for the 'difficult' prose of authors such as M. John Harrison, John Crowley, John Banville.

Boy howdy was i ever wrong.

I am finding It an astonishing read. Sure, the prose, when you step back and examine it on a sentence-by-sentence level, is ugly. But so is Hemingway's, or Faulkner's, and there is no reason other than class segregation to maintain that what is worthy in the one author is damnable in the other. Throughout It, King writes with a manic intensity that is exhilarating and infectuous. It oozes pop-culture, that intensity, and shamelessly uses anything it can lay its hands on to convey what it must to the reader. There is an urgency to his prose, as if it were written in direct dictation from the muse. Keeping up that earnestness for the book's entire duration would be quite a feat, as would be polishing your prose to affect such an earnestness, but either of which is the case, King succeeds at it.

Above all, though, it is smart. King is smart; erudite, even.

Despite his commendably working-class attitude towards pretention, and thus towards literary games of allusion, the guy knows his Horror 101, and if you look past the misdirection of brand-namedropping and pop music references, It pays honour to the greats, from Machen to Blackwood to Lovecraft. Once King is sure he's lured you in with his around-the-campfire Old Storyteller voice, he will hit you over the head with a chapter written from the point-of-view of the monster which he not only handles with great compassion (King's often touted as an example of the Horror-as-externalized-monster school, but few such writers would then show that even the monster has an inner life), but which he uses to summarize a distinctly Gnostic view of Evil without ever being boastful about his knowledge of such matters. Get this: he crams into a few pages of pulpy Lovecraftian cosmic horror fiction an entire world-view which scholars who write books about the Gnostics cannot seem to deal with except as philosophical abstractions. Their words remain mere words, whereas King opens up a place in your head.

So what does It give me, apart from its immersive qualities- the tension, the forward thrust of the narrative, the lovely nostalgic sheen of some scenes? (Scenes that hit the right spot considering i´m reaching that age where you can start to look over your shoulder without wanting to run back because you know those places are no longer outside of you but inside, now.)

The sentimentality, however effective, he can keep. The Bruce Springsteen-of-horror-fiction pose is extraneous. The assurance that imagination is powerful, a magick, is tempting but ultimately an affront towards the impoverished and abused; it is saying that added to the disgrace of their worldly station they are to blame for a lack of imagination (although certainly the case could be made that they suffer at the hands of those whose imagination is only shallow enough to serve their profound will to power).

No, the thing is this: energy. Energy, and trash.

I haven't reached the final page yet, but unless King blows it in the last few pages ( i am prepared to forgive or at least ignore sentimentality), I think i may conclude that reading It, and seeing  the act of storytelling performed with such wilfull abandon, reinvigorated my appreciation of pop culture. If the genre of so-called 'literary fiction' is as mannered and put-upon and yes, as uptight, as its bourgeois provenance would suggest, then 'genre fiction' is the belching, farting, unrestrained undermind of its epoch. It is here that the real big questions are laid before us in all their nightmarish capriciousness rather than being politely ignored over cocktails.

In the end, pop culture is trash, of course, but it is our trash, collectively owned, and we must examine it openly and honestly, recognizing our hand in it. Anything else would merely be imperialism (taking, and not giving back, and thinking a higher power so ordained it).

I am, in short, inspired to take my inner academic for a walk across the trash heap and to hunt there indiscriminately for whatever detritus comes to hand and put it to use, instead of keeping it at arm's length to study it.

 To tell him to relinquish control, and open up, and let the Weirdness in:

must be new around here

Hello.

My name's Ibrahim. The talented and generous mr. Robert Adam Gilmour invited me to contribute to this excellent blog. Now, one would prefer in such situations to --explode, as it were, onto the blog with the finest examples of one's craft, but since any given project at any time must find its place or more correctly struggle for it, amongst the myriads of things on one's plate, it is more often than not simply the work closest to hand which gets showcased.

So, by way of introduction, let me regale you with some 'deleted scenes' from my upcoming book 'The White People.' 

It's a comic book.

Cartoon

Cartas, x Muriel Bellini

HELLO

In progress August

Boschian landscape

The near-final version of the back cover of my book on Hieronymus Bosch. It goes to print in a week.

SHALTMIRA: TUATARA NATARAJASANA

TUATARA NATARAJASANA. 2015. Acrylic paint and markers. 91,5 cm x 91,5 cm x 3,5 cm canvas on frame. www.shaltmira.com

Nosey neighbours

A new cover design for my book on Hieronymus Bosch. Over the black ceiling will be the title. For now, i'll have to bear with the composition looking rather off-balance. The book goes to print this month!

Hello

The leaf

In progress July

 I still like the face but the splashing water was really hard to do (maybe easier to paint?), as usual it seems I'm just not liking the composition well enough to do the impulse justice.

Buzzzy Weaks

Hello Ducks

last weeks were kind of busy with several new books including Kutte 1 metalzine & some books made by students learning in our studio, but also this nice one compilling works by former EBD Gaspard Pitiot and Eric Demelis.

Also several bookfair and festival including the amazing Crack! in Roma, this year was about Capital for which we made fake money (here's mine which is not printed yet) and a linobook made with last year linoworkshop

And this is a drawing I made for a tape release by a norvegian musician

Plus bonus this one i made during the Crack!