rustyham

Mythological Safari

The aim of these new works is to resurface the characters that our arcane and archaic imaginations bred. The process of rediscovery of mythozoological bogies, demons, monsters and saviors serves as a vessel to understanding the archetypes of today. More than just a pantheon of static faces, this collection has been chosen not only on a level of geographic diversity but also to highlight some of the more carnal or transformative characters who identities, however small, also serve as ambassadors of the people from which they were birthed.

I have intentionally left out gods because I find it imperative to focus on creatures whose existences were more or less dependant on their environments rather than vice versa. This, therefore, breeds a sort of symbiosis between the people and their bogeymen, forcing their monster’s atrocities and characteristics to be more dynamic and more of an imminent threat. Additionally, I chose creatures whose existence is innovative, particular to their people, and suitable for physical reinterpretation.

The decision to represent these characters in the forms of masks stems from the ceremonial value that masks offer in all cultures. Any anthropologist would be hard pressed to find a civilization that developed without some sort facial-manipulative accessory. But masks, unlike jewelry are not decorative. They instead serve to transform the individual into another form of life and allow the wearer no room for ego and to fully exist in the personification to which they have been devoted.

Additionally, it may be recognizable that many of these creatures may seem like self-portraits, this would be because I work off of a base of a personal life cast, building up the new face in clay above it. The symbolism behind this promotes my own journey into the understanding of these different beasts and the attempt to follow their necessity in the cultures from which they evolved.

It is therefore imperative that I try to highlight some of the lesser known creatures and continue on a mythical safari of the world. This series aims to breathe life into the inane, the unbelievable, the unpromoted, and the forgotten beasts dreamt up in the imaginations of our ancestors.

Where it is Heading

Currently, I am not too sure that the mystical nature of masks is a strong enough symbol. They have done their part in highlighting the importance of these creatures, but too really create the safari I feel that I should go in a more mock-taxidermy fashion. Creatures whose entire forms I wish to make are many and varied, an dI am excited about their creation.

Certainly I do not wish to proceed in the full body processional costume as I originally intended.

Other Projects

Currently, I have been fascinated with beer. It's history, it's holistic qualities, it's social context. I have been mulling over some ideas as to where this new passion will lead me. Some examples of what I have done with it will be posted here. Until it has enough examples to warrant it's own section, I will display it with other odds and ends as they develop.

The Apotamkin is a creauture that is believed to roam the woodlands near the villages, swallowing up children who stray too far from safety. He is a cannibal in violent warpaint with an enormous mouth and large teeth. Basically he is a device used by parents to prevent children from playing too far from home.

Apotamkin
From the Pasomaquaddy and Micmac Tribes of North East United States

The Green Man
An Archetype Whose Face was Spread Throughout All of Europe From the Dark Ages to the Romanesque

The Green Man simply represents man's relationship to the earth, wether he is shrouded in greenery or disgorging it, his face has leaked from pagan earth-worshipping religions into many Christian structures.

Jiang-Shi
An Animated Corpse in the
Taoist Mythology of China

According to legend, when warriors would die far from home, Taoist priests would write a spell onto a paper and stick it to the corpse's forehead. This would animate the cadaver and have it hop home to the family burial plot.

Kijo
A Japanese Man-Eating Ogre

Unlike their German counterparts, the Kijo is cunning and cannot be fooled by children. Additionally, it consumes the eldery in addition to children as a result of an insatiable hunger, not rage.

Salmon of Knowledge
A character in the Celtic Tale of
Fionn mac Cumhaill

According to Irish legend, when a fruit fell from the Tree of Knowledge, it rolled into the river where it was consumed by a salmon. This salmon was then tasted by Fion, the hero who eventually united Ireland.

Scarlet Beast of the Apocalypse
According to the New Testament's Book of Revelation, The end of the world will be brought upon us by three beasts, one of them being the Scarlet Beast. As a symbol of the harlotry that invited it, this beast will be born from the earth.


begin with a drawing or twenty detailing the piece. it also helps to draw the exact plan of casting so no surprises come up.	a pipe and a flange bolted to a piece of wood braced sideways provides a great base to sculpt onto. I used a miniature billiard ball for the shape of the eye.

add some details- skin wrinkles, horns.	spike the chin, dimples, pores.

the first mold was a two-part oomoo with a fiberglass mothermold.	from that casting I made a 10 part mold using peel-coat (requiring no mother).

painting the base coat onto the resin casting.	deepening hues, trying different reds, throwing in Morgan Freeman freckles.

filled with foam and wood, fastened onto a solid wood mount.	silk trim eases the transition and elaborates on the gold.

I met some other artists at a beer tasting and decided that beer can be much more than a hobby. this relief is the first of more brew-inspired art to come from me.


This is Barnabas Collins. He is a 150-year old vampire who emerged from his tomb in the 1966-71 daily soap opera called Dark Shadows.	I started the mock up by tossing clay onto an old paper towel rack. Not much information lies in the picture, so my memory of the show dictates it most.

cleaned it up a little, used fishing floats for eyes. I think i need to make them deeper set, or extend the brows and narrow the bridge of the nose.	added hair, cleaned up cloth, angled head more. need to make the mouth smaller and tighten the nose. Also, the eyes should be more squinted.

thinned the nose and accentuated its cleft, widened the jaw and the forehead, making him look less alien. squinted the eyes, tho now I see they need more.	painted many layers of peel-coat on it to make a mold. It ended up being strong enough to support its own weight, thus no mother mold was needed.

the casting came out better than anticipated, about 5 coats of fgr hydrocal 95 and 4 coats of resin, then filled with foam. some details need to be clean up.	polyurethaned the eyes- gives it a delightfyl yet creepy sheen when the light hits it just right.