September 25, 2005

kala smash!

[edit]: the artist also has a blogspot site. also i apologise for my imprecise wording: the artist has serious art creds. i am a text-drunk hominid and didn't mean to impugn his mad skillz. clearly i love his art. i meant to indicate his art was presented as is, whereas the previously mentioned sasquatch-maker had pounds of theory available. i like the theory. in retrospect, i dissed unfairly the kala work, which is not as transgressive in the way i prefer it to be. that doesn't mean it's not transgressive and powerful in its own way. [/edit]

OMG there's another artist making pictures of chick sasquatches. and more pictures available to see, too!

linky to jason robert bell's website on kala.

i dunno his motives. he's not got the sophisticated art background. at the same time, his pictures are really amusing.

phat.

thanks, bOING-bOING!

3 comments:

Caveman Robot said...

I have an MFA from Yale and a BFA from the School of the Art Int. of School so I not know how more "sophisticated" my art backgroundcan be.

Below is my artist's statement: Kala series

In past epochs, viewers of Art were initiated into a standardized system of (often religious) belief. Art reinforced and reflected these beliefs. In our contemporary society, very few generalized belief systems still exist. As belief systems wane and codices of understanding become fractured, how can an Artist hope to create autonomous works that all viewers can understand? In answer to this question, I have been working a series of paintings and drawings of Kala, a female Sasquatch. One area of contemporary culture that functions similarly to religion is cryptozoology: the study of creatures (Bigfoot, Loch Ness Monster) whose existence is unsubstantiated. Regardless of any individuals' belief in these fantastic creatures, they saturate culture and are instantly recognizableÑmuch like religious figures. Female subjects form an underlying current in anthropoid cryptozoology. Loren Coleman, one of the foremost Bigfoot researchers, has devoted much of his writing to firsthand reports of men who claim to have been kidnapped and forced to impregnate female Sasquatches. I began to see Bigfoot as something akin to Robert Graves' White Goddess: the unexplainable other, a dangerous Earth Mother that humanity must fear and respect, or else reckon with. This theme is echoed by a variety of Artists and writers. In Robert Crumb's underground comic "Whiteman meets Bigfoot," a man is kidnapped by a female Bigfoot, falls in love with her, and tries to bring her back to civilization. The Zermatism notebooks of outsider artist Stanislav Szukalski are saturated with tales of "Yetisyns"Ñtroglodytic near-humans that walk among us. Phillip José Farmer's Mother Was a Lovely Beast explores the oedipal nature of Tarzan and his foster mother. Claude Lévi-Strauss' The Way of the Mask details the Dzonokwa myths of the Pacific Northwest, which often involve the sexual nature of the fur-covered ogresses. In addition to referencing these myths, I wanted to create a subject that could serve as a divine and transgressive embodiment of the history of Art. The Sasquatch Kala is an alternate Venus, emerging from a sea of culture and our deepest primordial memories. She exists as through a dark mirror to all the nudes, nymphs, and muses of Art history. Kala is also a rebuttal to the clichéd pornography that has saturated contemporary Art. As in all images of Sasquatch, her depiction is a synthesis of optical experience and illustrative image. My goal is to seduce the viewer and at the same time distance their reception with a tension between ontological sublimity and epistemological beauty. Kala is the result of my search for a subject that is at once transcendent, comic, sexual, horrific, and impossible.

emily0 said...

WE LOVE YOUR ART!

my interests lie in the highly intellectualised feminist push of The Other Sasquatch Artist; i didn't mean to offend you. i was imprecise in my wording, i think.

no offense meant!

i'm a text-based person. sorry i didn't delve more deeply into your statement of purpose.

Caveman Robot said...

That's cool, as the son of a very political lesbian activist, I knew that I had to have all my bases covered worldwide if I was going to make work like this, but I have the student loans to back-up the sophisticated art background, as well.
Also the last thing I would want from my work, is people to think that I am mocking womanhood, if anything I am try to offer something positive and good, the embrace of the monstrous and the primordial. If my paintings were of a male Bigfoot, they would not have the social impact on people that they do. Making men into monster is too easy, most of us already are.