Visceral Visionaries: Yale University Art Gallery

Being the consummate weirdo that I am, I'm always on the lookout for bizarre and disturbing artwork. While others stand in museum halls swooning before Flemish still lifes and impressionistic pastiches, I'm enthralled by a bleak Bosch nightmare or ancient sculpted monstrosity. And now that I am the keeper of the Vault, I also have the opportunity to share my dark obsessions with all of you. All I need do is break out my handy-dandy Blackberry, and keep an eye out for those pesky security guards as I snap away discreetly!

Most recently (as in yesterday), I came across a treasure trove of amazing works of art right here in Connecticut, at the Yale University Gallery. And best of all, it's free--I suppose all that cash bilked from unsuspecting students and their families has to go somewhere. If you're in the New Haven area, you would do well to stop by and check out their fine collections of European, Asian and African art. In the meantime, I hope you enjoy this little journey into the dark side of the Yale Gallery...

Altarpiece with a figure of Vasudhara (detail). Nepali, Malla or Shah period. Bronze & gilt brass alloy.

Headdress in the form of a female head. Nigeria, Late 19th century. Wood, hide, rattan, metal & pigment.

Mask (Gbona Gla). Ivory Coast or Liberia, early 20th century.

The Resurrection of Lazarus by Marco Pino. Italy, 1570. Oil on panel.

Male figure (Nkondi). Congo, 18th century. Wood, iron, cloth, mirror, leopard tooth, fiber & porcelain.

A Lion Attacking a Horse by George Stubbs (detail). Great Britain, 1779. Oil on canvas.

Saint Anthony Abbott Tormented by Demons, by Sano di Pietro. Italy, c.1435. Tempera and gold on panel.

Brazier with a Deity. Aztec, c.1325-1521. Ceramic with stucco and pigment.

Ash Head No. 3 by Zhang Huan. China, 2006. Ash, iron and wood.

Visceral Visionaries: Metropolitan Museum of Art

Bronze mermaid sculpture, European collection.

Not along ago, I had the pleasure of visiting one of my very favorite places on Planet Earth, the New York Metropolitan Museum of Art. Located uptown just on the edge of Central Park, the Met is a literal treasure trove of of cultural history, beauty and the creative ambitions of the human race. A single visit is not even enough to scratch the surface of the majesty that lies within, and each and every time I go there, I find all new things at which to marvel.

For my most recent visit, I thought I'd snap a few photos, much like I did last October when I visited that affiliated museum located even further uptown, The Cloisters. For the purposes of The Vault of Horror, as I did the last time, I made it a point to seek out some of the more bizarre, dark, creepy and downright frightening artifacts and works of art I could come across. The result is the collection of images you will find here.

One small note: Allow me to apologize in advance for the paltry lack of specific information on most of these works. Unfortunately, I made the mistake of not taking notes while at the museum, and forgetting that the inventory of the Met is far larger than that of The Cloisters, thus making it extremely difficult to track down the information I needed online based on visual recognition alone. I'll have to do better next time. And there will be a next time...

The Mummy of Artemidora. Middle Egypt, c. 900 A.D.

Mummy of an unidentified woman.

Handle in the shape of a dragon's head. China, 1st century A.D. Gilded bronze.

Sculptures from the Asian collection.

The Martyrdom of St. Barbara by Lucas Cranach the Elder. Germany, c. 1510. Oil on wood. She was killed by her dad. Another one of those warm and tender religious tales.

The Blind Man's Meal by Pablo Picasso. Spain, 1903. Oil on canvas. From Picasso's "Blue Period", and on display as part of the recent Picasso special exhibition.

The Silver Tureen by Jean Siméon Chardin. France, 1728. Oil on canvas.

The Rape of Tamar by Eustache Le Sueur. France, c. 1640. Oil on canvas.

Pieta by Juan de Valdés Leal. Spain, c. 1657. Oil on canvas.

Detail from a gold sculpture of Neptune, European collection.

Shield, African collection.

Late period iron upper body armor, Arms & Armor collection--always one of my favorite stops.

From the medieval sculpture collection.

More martyrdom. From the European Paintings collection, I'd guess roughly around 1400 or so.

Fragment of a crucifixion sculpture, European collection.

Detail from a ceramic jug, European Sculpture & Decorative Arts collection.

Visceral Visionaries: Cruella Moxham

I've got a bit of a break from the norm for you this time out, boils and ghouls. That's because things are anything but normal anytime you're dealing with the inscrutable Cruella Moxham, a.k.a. Captain Cruella of the Carnivorous Cadavers. Rather than just making art, you see, Ms. Moxham lives it, and she was very gracious to recently give me a glimpse into her macabre world.

Juggling a collection of impressive projects at any given time, the main happening that Cruella is currently involved in is a zombie crawl known as the Village Invasion, coming to Saugerties, New York on Saturday, October 16. She discussed the event at length with me, in addition to the many other things with which she has been and is currently involved...

Let’s talk a bit about the zombie walks. The one you’re involved in promoting right now is the Village Invasion in Saugerties. Tell me a little about this. How did you get involved in all of it?
It’s hard to describe, actually. I’ll tell you one thing, I would never have been able to really get it going the way I have without utilizing social media. It helped me organize everything, and make the project a reality.

It’s your project, though, right--from the ground up?
Yes, it’s completely my own. This zombie crawl means a lot to me. Actually, organizing events like this in general is what I live for. It’s something I’ve always done; it’s in my blood. My family has been putting on a fundraiser now for 12 years, raising money for juvenile diabetes through a, “Car Show for a Cause”. We raise a great deal of cash in one day in just a few hours. It draws thousands of people.

So what is it about zombies that made you want to organize this whole event?
Nothing. I’m just good at it and I am very fond of all things related to horror, evil and Halloween. I found at an early age that I was different than other people. The ordinary things that others did were extremely boring to me, so I created my own entertainment. Besides, people are easily led—well; I suppose they like to call it, “willing participation.”

What is it that motivates you?
It’s just a great experience, to be able to pull off something successful like that, especially in my hometown. I consider it a success if 50 people show up, or even five, for that matter. It’s not really about me, it’s about the event and the people who come and enjoy in what I’ve created. What can I say; I’m a very complicated person, Brian. My desire is to create something where people can lose their inhibitions and have fun.

Tell me about some of the other events you’ve been involved with.
I rented an art studio and a gallery for three years in Kingston. I had art exhibits that would change monthly. One month the theme was, “Obsession and Fetishes”. The artwork ranged from the typical fetishes one can imagine just from the title of the show all the way to someone being obsessed with food. I pulled some strings and had some close friend who dabble in S&M come in their domme gear , that really shook up the town. Another memorable theme at the gallery was one where I covered the space in assorted shapes and sizes of mirrors. I called it the, “Reflection of the Flesh”, where YOU were the art. I set up paint stations with assorted non-toxic paints and let people at themselves with a photographer capturing the moments it was fantastic! That’s same day I orchestrated a local salsa band to play on the street, the date was Cinco de Mayo. Dancing painted people everywhere, the energy was amazing! I also have been very involved in the Kingston’s Artist Soapbox Derby and have won every year that I have entered into it.

I understand you also have done a lot of work in movie makeup?
Yes, I worked for a company called Aesthetic Creations. I was an assistant makeup artist, in the special effects department. I met a lot of interesting and talented people; most of them had worked or were working for Universal Studios. I really learned so much. I worked on the tail end of Beloved, creating silicon molds and prosthetics. I also got to do that for Bringing Out the Dead, directed by Martin Scorsese. Who is kind of a pompous jerk, by the way. But I got to do a lot of prosthetics for that movie, for Nic Cage, Marc Anthony and other character actors.
I also worked on Jim Jarmosh’s Ghost Dog: Way of the Samurai, in which I created prosthetics for faces, a fake forehead, for a character who was going to be shot in the head. It was definitely interesting to come into work for a company everyday where the props from the jail scene in Silence of the Lambs were hanging overhead.

On the other end of the spectrum, you also currently do a lot of work with floral arrangements. How did you get into that?
While I was subletting the gallery and studio space from a florist I would be there late every day either painting or working on the next event for the studio, and helped her out with the shop from time to time. The shop eventually closed, but I never stopped doing that kind of work. It turned out I was really good at it and I enjoyed being surrounded by flowers, who wouldn’t? People started seeking me out, and pretty soon I was doing arrangements for all kinds of events, from weddings to funerals.

So do you have any trouble at all balancing these two worlds, zombies and floral arrangements?
Not at all, I’m always busy. I am more creative in chaos. As I said, I’m a complex person. I’m from two worlds. As a child, I was very confused as to who I was supposed to be. Whenever I was told I couldn’t do something that was like a challenge to me. And it became a challenge to do as much as possible, and to be good at whatever crossed my path.

So what’s the next obstacle to be conquered? What does the future hold for Cruella Moxham?
I’m thinking the world and then maybe the Vault of Horror…yeah, sounds about right.

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To find out more about the Village Invasion, check out the official event page over at Crawl of the Dead. Also, be sure to connect with Ms. Moxham via Facebook!

Visceral Visionaries: Krystal Fancey Beck

Our irregular look at artists throughout the universe of horror returns this time around with a gifted illustrator who has truly made the most of her prodigious talents, channeling them into the creation of all manner of chilling chotchkies. Nova Scotia's own Krystal Fancey Beck launched The Zombified in 2006, and uses the website to showcase, promote and merchandise the many kinds of items featuring her unique artwork. These items include anything from T-shirts and posters, to buttons and even comic books.

The Houston transplant was kind enough to speak to The Vault of Horror recently about her many endeavors...

You describe yourself as having been a "serial artist". Explain.
As an artist, I've experimented in a wide variety of artistic mediums--pencil, charcoal, paint (and again, gone through a variety of paint types: acrylic, oil, watercolor, etc.), and of course my main love, ink. Furthermore, I've ventured into photography, website & graphic design, sewing, writing, a bit of sculpture... pretty much everything! Hell, I even dance--though I still haven't got the guts to perform. Basically, if it's creative, I have, or have had, an interest.

What items were the first you created?
For The Zombified? Well, I started working on the Hallowhaus comic before I'd actually planned on doing art as a career, but I think the Halloween scene is the oldest design I have prints of available through The Zombified.

Which are you the most proud of?
I'm proud of myself for not giving up on the comic after a couple of pages! I'm easily distracted, and that thing's a lot of work. That aside, I'm usually most pround of whatever I've most recently completed, though I'm not sure if it's because I'm evolving as an artist, or if it's just because I've had less time to pick out all the flaws.

Why do you feel that drawing in ink is your favorite method?
I'm not sure, I just feel most comfortable with a pen in my hand. I like the contrast, the crispness of the lines. I'm not sure if I like that the permanence of it (you can't exactly erase ink that easily) leaves very little room for mistake or not.

Who are some of your inspirations?
I'm hesitant to use the word 'inspire', but there are artists whose work I adore, and perhaps inspires me to try to become more awesome at 'what it is that I do'. But the inspiration for 'what it is that I do' seems to come from somewhere else. I get most of my ideas when I'm supposed to be asleep, perhaps the secret is in the insomnia. I digress. Artists I admire include Gris Grimly, Chad Savage, Keith Thompson and Ben Templesmith.

How did you get into creating comics? Which artists inspire you as far as that medium?
As a kid I said I wanted to become a comic book artist, even though I didn't really have any ideas for a series or anything. Eventually, I decided that since I'd been saying that for ages, I should probably just go for it. I was never planning on showing it to anyone, it was just to sort of challenge myself and see if I could do it. I wasn't even planning on doing more than one issue.

I'm deeply inspired by anyone else who's doing their own thing, creating their comic from the ground up all by themselves, regardless if the quality or content is actually my 'thing'. As I mentioned, creating a comic is a hell of a lot of work, even if the artwork or story is fairly simple. In terms of my personal favorite comics, I'm particularly in love with Hellboy and, a bit more recently, Wormwood: Gentleman Corpse.

Tell me a little about the genesis of the story for Hallowhaus.
I'm making it up as I go along, honestly. Which is another part of the reason there's a large gap between issues. I have a couple future projects in mind for after I've finished the Hallowhaus series, that might (hopefully) be a bit more planned out, but there's still the chance that I'll just grab a new idea and run with it again.

When and why did you first realize that this was something you could turn into a business?
I was close to finishing the first issue of the comic when I learned of the glories of print-on-demand (yes, I know. But I have complete control of my work and can slack off when I'm not actually feeling inspired). I figured what I'd created wasn't entirely awful, started working on a few separate original designs, and just went for it. It was terrifying, since I had (have) the typical artist modesty (insecurity), but it's also been immensely rewarding.

What are some of the most popular items on your site?
The mirrors seem to be most interesting to people, but it's the prints that sell the best. In terms of my designs, everyone loves the Mummy (which was actually one of the very first designs I did with The Zombified in mind), though at the moment my most 'favorited' one on DeviantArt is one of my newest, 'The Dead Will Dance'.

What does the future hold for The Zombified?
More art, more comics, more awesome conventions like Texas Frightmare Weekend and Comicpalooza. A lot of the more interesting plans are a secret until I actually unveil them.

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In addition to The Zombified and the aforementioned DeviantArt, Krystal's artwork can be found on MySpace, Flickr and LiveJournal, among other places.

Visceral Visionaries: Ric Frane

Monsters, pinup girls and danger! Those three subjects, emblazoned at the very top of Ric Frane's website say it all. One of the most exciting genre painters working today, his work--in the grand Frank Frazetta tradition--has been featured on comics, games, books and magazines such as Horror Biz. Focusing on the world of classic movie monsters, as well as fantasy erotica, Frane has worked with some of the most popular models in the genre today, and his work is praised by the likes of acclaimed pinup illustrator Olivia.

I had the pleasure of meeting Ric last month at the Chiller Theatre convention in New Jersey, and he agreed to take some time out to answer a few questions about his life, his work, and what inspires it...

You've been doing art since you were a kid. What first interested you?
I've been doing some kind of art as long as I can remember. People always responded well to what I was doing. My parents never discouraged me. They even found a local place for me to learn painting. Now this was only hobby painting, but I was using oils at a young age and it made me not afraid to try other mediums.

Tell me about your love for Frank Frazetta. What is it about his work that captured your imagination?
We just lost the greatest influence in my life as an artist. I found one of his art books when I was about 13. I never saw anything like it. I knew right then it was what I wanted to do. I tried to copy every one of his paintings. I would do one a night after school using pastels. I wound up giving them to friends at school. Wish I still had some of them. Wonder if they were any good?
The greatest thing about Frazetta's work was his ability to paint so much detail with an economy of brush strokes. There are many detailed plates in his books to view. You can see just how he did it. But no one else can seem to do it. I love his use of color, his exaggerated figures, his compositions, everything. He was a master and will be missed. There is not a genre artist out there that hasn't been influenced by him.

Are there possibilities allowed to fantasy and horror artists that might not be available in other conceptual genres?
Well there, used to be. A lot of cover work was available for novels. Fantasy books usually had artwork on the covers more so than other genres. There is also work in comics and gaming. But that has all slowed down now for everyone.

Tell me a bit about your formal training. What was that like?
I went to the Antonelli Institute of Art & Photography, formally the York Academy of Art.
I was lucky--I had a very good art teacher in high school. We were doing a lot of the drawing exercises I would later do in art school. Learning different painting techniques was the most important part. Learning how to use the paints the correct way and different mediums you can add. Not that you can't break the rules sometimes. But some things are done for a reason.

Your wife is an artist as well. What's that like, do you get competitive?
Not at all. We throw ideas at one another. My wife, Wendy, has been the muse for many pieces of work. We've even painted a few pieces together.

You've done lots of different paintings in various categories. Do you have a favorite subject matter? Favorite piece?
I started out doing fantasy illustrations, but my favorite part of the paintings was always the figure. I love painting the figure. I'm a fan of old school pin-ups. I also love painting classic monsters. One day it hit me. Why not paint both? Two great things that go together.
My favorite piece right now would have to be the one I did of my wife and myself [featured at top]. I did it in the style I do my Monster/Pinups pieces in. Me being the monster. Wendy is the hot model in the leopard bikini.

What draws you in about classic monster movies?
Nostalgia. The older I get, the more I long for those days as a kid watching TV with our local horror movie host, Dr. Shock. Everything a kid loves was in those movies. Monsters, castles, foggy woods. I don't think any of them ever scared me. It was all so foreign looking. They all took place somewhere else at another time.

What is it about Bride of Frankenstein that makes it your favorite?
So much is in it. The monster learns to speak, and you feel for him in this one more than any other movie. And one of the biggest horror icons is born, the Bride. She only has a couple of minutes of screen time, but look how popular her image is.

For your erotic/pin-up art you've worked with many models including Tiffany Shepis. What are the challenges of working with a live subject? Who've been your favorites?
I work from photographs, so I really don't have the problems with having models hold poses. I usually have a few ideas for artwork I want to do and we shoot those. The model's personality helps drive those ideas. I've been lucky that all the models I have worked with have been great.
I would say the biggest challenge is that first picture you take. Trying to get things started. Funny thing is I almost never use that first photo idea. Once things get going, it's artist and model working together to come up with the best image. Tiffany is great at this. I've known her for over 10 years and she is one of my faves. Her face is stunning and she knows how to pose. Another favorite of mine is Asia DeVinyl. A beautiful retro pinup model. She's wonderful at posing her whole body. But my wife Wendy would have to be my favorite. Most of my best pieces involve her.

What makes a painting erotic?
Wow, that's a hard one. I guess it would have to be sexual without showing sex. That could just be a look in the eyes. Hard to answer without a specific piece we are talking about. You just know it when it you see it.

Any major projects you're currently working on?
I have a few things I'm working on, doing a series of pinups with historical figures, and also planning a series based on the seven deadly sins.

Visceral Visionaries: Ugly Shyla

Surreal. Unorthodox. Harrowing. These are some of the words which are certainly applicable to the work of Ugly Shyla, a young woman from the bayou country of Louisiana who has fused religious iconography and truly disturbing imagery to produce a line of unique sculpture, epitomized by the Ugly Art Dolls. Her work has previously been seen in such publications as Bizarre Magazine and SPIN.

Viewing herself as something of a channeler or medium as much as a creator, Shyla is on an artistic journey that even she is sometimes at a loss to fully understand or explain. In addition to, and in support of her sculpture, she also works as an alternative model, further exploring the southern gothic themes that resonate so strongly in her work...

How did the idea for the Ugly Art Dolls come to be?
I never planned it. I never in a million years thought I'd grow up to make dolls.

You talk about being inspired by dreams and subconscious visions. Can you tell me more about that?
Like most surreal artists, my work comes from the unconscious, the subconscious, dreams, flashes of vision and things I see between waking and sleep.

I find it interesting how frank you are about being kind of in the dark when it comes to why it is that you create the dolls. Talk a little about being at a loss to explain your art or put it into words, and why that is.
I think it's because the art isn't totally "mine". Like I said, it comes from somewhere else, from another side of the veil. So I end up being in the dark about it.

I understand you're self-taught. What was that process like, did it come naturally or was it difficult?
It came very natural, like I was guided to do it. I won't lie, some of it was a bitch to learn, but it still was a natural process.

What kind of materials do you typically use to create the dolls?
Porcelain, oil-based clay, plaster, resin, ceramic glaze, china paint and anything else I can get my hands on.

What are some of the ones you are the most proud of and why?
My Mary Mother Of Sorrows doll is the one I'm most proud of right now. Which I think is because I consider religious art one of the highest art forms. You are making the divine into something tangible.

How has the reaction been to your work--are there particular types of dolls, or specific ones that people have reacted to the strongest?
The dolls of dead children seems to be very upsetting to people, which is the point. They should have to look death in the eye. The Female Circumcision piece is also very jarring for people which again is the point, and sometimes people are upset with the Menstrual Art I do with my own blood.

I get the feeling you get people occasionally misunderstanding and somehow thinking these can be used as children's toys. Is that true?
It's because people aren't familiar with dolls as art objects, they just associate them with being a child's plaything. As long as dolls have existed, there have been dolls for play and dolls for art, so I don't know why people don't get that.

Your work has been photographed in magazines and shown in galleries. How was it first discovered?
I started out doing more mainstream art doll events. I cut my teeth there, and I guess they got discovered by me traveling with them, and through the internet. I'm actually not sure, being as I was just a young girl from way down south, where it's hard to get anything out there. There isn't an art scene down here at all, so I guess traveling played a big part in it. Also, my father's side of the family has all owned their own businesses at one time or another. So being a good PR and business woman is in my blood.

You also work as an alternative model. How did you get into this, and is it mainly to promote your art, or an end in itself?
I got into it because people wanted to take pics of me, because I was the weird girl that made the weird dolls. Then I realized it was a great vehicle to get my work out there. Then it became a side art form in itself, and because of it I have gotten to work with a lot of artists I admire.

What future projects do you have on the horizon that people can look forward to?
I'm working on some monochromatic dolls, more female anatomy artwork and more jewelry.


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Find out more about Shyla's art at UglyArt.net, and her modeling at UglyShyla.com. Connect with her on: MySpace Facebook Twitter * Special thanks to Vault contributor and previous Visceral Visionary Nos for introducing me to Shyla's work!