Allen Williams Presents: Summoned

Penance, in (gasp) color!

I'm going to out Mr. Williams here: I originally knew his work way back in the day, back when he was referred to by his first name (Allen is his middle name) and he worked primarily in the fantasy roleplaying game/tabletop game publishing world as an illustrator. His work was very different back then... for one thing, he painted in color. Yeah, in COLOR. It's hard to believe, I know.

When "Allen" was introduced to me a few years ago by Tara Larsen Chang, I didn't even realize I was looking at the work of the same person from way back when. For one thing, there was almost no color at all. Value and gradation took it's place, as if he sat and read the tome of the ancients who developed the Atelier Method and locked onto the mantra: Color is secondary to Value. If you nail your values in your composition, any color palette will do.

Tree of Tales, from the FAERIE show 2012

Brush was replaced by the Good ol' #2 (that's a pencil for you kids out there).

Nobody really knows how Allen "does it", but he is able to push and pull values and forms like a master sculptor. His eye understands how to create the lumps and valleys that form objects when a light source caresses it like a sleepy lover. He definitely understands anatomy enough to mangle it into the twisted bits of flesh that form arms, legs, and the occasional extra bit that we're not sure what it is but looks pretty cool. Horns and nails and other keratin growths protrude outward from his figures, curling and twisting into pretty forms. And everything is clean, perfect, spotless.

As an illustrator myself, I'm in awe. I've seen his work in person many times and I've even tilted the paper to the side and checked the surface for any kind of human indentation. There are none. No pencil marks, eraser bits, grooves, nothing. His work is so pristine, I have had to write up Letters of Authenticity to some of his collectors that the piece they bought is in fact original and not a giclee (that's a print for you kids out there).

If Beauty Were a Book, graphite, from the "Quote the Raven" show

We have been lucky to show at least two award-winning drawings from Allen, who, with his amazing wife and manager Victoria, has shown Krab Jab Studio and Seattle a lot of love. When I approached them about doing a show for October 2014, Allen was fast becoming a hot item after completing concept work for the movie "Pacific Rim", and joining the jury panel for the celebrated fantasy annual Spectrum. I was kind of surprised they agreed, considering Allen's packed schedule, and I was little concerned he might not be able to fill all our walls (his drawings are often on the smaller side). I suggested he headline a show, pick a theme, and pick a few supporting artists that he admired. He sent me a rather long list actually, and a few of the artists could not commit, but our French faction came through with Yoann Lossel, Olivier Villoingt, and Virginie Ropars, a group who enthusiastically joined in despite their own hectic schedules (all three will be part of a February show here as well as attendees of the Mythic Worlds convention in Seattle next year). Allen also invited Australian artist Rodrigo Luff as well as US artists Forest Rogers and Kyle Abernethy. With his talented posse formed, he came up with the theme: "Summoned". When asked what that means to him, he cryptically replied:

Summoned: called to be present.

We as artists are summoned to do the work that we do.
We in turn summon the work from within by the practice of discipline, tempered and magnified by passion.

...and finally,
the viewer is summoned to complete the ritual in observation of its fulfillment.

This is what we Summon.

Infected, graphite

In spite of the fact that thousands of miles separated all these artists, each one came to the table with work that complimented the other beautifully. The rendering in each piece is masterful, the vision is dark and mysterious. From Virginie Ropars' homage to Allen's "Her" drawing to Kyle Abernethy's take on an apocalyptic landscape, each piece clearly nods to Allen without losing its own originality.

Her, graphite, part of the "Dark Woods" show

Her, mixed media polymer sculpture, Virginie Ropars

The Loud Little Handful, oil on panel, Kyle Abernethy

Whatever Allen did about 10 years ago, whatever mantra he read and adhered to, whatever demon he pledged his soul to, if he suddenly went colorblind - whatever it was, his vision and direction no doubt will continue to inspire and awe us for many many years. This show is only a small step on a long, winding staircase.
Online catalog will be available to view October 12th, and the show will run through October 31st with a bang, as we'll be celebrating Halloween at Krab Jab Studio that evening.

Opening reception on October 11th will have Kyle Abernethy in attendance who will be participating in the Artist Talk at 7:30 pm. Doors open at 6 pm, and for those seeking guidance, tarot reader Iya Falana will be there reading the cards and telling the future.

FAERIE II

I'm going to need to backtrack a little over a year, when fellow Krab Jabber, painter Kyle Abernethy, introduced me to the woman who ran TLC Workshops, an illustrator named Tara Larsen Chang. I myself ran a couple of workshops at Krab Jab Studio and marveled at the success of this relatively new workshop machine that booked talent such as Greg Spalenka, Brom, and Terese Nielsen, among others. Honestly, I was a bit irked; I mean, she was making my job of putting "butts in seats" fifty times harder! Plus, Kyle had gotten into her Brom workshop and couldn't stop blathering over how great the facility and experience was. He insisted we meet.

The woman he introduced me to was truly magical. Smiling, warm, talking a mile a minute, Tara was instantly likeable. She was a Doer, a Seeker, and a Dreamer. All my envious feelings melted away when I realized that much like me she worked hard in the background of her workshop machine, and much like me, she was a huge fan of the artists (and students) she supported. And... she was a faerie artist.

Tara Larsen Chang

Not only was Tara a faerie artist, but she was connected to many of the faerie artists I admired and had worked with in the past. I mentioned my idea of a Faerie show, and she enthusiastically offered to help me cull together one of the most interesting and beautiful group shows we've done, which debuted with glowing reviews in February 2013. Not only were the "old favorites" of Amy Brown and the Frouds (including Toby Froud), but newer talent such as Emily Fiegenschuh, Yoann Lossel and David Thierree were introduced to Seattle. Without Tara's help I would not have gotten in touch with Robert Gould, the mastermind behind Faerieworlds and another enthusiastic backer of the FAERIE show. Before the show even closed, Tara and I were already concocting plans for FAERIE II.

Amy Brown

So here we are, a year later, and FAERIE II will be opening in just a few days. I asked Tara to be guest curator this time, and she eagerly accepted and went to work on her list of invites. The list was long - too long, actually. There are a lot of great faerie artists out there, but the gallery can only stuff so much into it. We had to cut a few people out (many of which are highly talented, by the way. I was also cut, so this wasn't necessarily biased). Tara came up with a stunning list of artists, and happily, nearly all of them accepted the invitation to show. As Tara states: "When considering who to invite to participate in this assemblage, I thought of those artists whose fairy art I was familiar with and admired. Many of them are well known and the others should be! It's a striking assortment of talent."

Kimberly Kincaid

We worked alongside Robert Gould, as he loved the idea of a Faerie exhibition in his February convention, aptly called FaerieCon West (located in the Seattle-Tacoma area - see website for details, it's a pretty wonderful event). FAERIE II will exhibit in it's own room at the convention February 21-23, with many of the attending guest artists on the exhibit roster.

Linda Ravenscroft

Okay, fairies... what's the big deal? For me, Disney kind of ruined them. Disney and all those well-meaning "house fairy" sculptures and badly painted watercolor greeting cards, the cutesy little kid fairies with impossibly tiny insect wings. Faerie and the Fae was reduced to kitschy, cutesy and completely harmless. Scared of a fairy? Really???

Annie Stegg

Really. The Realm of Faerie was not always filled with tiny butterfly children and impish smiling elves hiding under mushrooms. It was a spiritual world of Nature, an otherworld that was both marvelous and tempestuous. It wasn't hard to accidentally piss a fairy off, and they often stole milk, cows, or children from their human neighbors. While there were faerie folk of small stature, depending on the region where one lived, they could be human sized or larger, or simply blinking balls of light. Sometimes they married and lived alongside humans, but mostly they kept to themselves, dancing in the moonlight, always enjoying what Nature offered in their magical realm. Until they were squelched from everyday life (thanks to the Church) and reduced to children's stories, they were feared, loved, and most of all, respected. Many believed the Fae were the spirits of our Natural world, and often one would see a dearly loved one, passed on, dancing alongside the Fae in the tall grasses and sacred groves, smiling and laughing, young and vibrant.

Fred Fields

I believe that thanks to Brian Froud and his friend Alan Lee, the world of Faerie began to take on it's original face with the general public. They published the now-iconic book, Faeries, igniting a new interest in the old beliefs of the Celtic regions of Ireland, Scotland, England, Wales and Brittany. Their beautiful illustrations of the world of Fae opened the door to many similar artists, and once again did the Faerie demand her rightful respect. The fairy was now the Faery, both beautiful and terrifying, generous and mischievous, mysterious and strangely familiar.

Greg Manchess

The Fae take on many shapes and forms. Terra-bound and aquatic, tiny and huge, red-capped and finely dressed or completely nude, wings or simply radiating, faeries and their ilk run the imaginary gamut of form and function. Many faerie artists find a form they enjoy working with, and some of them like to push the envelope into pure weirdness. Allen Williams, for example, works smokey, ghostly forms into his graphite masterpieces, with bony, spurred horns emerging from the tops of heads and tree trunks. The Fae manifest through the artist's hand in the forms they choose. Allen may think he has a handle on them, but truly it's the other way around.

Allen Williams

When speaking with Tara about the lure of Faerie, she puts it this way: "I think there is more 'out there' than what generally meets the eye. What *is* however, is harder to define or quantify. I believe things like fascination-with-the-fae begin to attempt to give form to the mystery of the unknown."

Justin Gerard

From the point of the artist, Tara adds: "To me, a large aspect of Faery is Nature and her forces personified. Something that can be both intensely appealing and deeply perilous to interact with. As part of the unseen natural world, their mien reflects the many facets of organic beauty and wild unpredictability. To depict them effectively, I believe one must portray these paradoxical elements that make them enigmatic and ultimately unknowable."

Stephanie Pui-Mun Law

Faeries can also be humorous; who better to depict this than Brian Froud? His 1994 book, Lady Cottington's Pressed Fairy Book, exemplifies this to a T. The squashed fairies in this album are often in silly positions, smiling, tongues sticking out. (no real faeries were harmed in the making of this book)

Brian Froud

 With 24 stellar artists in this exhibit, I can't realistically show every one of them in this blog post; you'll have to visit the show itself or view the full catalog, available online February 9th until show ends February 27th. When I asked Tara what she hoped the viewer would take away from this show, she stated: "I hope the viewers of this collection get a glimpse into the realm just beyond the senses, and go home with an increased sense of wonder and mystery."

Reception is February 8th, 6 - 9 pm, show runs through February 27th. All works are original and for purchase. Select prints also for sale. Exhibition will travel to FaerieCon West February 21-23rd. We'd also like to thank our NYC support, the AFA Gallery, who represent the Froud family and exclusively consign their art to Krab Jab Studio.

If you'd like to read what the artists have to say about their work, make sure to check out the online catalog!

Gary Lippincott

-Julie Baroh, February 2014

Quoth the Raven

 About a year ago, artist and editor Jeff Menges commented to me that I should consider doing a show about corvids, specifically ravens and crows. He knew I had a thing for crows: I had been keeping tabs on the mated pair that lived in my neighborhood for years, and they often popped up in my artwork. I'd been devouring the works of author and avian expert John Marzluff, marveling at the intelligence and marvelous adaptation this bird possesses. I also knew that for some strange reason, crow and raven art tended to sell quicker than any other animal or bird art at Krab Jab Studio. Even skull studies sold to eager collectors.

"Corvidae Skull", Benjamin A Vierling

I ran the idea by a few artists and illustrators to gauge interest. A barrage of positives came back at me. I think the only reason that some of them weren't able to participate had more to do with time constraints than interest.

People simply love this black bird.

Crows and ravens weren't always so loved. In fact, not too long ago the American Crow was the target of a mass holocaust, with thousands being destroyed, often in very bloody ways (such as blowing up their roosts with dynamite). They were considered a pest by farmers (think "scarecrow"), despite their usefulness at eating the bugs and worms that threatened crops far worse than they did. Honestly, the crow (and it's shy cousin, the raven) challenges our belief that we, Man, are the superior rulers of this earth. When we look to the sky in the western hemisphere, it is that black bird that dominates. Wily, social, talkative, clever, playful, excellent parents, scavengers, with amazing memories, the raven and crow simply challenge our superiority. And they crap on our cars. On purpose.

I was really curious to see what artists would come up with for this show. My one worry was that we would have multiple images of a Raven cawing ominously at something in the distance, but I was pleasantly surprised at the pieces I received (although we did get an excellent example of the raven caw in Halsey Swain's work).

"Raven", Halsey Swain

Myth was a popular topic. Morrigan, the Irish triple-goddess who often took form of the crow in battle, is featured in the work of Yoann Lossel and David Thierree (and hinted at in Olivier Villoingt's dark drawing) - all three artists hail from Brittany, France (a coincidence that they chose this Celtic goddess? Possibly!).

"La Morrigan", Yoann Lossel

"The Soul of War", Olivier Villoingt

"Morrigan", David Thierree

Norse's god Odin kept two ravens, Huginn and Muninn, that brought him news all around the world, the subject of which Echo Chernik, Jason Engle and Stephanie Pui-Mun Law tackled.

"Huginn ok Muginn", Echo Chernik

"The Messenger", Jason Engle

"Raven-god", Stephanie Pui-Mun Law

The crow as a symbol of omen was chosen by artists Braden Duncan and Margaret Organ-Kean. The divine roots of counting crows (called orniscopy, or divination by observing birds) was reduced to a folksy rhyme by the 18th century.

"One for Sorrow", Braden Duncan

"Corvimancy", Margaret Organ-Kean

Crows and ravens in literature was also tackled. Edgar Allan Poe's classic poem The Raven was the subject of Stefanie Vega and Samuel Araya, and hinted at by Robert Tritthardt. Poul Dohle referenced the Raven King from Susanna Clarke's Jonathan Strange and Mr Norrell. Allen Williams ties the corvid and the book together beautifully in his graphite drawing.

"Sentimental Damned", Stefanie Vega

"Dark Wings", Robert Tritthardt

"Plutonian Shore", Samuel Araya

"Raven King", Poul Dohle

"If Beauty were a Book", Allen Williams

The magical, shamanic qualities of crows and ravens were apparent in three pieces by Sandra Everingham, Yuko Ishii and Yvette Endrijautzki. It's interesting to note that while we think of crows and ravens as a more masculine symbol, there is a very strong element of the feminine in these works, especially when seen in the positive, mystical aspects of the crow and raven. Perhaps our ancestors have noted the strong maternal connections crows have to their chicks - they make very protective and loving parents, with the female patiently teaching her young what to eat, how to speak, and how to behave long after most chicks leave the nest.

"Transmutation", Sandra Everingham

"Die Raben Koenigin", Yvette Endrijautzki

"Entrance (Healing Magick)", Yuko Ishii

 Our macabre obsession with crows and ravens is reflected in Kyle Abernethy and Jethaniel Peterka's work. Even Benjamin Vierling's simple skull study has a slight sinister element to it. Death permeates the world of crow and raven - infamous scavengers of carrion, we naturally connect them with death. Even the wistful works of Jeff Menges and ShirrStone Shelter Dolls touches on death.

"Dominion", Kyle Abernethy

"Visitation", Jethaniel Peterka

"Lignum Corvus "RAMUM"", ShirrStone Shelter Dolls

"Bare Branches and Dark Wings", Jeff Menges

Crows are silly birds, they really are. Coupled with another silly animal, Drew Tucker anthropomorphizes the crow in his painting, further reflecting our strong connection to this bird.

"Family portrait:  Putnam Co. #8", Drew Tucker

Sara Otterstatter uses her work to tackle the very really issue of extinction: the Pied-Raven is now extinct, and there are a few other breeds of crow that are on the verge of extinction, notably the Hawaiian Alala Crow, of which there are less than 100 left in captivity. A portion of our proceeds will go to support crow conservation and research.

"Nevermore: The Pied-Raven", Sara Otterstätter

-Julie Baroh, January 2014

NOTE: We will be having one last hurrah on January 30th, 5 - 8 pm! If you are local to Seattle, come visit and see the show - including all the European pieces stuck in customs during our opening reception!