Blue Birds in the Tree-Scottie Wilson ca 1960

Sometimes I am overcome with the suspicion
That I am a stranger on this earth
Descended from a peripheral order of beings
An alien on this planet come from a distant star,
Faraway galaxy, parallax dimension
Some shape of a castaway, convict or changeling
Perhaps just a forgetful idler who slept passed their stop
And shuffled off at the end of the line

But the trick is to be at ease

Of course I have on occasion demanded to see the manager
But that was met with shrugs and sighs conveying
Studied confusion, blank indifference or downright hostility
Nobody seemed to know anything and cared even less
Initially I thought well what is the point of them?
But maybe they were feigning ignorance
Covering their tracks, keeping secrets, hiding truths
About myself however banal they turned out to be

Surely you realise that this is not the way to go about things
I think we may have a situation
You are clearly not at ease with yourself and your surroundings

Surrounded by screens bombarded by images and text
Deluged with data indices statistics and factoids
Which I passively absorbed hoping to later sift and sort
Through the theories ideologies conspiracies and revelations
Perhaps somewhere in this sewer of misinformation
I can decipher a message from a distant dimension
A faraway star, a parallex galaxy my lost
Home that I fell from those forgotten aeons ago

You know we have ways of making you feel at ease
And you have, despite our repeated warnings
Persisted in persisting
You leave us no choice so…
You are at ease
You are at ease in yourself and your surroundings
You are at ease
You are at ease in yourself
You are at ease in your surroundings
You are at ease
You are at ease in yourself and your surroundings
You are at ease in yourself
You will be what we want you to be
Feel what we want you to feel
Say what we want you to say
Think what we want you to think
Be what we want you to be

You are now at ease in yourself and your surroundings

As long as I do not remember certain moments
Incidences or sensations that elicit strong reactions
Then I will be alright, I will be at ease with myself
I doubt it ever happened that I shot my cuffs,
Lifted my finger signaling for you to come over,
Bend over my knee and lift up your skirt
That only happened in my non-existent home
Vanished star, imploded galaxy, voided dimension

They have promised me that when I feel completely
At ease in myself and my surroundings
That I will be granted a vision of the birds of paradise
Descending down from the vast unreachable heavens
Onto these somnolent suburban streets and gardens
Setting hearts and minds ablaze with motion and colour
To carry us away toward a richer more vibrant realm
A distant galaxy, faraway dimension, parallax star.

Flora, Fauna and the Eternal Feminine

Marco Mazzoni
Marco Mazzoni

The elaborate and enigmatic drawings of the Milan based artist Marco Mazzoni are created entirely by coloured pencils. Drawing on Sardinian folklore of an underground matriarchal culture of witches and herbalist healers, his drawings frequently feature a female face surrounded by, (with the eyes always obscured), finely detailed studies of variegated flora and fauna. Combined with an undisputed mastery of chiaroscuro the effect is seductively disturbing with an undercurrent of bewitching danger and riotous decadence.

Marco Mazzoni
Marco Mazzoni 2

Marco Mazzoni
Marco Mazzoni 3

Marco Mazzoni 4
Marco Mazzoni 4

Marco Mazzoni-The Rescue 2015
Marco Mazzoni-The Rescue 2015

Marco Mazzoni 6
Marco Mazzoni 6


Cosmic Hotels


The shy, reclusive and self taught maker of shadow boxes and experimental films, Joseph Cornell , rarely left New York State, with the exception of a few college years in Andover, Mass, spending most of his life in a modest house in the beautifully named Utopia Parkway, Queens, caring for his mother and disabled brother. His artwork is filled with a yearning for the unobtainable ; birds with their freedom of flight, glamorous movie stars and ballerinas as the source of passionate, platonic romances and especially travel to the most luxurious and wondrous locations.

Hotels are a common feature of his shadow boxes, miniature visions of rest stops and trysting places for artistic, mythological and astrological archetypes as they travel through the starry Empyrean and the wastes of infinity.

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The Birds

The Birds-Alfred Hitchcock 1963
The Birds-Alfred Hitchcock 1963

Alfred Hitchcock’s horror movie The Birds from 1963 is very loosely based on Daphne Du Maurier’s novella of the same name. Hitchcock’s first American film and international success had been an adaption of her Gothic melodrama Rebecca, and later Nicholas Roeg would adapt du Maurier’s eerie story Don’t Look Now, which became a staple on the late-night movie circuit in the 70’s.

du Maurier’s original story is more concerned with the revenge of nature, exemplified by the suddenly hostile birds working in concert to punish humanity for its hubris and arrogance. As such it can be seen as a fore-bearer of a particularly English sub-genre of ecological apocalyptic fiction, John Wyndham, J.G Ballard and Anna Kavan all produced work in this vein.

Hitchcock told the screenwriter Evan Hunter to keep the central premise of unexplained bird assaults but to develop new characters and expand upon the plot. Given the end result it is hard not to see The Birds as a symbolic take on the ungovernable nature of female sexuality, in all its myriad forms.

The Birds centres on the character of Melanie Daniels (Tippi Hendren), a chic and irresponsible socialite who becomes a cuckoo in the nest when she impulsively follows love interest Mitch Brenner (Rod Taylor) to his home in the small coastal town of Bodega Bay, California with a pair of caged lovebirds in tow. Mitch is defined solely in relation to the women in his life; his overbearing and jealous mother Lydia (Jessica Tandy), his younger sister Cathy (Veronica Cartwright) and his ex, the local school teacher Annie Hayworth (Suzanne Pleshette). Soon after the birds begin to inexplicably attack the residents of the town, massing, with even birds of different species flocking together to launch aerial invasions. At one point a hysterical mother in the diner expressively connects the menacing behaviour of the birds with the arrival of Miss Daniels. Somehow her presence upsets a delicate balance, unleashing all the forces in nature inimical to humanity.

Below is a short clip of the school scene, a masterclass in suspense.

Art Brut II

Blue Birds in the Tree-Scottie Wilson ca 1960
Blue Birds in the Tree-Scottie Wilson ca 1960

One of my more popular posts, and a piece that I have a special fondness for is Art Brut, which highlighted the work of visionary/outsider artists without formal training, many of whom were institutionalised for mental illness. This was followed shortly after by tangentially related posts on The Postman Cheval’s Ideal Palace and the Acid Cats of Louis Wain, again pieces I am quite tender about,  if only because I got to indulge my penchant for purple prose (anyone for a spot of hallucinated decorative splendour?), while showcasing truly exceptional art and architecture.

So after a delayed interval, (a butterfly for a mind), here are more artists driven by an urgent inner necessity to create intensely luminous works of art.

Friedrich Schröder-Sonnenstern

Born in East Prussia (now Russia) Friedrich Schroder was sent to a juvenile delinquent facility at the age of 14 and was committed to an asylum at 17. During the 1920’s he founded a cult, though any money raised went to feeding the destitute ruined by the hyper-inflation of the time. In 1930 he was institutionalised again for debt and working as a conman, posing as Dr Eliot Gnass von Sonnenstern (Sun Star). It was during this period that he met an artist who encouraged him to draw. During WWII he spent further time in prison and labour camps. Friedrich’s allegorical drawings and paintings ladened with erotic symbolism was lauded by the artist and critic Jean Dubuffet, the man responsible for coining the phrase Art Brut.

Schonwarsia Mondmarchen-Friedrich Schröder-Sonnenstern 1954
Schonwarsia Mondmarchen-Friedrich Schröder-Sonnenstern-1954

The-Demoness-of-Urgency-Friedrich Schroder-Sonnenstern-1958
The-Demoness-of-Urgency-Friedrich Schroder-Sonnenstern 1958

The Moon-Moralistic Veneration of the Artist's Bones - Friedrich Schröder- Sonnenstern
The Moon-Moralistic Veneration of the Artist’s Bones – Friedrich Schröder- Sonnenstern

Consuelo González Amezcua

Born in Mexico, Consuelo (Chelo) Amezcua moved to Del Rio, Texas at the age of five where she was remain for the rest of her life, working at the local department store selling candy. She won a scholarship to study art in Mexico City but her father died, leading her to forfeit the scholarship so that she could remain with her family. Known locally as an eccentric, her family paid little interest in her drawings and poetry (which is frequently incorporated in her art), though at the age of 65 she was the subject of her first exhibition. Chelo’s work is characterised by biblical imagery, Mexican folklore and stunning filigree decorative motifs.

McNay Art Institute and Chelo-Consuelo) Gonzalez Amezcuacirca 1967
McNay Art Institute and Chelo-Consuelo Gonzalez Amezcua circa 1967

The_Prophecy-Consuelo González Amezcua 1966
The_Prophecy-Consuelo González Amezcua 1966

Consuelo (Chelo) Gonzalez Amezcua
Consuelo (Chelo) Gonzalez Amezcua

Joseph E.Yoakum

Jospeh E.Yoakum was born in Missouri of African-American, Cherokee and French descent. He joined the circus at nine and worked for Buffalo Bill Cody’s Wild West Show which toured Europe between 1903 to 1906. He served in France during WWI. After the war he travelled throughout North America, Europe, Asia and Australia, working on railroads and as a seaman. Joseph settled in the Southside of Chicago in the late 1920’s, working at various occupations including carpenter, janitor and mechanic. At the age of 72 he was inspired by a dream to start making art, calling it ‘spiritual unfoldment’. During the last decade of his life he produced thousands of anthropomorphic landscapes inspired by his extensive travels.

Near Naples. Italy-Joseph E. Yoakum
Near Naples. Italy-Joseph E. Yoakum

Near Damascus Syria-Joseph E. Yoakum
Near Damascus, Syria-Joseph E. Yoakum

Near Trieste-Joseph E. Yoakum
Near Trieste-Joseph E. Yoakum

Scottie Wilson

Born of Jewish descent, Louis Freeman grew up in the tenements of Glasgow, Scotland,  dropping out of school at the age of eight to help provide income for the struggling family. He later enlisted in the army, changing his name to Scottie Wilson. After serving in WWI he moved to Toronto, Canada, where he owned a second-hand store. At the age of 44 he was listening to Mendelssohn when, all of a sudden, he dipped a pen into the inkwell and started drawing. Pablo Picasso and Andre Breton were early collectors of his intricate and decorative drawings of birds, fish and fauna.

House of Peace-Scottie Wilson
House of Peace-Scottie Wilson

Scottie Wilson
Scottie Wilson

Scottie Wilson
Scottie Wilson