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@dionysianartist
To be Eaten
February 15, 1779: Captain James Cook, the supposed discover of Australia and national icon, had his skull caved in by Hawaiian chieftains that determined that he was not a Messiah, but an interloper and threat to their nations. His body was ceremoniously chopped up, with his flesh boiled and burned and his bones ground… ***** Those that follow the Dionysian Artist knowthat they are…
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You or not of noticed that my blog has been disabled for some time.
This is due to personal reasons, including a change in copyright ownership of some artwork featured on this site.
I have since enabled some of my choice articles for public viewing.
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More Hermes problems: Redbubble
More Hermes problems: Redbubble
Hermes Kriophoros by Wayne McMillan
Of all print distribute services Redbubble has been my preferred. For the longest time we’ve had problems with other services because the name Hermes is trademarked. Making it very difficult to sell anything related to the god of commerce, the market, travel (among many other things).
Sadly his name is owned by big corporate fashion brands,eBay, Society6 and…
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When
When you sit in a pool of your shit and piss,
smeared in ash and blood of your own kin,
chalked in the fossilised bones of countless animals,
eating the fruit fertilised by your ancestors, lovers and enemies;
if you can mutter the words: “life is awesome”,
then you can call yourself a Dionysian.
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September 2017 I experienced a rather intense dream of me drawing a massive picture of Lord Shiva on the street. The dream was extensively detailed, for a dream, of what the image should look like, how it should be presented and what aspects I should focus upon.
Four months later I finally have resources to begin this project.
I’m not exactly sure why Shiva has instructed me to do this picture, but I have a very strong feeling it has to do with purification and elevation of myself and the street. A major focus is his poisoned neck (Shiva known as Neelakantha). This suspicion is related to my mental health, which has been out of control for the last year, triggered by The Bourke Street Mall attack on the 20th of January 2017, this event resulted in the murder of people where I work, people died on the same pavement I draw upon. Naturally this intensified my depression and anxiety. By sheer coincidence, as in I had not planned it and noticed it later, my first day working on The Shiva Street Art Project on the street begun on the 20th of January this year…
Whatever the case, I’ve finally started the project, one I predict will take me a few months to complete.
As per instructions given, I must create a permanent boarder around the whole canvas in red and yellow, with some kind of pronouncement in Devanagari. I’m just calling my source divine inspiration, as I don’t presume, but I am informed that technically this *is* the icon, ie., it is technically finished as Om Namah Shivaya is all that is needed…
So here you can my canvas with the boarder and ॐ नमः शिवाय (Om Namah Shivaya) written at the base in a stylized Lingam. The canvas has been tinted blue with ultramarine blue pure pigment. The canvas size is 230×166 cm (roughly 7.5×5.5 feet).
As for the depiction of Shiva, I am using a pastiche of Hindu iconography. For the main body I have chosen a famous statue from Rishikesh, India. This statue is representative of his ascetic aspects. I’ve been instructed that he must not be totally blue, however his neck *must* be blue with green aspects. Eyes closed, bare chested, two-armed, meditative, sitting on the tiger skin. The cobra must have its head up with hood flared. Ganga is not personified in his hair, but is spouting out of the topknot onto a Lingam on the right, the Trident (Trishula) and drum on the left, with the pot (Kamandalu) at the base. The background is mountainous with the Kailash peak somewhere.
This is my second day progress, I still need to refine his face, but I’m so far happy with the progress.
These are my references:
Base figure
Skin and cobra ref
Skin ref
Iconography and tiger ref
So far the most challenging thing is learning more in-depth about Shiva, he is god I’ve known about for a very long time, but never had contact with – until now. I’m also put extra precautions about taboos and conscious about my feet, as I am doing this as a devotional street art project I lay down a protective mat to keep the icon directly off the pavement and I do not walk on or touch the canvas with my feet.
In terms of art, it has been challenging working out his flesh tones. I want him to be ashen, but not completely grey or devoid of colour, nor do I want him to be completely blue. I’m working off a black and white photo so I’m making this up on the spot… I have to be imaginative… I think I’m getting the colour I want though.
When finished, I am willing to donate the icon to a local Hindu temple, if they will accept him.
I hope to keep this blog posted as more progress continues!
Om Namah Shivaya!
The Shiva Street Art Project September 2017 I experienced a rather intense dream of me drawing a massive picture of Lord Shiva on the street.
The last year felt like I was doing nothing, all the time. Being in a retrospective mood I decided to compile all images Wayne and I completed on the street in 2017. Though mostly reproductions, ’17 was probably our most prolific year.
2017 in Street Art The last year felt like I was doing nothing, all the time. Being in a retrospective mood I decided to compile all images Wayne and I completed on the street in 2017. Though mostly reproductions, '17 was probably our most prolific year.
Birth of Athena
The Birth of Athena was the last original street art project for 2017, completed in April. The canvas is roughly 3x2 metres. Designed by Wayne McMillan and created by Wayne and myself. (Photo credit: Gabriel Rehmtulla, for the filtered photo.)
The Dionysian Artists Q & A
Late last year I sent out requests for questions of The Dionysian Artists. A modern devotional artist guild and religious cultic tradition I’m attempting to formulate. These are the questions and answers so far. If you have more to add feel free to leave a comment or email me. [email protected]
I also wish to thank everyone who has already asked me questions!
Basics:
Who is Dionysos? Why is…
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My first art?
The other question asked of me is what is my first, or oldest art? Unfortunately I have discarded a lot of my old art. These two are all I can find. The first is a pastel I did when I was 15, the second an tiny ink sketch that has always been very special to me.
My Art
A Tumblr friend I know offline asked me why I only share my partners art? Do I have my own originals? Simple answer is I’ve been suffering from depression in the last year and been inactive in nearly all things. But I do have some original work, I also have digital designs on redbubble too. Most of my art is heavily inspired by classical work, including Greek pottery, sculpture and Fayum portraits. I attempt to keep a balance between rendering, painting and drawing, I want to avoid realism... I’ve been experimenting with acrylics lately, which I have mixed feelings about as a medium.
The Dionysian Artist
When I travel to the abode of Death I’ll find a woman dressed in white, who calls my name and directs me to a horned man. He is silent, his back turned against me. A snake slithers across his shoulders draped in saffron, and his head is crowned with dying ivy. The vivid colour of his robes are in stark contrast to his black, patterned hair. I needn’t speak his name. I know I’m of his race and nature. I am Starry. As I draw near, he turns, and his face is lit with aspects of man, woman, beast and god. He takes me by the hand and our feet leave the ground. We rise through starry sky in dance. His body presses against mine and he enters me, shattering my soul into stars. Like this we revolve round each other, spinning in apotheosis until we are one.
Life, life, life has granted me this boon, for he has observed my sorrows and joys. You see, in youth I found an unlikely calling, one steeped in respect for the ancient peoples of Hellas. Through many trials I came to grasp the basics of their culture and faith, but it was only when my partner and I discarded our worldly possessions to make art in the streets that He took notice, entering my life as an ecstatic presence that’s never left. I’ve had to experience some horrors to learn my place. I’ve been hunted by spear-cocked satyrs that chased me to a river of Dis where I had no choice but to leap in, which washed away the name of my soul. I’ve had to replace it with a symbol and to lose myself, to become free of identity, and in exchange I’m given a collection of bestial masks and children’s toys.
This is the role of a Dionysian. Terror-filled. Flesh rendered. Marked in blood and ash, and thunder struck by wine.
Δ, Markos Gage, The Dionysian Artist. https://dionysianartist.wordpress.com/
“Typhon” by Wayne McMillan
“Apollon on a griffon flanked by Cretan Genii” by Wayne McMillan
“Lady with an Ermine” after da Vinci, by me.
"But if a major scourge is needed to make this frenzied pointlessness appear and if that scourge is called the plague, we might perhaps attempt to determine the value of this pointlessness in relation to our whole personality. The condition of a plague victim who dies without any material destruction, yet with all the stigmata of an absolute, almost abstract disease upon him, is in the same condition as an actor totally penetrated by feelings without any benefit or relation to reality. Everything in the actor’s physical aspect, just as in the plague victim, shows life has reacted to a paroxysm, yet nothing has happened. Between the shrieking plague-ridden who run in pursuit of their imaginings, and actors in pursuit of their sensibility, between a living man who invents characters he would never have thought of dreaming up without the plague, bringing them to life amidst an audience of corpses and raving lunatics, and the poet who inopportunely invents characters entrusting them to an equally inert or delirious audience, there are other analogies which account for the only important truths, placing theatre action, like that of the plague, on a par with a true epidemic." ~Antonin Artaud (May he be blessedly drunk in the halls of Dionysos.)
"Hekate" by Wayne McMillan.
Kandinsky Jr. ? ( * ) 14/11/2017 @jasonsart
Bottom Left: Wassily Kandinsky
Bottom right: Delicate Tension. No. 85
1923
( * ) I have been told some of my art reminds a person of https://g.co/kgs/zKG7L9 work. I have never seen not heard of Kandinsky before the 14/11/2017. I called this Kandinsky Jr., because I agree somewhat with this person saying my art reminds him of Kandinsky’s.
As I stopped attending the NGV, I felt lost, because I had spent much time there creating art. I left the NGV, because here is one of the main reasons
‘Featuring the work of over 100 artists and designers from 32 countries, the NGV Triennial surveys the world of art and design, across cultures, scales, geographies and perspectives’
The NGV search artists worldwide to bring you art from around the world; yet right here in Melbourne, we have many MANY talented artists that shape, paint, sculpture and more. Yet, the NGV chooses to ignore artists from tge second biggest city in Australia.
SO…
I gradually began to find my feet, and create work on my own; or so I thought ! ? I am really flattered that I have created art that reminds another of a classic artists work. ai am also proud that my work grew from my own style and otherwise. Again I stress, I have had no lessons and a self taught artist through surviving 2 traumas. No degree, lessons or much else at all.
Can something be original if I never knew of it’s existance of the art pre my art ?
indeed.
I don’t believe in “originality” and I think one of the greatest failures and lies of 20th century art is the ridiculous quest to seek it. Why? This is because we are all human and live on the same planet. Sure we can each experience life in different ways, see colour in different lights, but the basis of our existence is still the same. Plus onto that is our retrospective environment (i.e., internet/visual saturated culture) it’s darn impossible to be original. “Necessity is the mother of invention”, is what I believe, and with all inventions there is a history that leads to its creation.
Which brings me to my next point, Kandinsky is less original than yourself. You at least can cling to ‘naïve art’ and claim yourself that. Kandinsky, however, is not that. Yes, his art was new and unseen at the time, but the basis of its creation is not random, nor original: it came about due to his time. His art is created following a philosophy, one that was not founded or constructed by himself. Whereas your art is whatever expression you are attempting to create, conscious or not.
