Tag Archives: sculpture

Animals, Artwork, Creativity, Paganism, Ritual Tools, Skin Spirits, The Tarot of Bones

Announcing My Newest Project: The Tarot of Bones

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Happy New Year, all! For the past several weeks I’ve been dropping hints here and there about a big, super-secret project I have in the works, and now I’m doing the big unveil:

After almost twenty years of practicing nature-based spirituality and creating art with natural materials, I am creating a tarot deck. The Tarot of Bones is an ambitious project combining the nature-inspired symbolism of animal bones with the tarot’s well-loved archetypes to create an unparalleled divination set for the 21st century. As animals exist within vibrant and complex ecosystems, the bones will be ensconced in permanent assemblage artworks using natural and reclaimed materials reflecting both the animal’s habitat and emblems of their respective cards.

The Tarot of Bones will be a complete 78-card tarot deck with both the Major and Minor Arcana, each card featuring a full-color photograph of the assemblage piece I create for it. A full companion book will also be available, detailing the symbolism and potential interpretations of each card, as well as sample layouts and other material of use to the reader. The Tarot of Bones will be self-published to allow me the greatest amount of creative control; I will be organizing a crowdfunding campaign later in 2015. If you would like to support my creative endeavors in the meantime and get access to exclusive work in progress photos of the artwork for the cards, please consider becoming my patron on Patreon.

For more information and updates please refer to the pages and other links at the official website; you may also wish to join our Facebook page (make sure you turn on notifications!) I’ll be posting pictures of the assemblage art for each of the 78 tarot cards in the deck-to-be. The first one will be up later in January; in the meantime, I invite you to take a peek at some of my other artwork on my portfolio; you can also see specific samples of my work on the main page of the Tarot of Bones website to give you some idea of the style I will be using for this deck.

And please share, reblog or otherwise pass this post on to anyone you feel may be interested; as I will not have the promotional power of a publisher behind me on this project, word of mouth is going to be a really important component of making it happen. Thank you!

Artwork

Announcing My New Solo Art Show: marrow, moss

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I am pleased to announce my upcoming solo art show! marrow, moss will feature new assemblage and costume pieces, including works never before displayed online or off. Since 1998 I have been creating art from hides, bones, stones and other natural materials; part funerary art to honor the beings that once wore these remains, and part microcosmic encapsulation of nonhuman nature, my work is an alchemical transformation of abandoned and trivialized materials into creations toward a better world. As with all of my work, a portion of the proceeds from sales of the pieces in this show will be donated to a nonprofit organization that benefits natural places and their inhabitants.

I invite my readers to attend the opening of this show; admission is free, and in addition to my works you may explore the diverse and glorious stock of one of the Pacific Northwest’s premier natural history shops.

Where: Custom Cranium, 1331 Willamette St., Eugene, OR

When: Saturday, September 6, 7pm

My deepest thanks to Darien at Custom Cranium for inviting me to show at her shop.

Activism, Artwork, Geekery

The Tragic Treatise of the Teacup Tauntaun: Part 2

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Note: This is a piece of fan fiction I wrote for a booklet accompanying my Star Wars-themed altered taxidermy piece, the Teacup Tauntaun. You can see more pictures of this piece and find out more about its construction here. Part one of this written piece

Also, a quick shout-out to Cory Doctorow BoingBoing for sharing this critter in a post–many thanks!

A Victim of Its Own Success

Vordon was never particularly good at promotion, and although he sent a few dispatches out regarding the availability of new litters of Teacup Tauntaun, few visitors came to see his stock, and no one made a purchase. It is said by those who survived the experience that the normally noxious scent of the Tauntaun was concentrated even more greatly in this smaller version, which led to suspicions that Vordon had a particularly poor sense of smell, even for a Hutt.
Irrationally and desperately hoping that supply would create demand, Vordon continued breeding Teacup Tauntauns irresponsibly and only with an eye toward what he thought would be fashionable, with frequent inbreeding and little care for the animals’ health. He purchased more caves in which to keep his animals, and redoubled his meager promotional efforts, all to no avail.

By 68 ABY, even Vordon had to admit that things were not looking good for his scheme. The very traits that he had selected had become so exaggerated as to become harmful—sometimes even lethal—to newer litters of Teacup Tauntauns. The large pair of horns, meant now to be more ornamental than practical, had grown so long that they often extended far beyond the muzzle of mature animals, making it impossible for them to eat without assistance. Even the smaller horn buds had become hazardous; as the average size of a Teacup Tauntaun’s skull shrunk with each generation, the horn buds became more crowded, until one pair was routinely located so as to interfere with the animal’s ability to move its ears properly.

Sometimes this skull shrinkage would outpace the downsizing of the brains of Teacup Tauntauns. After several generations, some unfortunate animals would be born with skulls too small for their brains, leading to sometimes severe and painful neurological problems that eventually proved fatal. Others had such badly malformed hip joints that they were unable to walk properly. The list of health problems goes on and on: spinal deformities, missing teeth, and a disease that progressively robbed the animal of the ability to absorb nutrition from its food, leading it to slowly starve to death—or die from a burst stomach from overeating in desperation. The normally social Tauntauns at times would resort to killing their own suffering offspring to end their pain, displaying more compassion and intelligence than their breeder apparently showed.

Worse, a famine struck the region of Hoth where Vordon’s operations were located after the lichens that composed an important link of the ecosystem were stricken by a periodic bout of lichen blight. Wild stocks of Common and Glacial Tauntauns died of starvation, and the Teacup Tauntauns in their relatively flimsy pens became repeated targets for hungry Wampas. In the space of a year, the number of Teacup Tauntauns dropped to less than a dozen.

And Then There Was One

In 90 ABY, less than seventy standard years after Vordon began his ambitious project, the last Teacup Tauntaun passed away from a combination of congenital defects. Due to her stench, which was caused by the waste system of a Common Tauntaun being concentrated into the smaller body of a Teacup Tauntaun, and which as a result was repulsive enough to cause even the last two male Teacup Tauntauns to avoid her, she never reproduced. With her death, her species came to an ignominious end. Shortly before the animal—nicknamed “Yipo the Fluffy”—passed away, your beloved author was able to examine her and make a deal with Vordon to purchase her carcass once she had died of natural causes. It was the only Teacup Tauntaun Vordon ever sold.

Her head is mounted on a board decorated with idyllic scenery that belies the harshness of Hoth, her ancestors’ home planet, and reflects the romanticized imagery Vordon used in his sales pitches. She has been preserved with traditional Krish taxidermy techniques to best approximate her appearance in life, and with care this rare piece of history should last for a long, long time. Further, she should be seen as a reminder of our responsibility to our fellow creatures. When most species go extinct it is a tragedy; in the case of the Teacup Tauntaun, extinction was the final mercy.

About the Author

Haali Dendrac grew up in the floating city of Avtuu on her ancestral planet Ithor. From a young age, she knew she wanted to join the Ithorian nature priesthood, and voraciously questioned anyone she could about the flora, fauna and fungi that resided “in the arms of Mother Jungle”. When she came of age, she was made an acolyte of the priesthood and was allowed to accompany them on her first journey to the surface of Ithor, and nothing was ever the same. After the destruction of Ithor, she became one of the strongest proponents for the restoration of the planet’s ecology and continues to act as a consultant in the early efforts toward that end. Her youthful curiosity about the diversity of life on her home planet led her to further explore life on other planets, and she has dedicated her life to documenting her findings for the enjoyment of all. The Tragic Treatise of the Teacup Tauntaun is her fourth publication.

Artist’s Note

This piece is meant as a parody concerning the overbreeding of certain breeds of show dog in our world. While I am not against purebred dogs as a general concept, I find that many breeders, especially of popular breeds, put profits before puppies. There are few pure breeds today that do not have a slew of congenital defects. I have chosen to draw on a few of them in my discussion of the fictional Teacup Tauntaun. For example, it is estimated that over half of all Cavalier King Charles Spaniels have a condition known as syringomyelia, in which the skull is too small for the brain, which is pressed out the back of the skull cavity and causes both seizures and immense amounts of pain. And my own favorite breed, the German Shepherd, is frequently plagued by hip and elbow dysplasia, along with spinal myelopathy, a degeneration of the myelin sheath on the spinal cord which leads to a progressive numbing and eventual failure of the back half of the dog.

It is my hope that this piece will help raise awareness of the problems with inbreeding and indiscriminate breeding without care for these inherited health problems in pure breed dogs. Additionally, a portion of the funds from the sale of this piece will be donated to Multnomah County Animal Services to help them take better care of the animals waiting for forever homes there. MCAS is often overlooked in lieu of “sexier” shelters like the Oregon Humane Society, but when the time comes when I can finally get a dog of my own again, MCAS will be my first choice. I hope you’ll consider them the next time you wish you adopt a dog or cat, too.

Also, if you’d like to see the Teacup Tauntaun itself in person, it will be on display at Good: A Gallery here in Portland, OR for the month of May. The group show officially opens this Friday, May 2, from 7pm – 10pm; here’s more information.

Artwork, Geekery

The Tragic Treatise of the Teacup Tauntaun: Part 1

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Note: This is a piece of fan fiction I wrote for a booklet accompanying my Star Wars-themed altered taxidermy piece, the Teacup Tauntaun. You can see more pictures of this piece and find out more about its construction here.

The Tragic Treatise of the Teacup Tauntaun

By Haali Dendrac

Author’s Note: As a sign of respect to my fellow living beings, I have chosen to capitalize the names of all species of animal described in this book, may Mother Jungle watch over them.

Introduction

On a lonely, frozen planet called Hoth, within the Anoat sector, there is a genus of creatures known as Tauntauns. Several species are native there, to include the Common (or Giant) Tauntaun, the Glacial Tauntaun, and the smaller Climbing Tauntaun. But there is a fourth species—or, rather, there was a fourth species—of which you may have heard: the Teacup Tauntaun. It is infamous for being the only completely domesticated species of Tauntaun, and it is the reason why the name Vordon the Hutt should provoke feelings of repulsion even in the most tolerant of Ithorians.

Vordon the Hutt

Vordon the Hutt was born at an undisclosed location around 245 BBY. Competitive from a young age, he nonetheless lacked the characteristic shrewdness of his kind, instead throwing himself wholesale at any get-rich-quick scheme he could concoct. As a result, he frequently found himself deeply in debt, and soon wore out his financial welcome with his immediate relatives and acquaintances. He showed a particular talent for flattery, however, and was able to talk his way out of more than one potentially detrimental debt collection effort.

Eventually Vordon, in the employ of several members of his clan, was able to pull himself out of debt and amass a small financial surplus. While age and experience helped him to preserve this gain, they had not fully tempered his impulsiveness, particularly when fed by envy for more successful members of his clan. Frustrated at seeing other Hutts of his age beginning to establish themselves as economic forces to be reckoned with, Vordon thirsted for a similar opportunity.

The Teacup Tauntaun

Shortly after the first Galactic War made more sentient beings aware of the existence of Hoth and its wildlife, Tauntauns, particularly the Common Tauntaun, became the object of great curiosity. While Hoth already had visitors in the form of both renegades, explorers, and those with a particularly rugged idea of “leisure activities”, it became fashionable on certain wealthier planets to take ecotours to view the traditional range of the Common Tauntaun, particularly the herd from which came the steed that bore none other than Luke Skywalker.

Vordon had watched his cousin, Filpat, make his fortune on the manufacture and sales of stuffed toy Tauntauns. Not to be outdone, in 23 ABY the ambitious Vordon traveled to Hoth himself to see what opportunities he could find. It was while he was touring a domestic Tauntaun breeding facility that he was struck by inspiration: if people liked cuddling a toy Tauntaun, wouldn’t they enjoy cuddling a real one even more?

Vordon cut his trip short and returned to Nal Hutta. There he procured a high-interest loan on short notice, with which he arranged the purchase of a choice piece of ice cave with a heavy lichen carpet, and two dozen of the smallest Common Tauntauns to be found. These animals, as small as half the size of their normal relatives, came with a warning that they should not be bred, as they were runty and therefore in ill health, but small size is exactly what Vordon wanted.

The Hutt immediately set about breeding his stock, choosing the very smallest animals from each litter and breeding them, even if it meant inbreeding. Because Teacup Tauntauns reached maturity more quickly than their wild ancestors, Vordon was able to breed and crossbreed his stock with alarming speed. Additionally, because of their relative genetic malleability thanks to a few key mutations early in the breeding program, each new litter could display remarkably pronounced changes compared to their parents, for example substantially larger horns or thicker, more extensive fur. Within a few years Vordon was drafting the first official species standards for the Teacup Tauntaun in anticipation of what he hoped would be a glorious unveiling to galaxies far and wide.

Hoth was never considered a particularly glamorous planet, even by those who visited it for cold-weather recreation. But Vordon set out to romanticize Hoth and its inhabitants to a degree that no one else would have bothered attempting. An early advertisement that was drafted but never published described “bright, shining dunes of the purest white snow, flanking crisp frozen seas”, and populated by “vast herds of noble Great Tauntauns traversing the plains under a mist-wrapped sun, while Mynocks flit hither and yon above them”. (Vordon was apparently unaware that Mynocks parasitize Exogorths, not Tauntauns.)

Official Species Standards

These are the newest version of the standards, put forth by Vordon in 61 ABY under the guise of the Intergalactic Teacup Tauntaun Fanciers’ Club, which boasted a membership consisting of himself and Jixi, Vordon’s pet ice scrabbler which he saved from being consumed by his herds in a moment of unusual sentimentality.

General Appearance

At first look, the Teacup Tauntaun is a scaled-down version of its larger Common cousins. However, upon closer inspection it is a much cuddlier beast, with more of its form covered in soft fur. The females are slightly larger than the males, though both give an impression of being sturdy and fleet of foot, with an intelligent air about them.

Temperament

The Teacup Tauntaun is bred to be a companion animal, and so should be quiet but not docile. The young may be playful and rambunctious, but ideally settle into a more stable adult manner. It is intelligent enough to be trained, whether that is to perform tricks for table scraps, or as a casual hunting animal provided the chase is secondary to a place in the home. This species is known for its loyalty to those it considers its herd, so early socialization with the entire family is a must. While the wild Tauntaun may bolt at the merest sight of an approaching Wampa, the Teacup Tauntaun will bravely defend its herd until all are safe, and its natural wariness makes it an ideal home guardian.

Size

The desired height is between twenty-four and thirty inches at the shoulder for a female, slightly smaller for a male. Longer than it is tall, the teacup Tauntaun should ideally have a 1:1 ratio of body length (not including tail) to height (from shoulder to ground), with the tail being as long as the body to provide the proper balance.

Head

The head is more slender than that of the wild Tauntaun, though not delicate. The long, curving horns are retained, and should be of equal length. The lower half of the face is covered in fur, to include around the mouth and eyes; the Teacup lacks the large, unattractive scaly bags around its eyes, and any appearance of these should be considered a serious fault. The upper portion of the face is covered in scaly skin of a beige, brown or gray color, and the nose has prominent ridges leading to the two pairs of nostrils. The ears are also covered in short fur, with longer tufts at the ends. The Teacup Tauntaun has five to ten smaller horn buds upon the top of the skull; these should be arranged symmetrically.

Body

The body should give an impression of strength and speed, but not too much thickness. It is a bottom-heavy animal, with powerfully muscled legs and broad feet. The legs are carried well underneath it, providing a balancing point between the head and the tail. The forelimbs are smaller than the hind, but stable enough to support the animal on all fours for grazing. There should be five toes on each foot, fore and hind, to include the dewclaw. The tail is long and finely scaled, slender but not skinny, and solidly attached to the body with a smooth transition along the spine.

Coat and Color

White is the only acceptable color for the Teacup Tauntaun, though a small amount of beige, brown and gray shading is allowed around the eyes, mouth, and wherever fur and scales meet. The body fur should be long and flowing, while the hair on the face is shorter. More fur is preferential to less, with the exception of the top of the head and the nose ridges.

Movement

The animal should move more gracefully and lightly on its feet than its wild cousins. The gait should be smooth, to include when running, and only the hind legs should be employed when moving any faster than a slow graze.

Unacceptable Flaws

Missing dewclaws
Cropped ears or tail
One set of nostrils
Lack of fur around eyes or mouth
Lack of tufts on ears
Broken, missing, misshapen horns, or horns of different lengths
Broken, missing or asymmetrical horn buds
Coat color other than white
Curly coat
No fur

**********************

So what happened to this beastie? What parallels does its fate have with an animal native to our won reality? And just who is the author, Haali Dendrac? Tune in tomorrow to find out!

Also, if you’d like to see the Teacup Tauntaun itself in person, it will be on display at Good: A Gallery here in Portland, OR for the month of May. The group show officially opens this Friday, May 2, from 7pm – 10pm; here’s more information.

Artwork, Environmentalism

New vs. Secondhand Materials in My Art

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If you’ve visited my Etsy shop lately, you may have noticed that I’ve made some changes to how I describe the materials used in my works. In my continuing efforts to be more eco-friendly in my art, and to help prospective buyers make decisions that fit their personal ethics, I’ve divided the materials up into two categories:

New or reclaimed from industry materials: “New” describes supplies that I’ve either bought new from a shop or a commercial supplier, like certain jewelry findings, most acrylic paints, and artificial sinew and other thread. “Reclaimed from industry” is sort of the “pre-consumer waste” alternative–it includes scraps from commercial industries that I then reclaim myself or through a third party supplier. These are usually byproducts that the original industry can’t use, but which are kept out of the waste stream (read: the trash) through art and other means. A good example would be the tails and other scrap fur that are left over from garment manufacture.

Secondhand/recycled materials: Secondhand refers to materials that previously belonged to another private individual; this can range from hides and bones that were a part of a person’s private collection, to leather jackets, costume jewelry and other items from thrift stores, yard sales and the like. Recycled materials are things that I’ve otherwise repurposed; for example, handmade paper made from envelopes, unwanted junk mail, and other paper that I would have tossed into the recycling bin otherwise.

As both a mixed-media artist and an avid environmentalist, I feel very strongly that it’s my job to promote eco-friendly practices and materials. Over the years I’ve incorporated more and more green habits into both my art and my everyday life, and I want to encourage others to consider doing the same. By being more transparent and straightforward about where my supplies come from, I hope to inspire people to think more about where the items they’re buying come from, not just art, but in general. Look at the plastic and cardboard packaging that much of our food is wrapped in. You may see a label that says “Made with 75% post-consumer waste” on it, but have you ever really thought about what that means? For me, at least, it’s incentive to keep supporting companies that make use of recycled fibers and other materials, to be extra-careful about sorting out my recyclables, and to reduce my consumption in the first place.

And I want to do that with my art as well. My creations are intended to evoke honor and care for the environment, and by being more clear about the origin of my materials, I am not only offering up the information to others, but I’m also reminding myself of where the things I make things out of come from. As I spent the past couple of weeks updating each of over 300 listings in my shop, I became a lot more aware of the realistic proportions of new to secondhand materials I was working with. Sometimes I was surprised at how little secondhand stuff was in one piece; other times I’d find a piece that was entirely made of reclaimed materials. It’s not that I wasn’t conscious of my materials on some level before, but this exercise brought it into greater awareness. And it’ll keep happening each time I list new items and go through the process of describing the materials in detail.

Of course, just as the 75% post-consumer waste cardboard cracker box doesn’t tell you the whole story–the pollutants that are a result of even the most efficient recycling process, the energy used to make the box and fill it with stuff and truck it to the store–my brief descriptions aren’t the whole story, either. For example, I’m well aware that commercial tanning is a messy process with nasty byproducts, and that although acrylic paint is a much more eco-friendly product than oil paint, it’s not without toxins in its process, either (plus you can’t really clean the bottle well enough to recycle it). That’s part of why I’ve always maintained an open-door policy when it comes to questions about my materials and their sources. I’m happy to explain to the best of my knowledge where something comes from and what its impact is.

I still have a list of changes I want to make to my materials and my processes that are more in line with my environmental ethics. Some of them are out of reach right now because I don’t have the money or space, or because I haven’t had the time to experiment with greener alternatives (or I haven’t found one that fits my needs). But, like anyone, I do the best I can with what I have. I may still be renting from a fairly strict property management company and therefore can’t install solar panels, but my local electric company offers a 100% green energy plan with additional salmon habitat restoration, and I switched over to it a few years ago.

And I’ll keep knocking things off my “green list” as I go along. This shift in my materials descriptions is a small thing, but I hope it helps. Here’s an example of where you can find the materials information on each listing:

example

Please note that I did not include this on items in my Supplies/Vintage category, since for the most part those aren’t items I made myself. I also didn’t include it on the books I’ve written, since I didn’t make the physical books themselves, and it’s not on the custom work available because each custom piece may include a unique proportion of new to secondhand materials. That being said, you can find the new materials information on the majority of the items in my shop, and again you’re always welcome to ask me about sourcing.