Tendril: Their Will Be Dreams

Ryan

...

+O+ THE MIND WAR now fully shaded... by working through the night I have also drawn and almost finished shading THE SORCERER. This brings the total cards completely drawn to 10. +O+
 

Ryan

Mw / s

+O+ Images. +O+
 

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Ryan

Anfscd

+O+ Off-topic, but the Día de los Muertos Lenormand is a cute little deck isn't it? Very nice...
 

Ryan

+O+ As I was just discussing with a friend - the human face is absolutely fascinating. I only wish I had more time to devote to perfecting it before doing some of these cards but it seems like a study that I would drift too far afield in trying to perfect instead of focusing on finishing Tendril with the skills I already possess. The hardest thing for me when learning how to draw a face was to stop seeing it the way I had learned to see it - my hand struggled again and again to get the right lines and I have hundreds of practice sketches of the human form, poses, shadow, light, shape, length, and so on to prove it. I had to break my 'imago' of what a human face looked like and concentrate hard on drawing only what was there. I have discovered the intricacy of the human face is vast - and a basic knowledge of the muscles underneath the skin that move and distort the features is requisite - as is noting how a tiny lift on the eyelids can make all the difference, or how the darkness should look in the mouth, or the smudge underneath the lip, or the part color plays in flushing the cheeks, the jowls, the forehead, or helping give the appearance of puffy eyes. It is difficult to draw a child in pain - and yet I hope to have done some justice at least in his visage for all the silent sufferers whom he represents and aeons of victims who have suffered at the hands of monsters in the Church. +O+
 

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Ryan

Sovereign

+o+ ...
 

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Ryan

The mythmaker

+o+ ...
 

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Ryan

Mythmaker...

+O+ Ridicule of the super-dogma of the hypocritical mythology of the Holocaust, upon which many a man has been nailed to the wall for daring to deny it with the freedom of speech, is presented here with equally mythical and fantastic creatures, a unicorn, a cartoon rabbit, flying pigs. The deadly seriousness toward any transgressors of its fabled legend against which no man may speak is balanced with a massive list of countries the United States has bombed or invaded since 1890 [more than eighty]. Day after day documentary after documentary is shown on WWII and the atrocities of the Nazis. We say Enough. Tell the truth. The deliberate cartoonishness of the images, whilst clashing horribly with the rest of Tendril, makes its point more effectively than any carefully drawn drawing ever could - it succeeds in highlighting and mocking the one-sided tirade by AXIS forces that has become a sacred cow to justify the demands of a single race for endless restitution and limitless control - and in illustrating the extent of reality bent into a farce. +O+
 

Ryan

+O+ Work Will Set You Free is framed in a rainbow - famed as a testament of the judaic Gods/word to Noah that it [The Flood - a story stolen from Sumerian Myth] shall never happen again it sufficiently echoes the hollow promises of the neo-cons, the lefts, the liberals continue to make, disguising their own holocausts, genocides, capitalist rapes and orgies in disarming, enchanting ribbons of colour. I have used this symbolism to aptly "illuminate" the nature of Magian double-speak as an innate function of their politics and religions underlying their fairytales and promises of fairytale endings... +O+
 

Ryan

Unsung

+O+ [Early] The difficulty of finding a stock photo of a woman expressing Rage online was immense - nowhere to be found was there any genuine anger except perhaps for a small photo of Xena, Warrior Princess whose only short-coming as a Sinister Archetype is her ridiculous armour. All I could find were bubblegum women showing mock anger. No killing rage, no intensity, no honest outpouring of Anger either in the eyes or the face. I'd no idea the situation was so serious...

[Later] Without mastering certain skills it would be impossible for me to attempt to draw some of the cards of Tendril. My understanding of human form and figure continues to grow... the human body is difficult to depict, particularly in the case of UNSUNG which is an attempt at a genuine Sinister Feminine Archetype. The women of THEM are above all practical, hard, ruthless survivors. Their faces are not passive, their chests are covered. If they wore armour it would be functional - protecting their vitals and padded/plated for warfare. They would not risk breaking their sternum with the fantasy boob-plate and would opt to deflect blades away from the heart not give them free passage. They are not skinny and they do not snap in half when the world tests them, they are not weak or helpless or afraid to speak, they are both beautiful and savagely ugly - and when they Rage, they Rage for their own ends like you wouldn't believe. They do not stop at a single head.

[Latest] A few things. This is OTO ANORHA the Dark One. In the background a woman is imprisoned in a glass cage surrounded by icons of torture and degradation throughout the aeons, inc ballet shoes, high heels, corset, ruler, measuring tape, home appliances, a police truncheon and badge, geisha mask, scales, and burkha. She has simply had enough of being measured, poked, prodded, forced into wearing this or that, weighed, analysed, assessed and quite simply launches herself at the viewer her hands dripping with blood [not shaded in yet] her face blackened with absolute rage. Black lightening crackles off her skull as a Blackness descends that has frightened Man since the Beginning calling upon the "crazy psycho bitch' inside her. Her primal self underneath the adornments blazes with primordial power [a pre-celtic triskadeliac triple ring tattoo is a nod to her triple [traditional] aspect whilst the tattoo itself represents Her omni-nature [the sun, the womb, the moon, the ovaries, uterus, reproductive organs, cyclical procession et al]. She has a shaved head to indicate the raw power of a woman does not come from her hair [a spit upon classical beauty] and is armoured heavily in tactical plating including her neck. Yet their are nods to her other aspects of femininity through the haze of blood. Outside of her SAS tactical plating with special emphasis on covering the heart she wears a necklace with three orbs [another nod to the traditional triple goddess archetype] in which are contained the eyes of three animals, a wolf for her savagery and her pride, an owl for her shrewdness, resilience and silent knowing, and a lioness for the nuance of her maternal instincts to care for her young, be dependable, loyal, and strong for others and herself and the other side of her as the sinister, deadly, focused huntress.
 

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Ryan

Women and Tarot

+O+ Traditional Tarot such as are usually created frustrate me incredibly. What incentive is there to bring out that latent nature in the way of strong feminine archetypes for young women to adopt when they are depicted as weak, passive, saccharine, sexual objects -fairies, angels, impractically clad warrior-esses with exposed breasts and glaring omissions of armour, as succubi, vampires, monsters? And therefore encourage women to see themselves as the same? The FEAR to change what stands is obviously immense or we might have seen some departure from this.

Women are depicted again and again in the same stale vein and from a male point of view - There are No modern examples I can think of that archetypally represent a strong female. Those that do depict the sinister feminine are hundreds and even thousands of years old [such as Kali], Morrigan, Cybele, Hecate. Where is there divination into the soul without any deeper thought into the symbolism being used - where is the impetus for Change, Gnosis, Empowerment that Tarot should have if they are so representative and all-encompassing? Are we really that shallow, superficial, broken down that we let forms thousands of years old lead us? How to inspire a different model for women to emulate, to reflect them, that is not either ancient, or flawed? Criticism levelled by myself and others at the traditional Sephiroth and depictions of the Tarot is that it is patriarchal, commercial and yet archaic in essence, especially when depicting women - and shallow, especially when depicting Forces underlying Forms.

We give more detail here in the following essay where we compare artist Moreau and visionary Dali.

Misogyniste: And The Eternal Feminine
[ +O+ The following Exhibition of Gustave Moreau (1826 - 1898) promised to show to us the Eternal Feminine. What is shown to us, is that Moreau typified ignorance by depicting the Eternal Feminine in two masculine veins. For Moreau, whose paintings extend from Cybele to Sappho - Woman is either powerful, independant, virginal, and faceless, or she is a sexual creature and therefore a dangerous Succubi. There is no powerful woman whose features are clear, and no sexual women who are not shown enslaving men and draining them of life.
Nowhere in this exhibition is the Eternal Feminine correctly understood and the sheltered ignorance of mans arrogance prevails. To state that this exhibition relates the "Eternal Feminine" is typical of the half-half world we live in where the male side of the coin predominates in deciding what not only the masculine is, but the feminine too. Below, the presenter describes Moreau as "radical" - and perhaps his paint strokes are in some way distinct from the hundreds of thousands of painters of his day, enough to qualify as a "Genius" or prodigy of the art world at the time - but his notions of the Eternal Feminine, of Women, are as they have always been - archaic and insulting. As if inspired directly from the antiquated chauvanism of the Bible or Koran; the artist we have termed Misogyniste rehashes the identical sickening archetypes that continue to portray Women through a mans eyes as something to blame when she is depicted sexually, or something to be ignored when she is depicted powerfully. In describing the exhibition the presenter says this: ...Powerful and beautiful women like the legendary Cleopatra and the vampiric Messalina, the deadly but fascinating Salomé and Lady Macbeth, and luscious, hapless victims of male lust such as Helen of Troy.
Seems to 'possess' a modern sensibility? Absolutely. Understands the Eternal Feminine? Not on your life. +O+]

http://www.ngv.vic.gov.au/whats-on/exhibitions/exhibitions/gustave-moreau

Gustave Moreau and the Eternal Feminine
“History has bequeathed us a great repertoire of femmes fatales who are not Scarlet Johanssen or Sharon Stone – but had Gustave Moreau been alive today he probably would have painted them too, as kin to the endless number of heroines who captivated him in the late nineteenth century. Powerful and beautiful women like the legendary Cleopatra and the vampiric Messalina, the deadly but fascinating Salomé and Lady Macbeth, and luscious, hapless victims of male lust such as Helen of Troy – beauties whose names are the stuff of legend. Moreau brings them alive for us, as well as men like Oedipus whose lives were bound by tragic destiny.
Gustave Moreau is one of the radical artists of the nineteenth century whose imagination seems to anticipate the cinematic. His art is one of spectacle and alive with fabulous stories. Unique in his own time, especially for painting the great mythological and exotic stories of the ancient world, erotic and often violent, Moreau’s painterly bravura is vivid, his colour dazzling and jewel-like. At times he applies paint and uses mixed media with a freedom verging on the abstract – so that he seems to possess a modern sensibility.
His is an intriguing tale in itself – alternately ignored and fêted in his own time he remains an enigmatic figure whose relationships with the female sex are elusive. Visitors will be seduced by this exhibition of 117 ravishing paintings drawings and watercolours, which explores the artist’s obsession with the “Eternal Feminine” and provides a once-in-a-lifetime opportunity to see these works in Australia, direct from the acclaimed Musée Gustave Moreau in Paris.”

[+O+ In a separate exhibition by Salvador Dali - his painting, unlike anything by Moreau, does capture the sinister mystery of the eternal feminine, wherein he painted lithe bodies with bouquets of flowers in place of their heads, moving away from the two-tone characteristics of Moreau, Dali did in fact understand this complex relationship of the Eternal Feminine by recognizing what kept it Eternal and by escaping the traditional etiquette. Perhaps his advantage was his enamourment with the Atomic bomb and nuclear power, wherein atomization of his subject matter may have encouraged him to abandon the superficial exegesis that prevailed of the Feminine and pushed him to search deeper for the nuclear truths. He did not abandon womans sexuality, far from it, he pronounced and revelled in it - but he did not see woman as succubi or their sexuality as destructive and he enjoyed creating awe by expressing their innate powers and form. One could conclude that the major difference between Moreau and Dali, was that Dali, liked women, whilst Moreau and his ilk are terrified of them. Dali's approach with the atomic would become an obsession for him leading to some of the most spectacular images of the Art World. What is beautiful, unique and Genius about Dali - is that while there are presumably endless ways to depict the womanly body and the eternal feminine - he found one that wasn't masculine and wasn't traditional. His neutrality was a giant leap forward. +O+]

+O+ We also hope - there are artists out there who are brave enough to accept, can perhaps see the sense in what we have written and begin using the Tarot as a platform to empower people of both genders with modern, evolved, energies and forms not remain stuck in the dark ages into which consciousness has been plunged - to restore to the Tarot what it has lost - autonomy. +O+