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of Cabinet curiosities

of Cabinet curiosities

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dedicate this book to all the artist that made rogue taxidermy happen and to start such a unique new form of art. i show my appreciation of the art they created. to also take the viewers of this book on a journey through taxidermy and show how this art can be appreciated and not be considered frightening.

Pg 08- 09

New Leaf Paper

Pg 10-11


Pg 14-17

Chapter One

Pg 20-31

Chapter Two

Pg 34-41

Chapter Three

Pg 42-43


Pg 44-45

Production Notes



eincarnation matte is known for its elegant finish, sharp color reproduction and unmatched environmental specifications. it stands alone as the only matte coated paper made in north america with 100% recycled fiber and bleached without the use of chlorine compounds. this paper line started in 1998 and it was the first 100% recycle coated paper, 50% post consumer waste content and first processed chlorine free coated paper.

New leaf paper co.


he mission of New Leaf Paper is to be the leading national source for environmentally responsible, economically sound paper. We supply paper with the greatest environmental benefit while meeting the business needs of our customers. Our goal is to inspire through our success a fundamental shift toward environmental responsibility in the paper industry. KNew Leaf Paper leads the paper industry in the development and distribution of environmentally superior printing and office papers that compete aesthetically and economically with leading virgin fiber products. New Leaf Paper offers a wide selection of coated, uncoated and office papers, many with 100% post- consumer recycled content and Forest Stewardship Council certification.KThe paper industry is one of the most polluting and resource intensive industries in the world. It is responsible for over a third of worldwide timber harvest and over 40% of all landfill waste in the U.S.When New Leaf Paper was founded in 1998, the paper industry had demonstrated a high resistance to change. With low margins, a commodities international market, and huge capital investment in the status quo, paper companies resisted efforts to integrate sustainable principles into their business practices.


he concept for this promotion book derived from the work Recarnation. Taking the word Re- carnation the concept of the book is about Taxidermy, and how taxidermy in this modern era has taken a new turn and has become a form of art. Taking animals that have died naturally or road kill and seeing Taxidermist artist give these dead animals a second chance by creating sculptures, furniture, as well as for fashion. This book will bring attention to these new form of art as well as how these artist taking these animals and recycling them and giving these road kills a new life.KThe concept is also to show Taxidermy as a new from of art that is inviting and not scary. Many people have the perspective of Taxidermy as just heads of animals that are mounted on walls but this book will show that Taxidermy more than killing animals and taking pride but its actually the opposite many of the taxidermist artist do not even kill the animal they only use animals that are naturally killed or road kill and using these animals for sculptural pieces showing respect to these animals and giving them a new life where people can enjoy them and look at them and have their perspective change about what taxidermy was.

image from the natural science museum of a taxidermy.

Types of taxidermy: theatrical, trophy, sculptural,and, furniture, as well as fashion.

Chapter 01 pg. 14


ncient techniques for preserving entire or parts of animals and humans were secret arts, frequently associated with religious ceremonies and mystical rites. Protecting the dead from decay was variously understood as a means of easing the transition of the spirit between this world and the next, harnessing supernatural forces, or accessing knowledge of the natural and supernatural worlds. Preserved body parts were links to the after world and were appropriately revered as symbols of strength and worldly representations of unworldly powers. KIn an effort to ensure abundant harvests, the Maori sometimes placed the skull, bones, and dried heads of ancestors around cultivated lands to recruit symbolically ancestral aid. Some North American First Nations peoples were known to use the preserved heads of porcupines, foxes, raccoons, and eagles to decorate their clothing and equipment. In the Ecuadorian and neighboring Peruvian Amazon,members of the Jivaro Tribe wore the shrunken head, or tsanta, of their enemy as trophies to harness the powers of the victim’s spirit and to enhance the wearer’s prestige and. If the head of a slain

warrior was not obtainable , the Jivaro substituted the head of a tree sloth, which many of the tribes in the region believed to be a direct ancestor of humans and endowed with human qualities. KThe Western Christian tradition also revered relics of the deceased. Bodily fragments of saints displayed in early Christian churches were venerated by pilgrims for their power to heal and alleviate suffering and physical pain. Medieval Christian also frequently hung preserved exotic items from the rafters of churches to evoke awe at the wondrous variety of God’s creations.KIn 1260 a crocodile was given to King Alfonso X by the Sultan of Egypt.When the animal died, its body was dried and hung in the Portal of the Lizard (named for the reptile) which leads from the cloister to the Cathedral of Seville. The crocodile eventually decayed, however, and was replaced by a wooden replica.


This image of the two lions that Patterson shot and now they are displayed at the Feild Museum in Chicago, IL.

Chapter 01 pg. 16



illiam bullock’s “the royal tiger” created in 1814 presented a tiger and a boa constrictor locked in mortal combat. the two creatures, both occupying a special place in the human imagination as alpha predators and man-eaters, were clearly designed to provoke awe and horror in its viewers.the accompanying description intensified the drama: the tiger,“this powerful and sanguinary destroyer of the human species” is nearly exhausted, “and its bones crushed and broken by the strength and weight of its tremendous adversary. a similarly dramatic tableau entitled “arab courier attacked by lions” was created by the french taxidermist jules verreaux and won the gold medal for taxidermy at the paris exposition of 1867.Kthe scene depicted two barbary lions, now an extinct species,mauling a camel and a human figure. the combats rarely involved animals native to europe, which contained few such sensational predators. bydramatizing exotic creatures, theatrical taxidermy endowed nature in distant lands with an almost mythical ferocity.perhaps you already know the story of the tsavo lions? the event were commemorated a century later in the 1996 film the ghost and the darkness starring val kilmer and michael douglas. animal attack movies are a cinematic staple, a well-worn genre that requires only the most basic of storylines to raise heartbeats: the primal fascinated terror of man-eaters does the rest.

“I fully expected to encounter many trials and hardships while engaged in building the railway through an inhospitable and savage territory. I anticipated engineering difficulties, perils from sunstroke and fevers, a possible scarcity of food and water, - but never for a moment did I realize that the African wilderness held in its mysterious recesses two prowling demons who looked upon myself and my workmen as a sort of manna sent down from Heaven for their special delectation. All other difficulties were as nothing compared to the terrible toll of human sacrifice exacted nightly by these savage monsters who made Tsavo their headquarters and gave to that district an evil repute which lasts to this day.”

Chapter 01 pg. 17

But unlike jaws, anaconda, lake placcid, or even the hitchcock classic the birds, the ghost and the darkness was based on a series of real and very deadly lion attacks during the building of the kenyauganda railway in early 1898. The details were recounted by chief engineer lt. Colonel john henry patterson, employed to build a bridge in 1924. Kin early 1898, the railhead had reached the tsavo river, located about one hundred and thirty miles west of mombasa on the kenyan coast. Patterson had only just arrived to start work on the bridge when workmen began “mysteriously” disappearing.Kat first patterson dismissed the workmen’s stories of devouring lions. But then he had the grisly opportunity to witness the carnage of a sikh named ungan singh, who had been seized during the night, dragged away by the neck, and eaten. At first patterson dismissed the workmen’s stories of devouring lions.Kbut then he had the grisly opportunity to witness the carnage of a sikh named ungan singh, who had been seized during the night, dragged away by the neck, and eaten. Patterson tracked the lion from the furrows made from the victim’s heel to the spot where the lion had devoured singh: “here a dreadful spectacle presented itself. Kbut then he had the grisly opportunity to witness the carnage of a sikh named ungan singh, who had been seized during the night, dragged away by the neck, and eaten.Patterson tracked the lion from the furrows made from the victim’s heel to the spot where the lion had devoured singh: “here a dreadful spectacle presented itself.

The ground all about was covered in blood, morsels of flesh, and the larger bones, but the head was left intact, save for a couple of holes made by the lion’s tusks. It was the most gruesome sight i had ever seen.” Dreadful indeed.Kover the next nine months, the death toll continued to rise, over thirty workers were killed. The lions attacked at night, dragging their victims from their sleeping tents and hauling them through the fences of thorns erected in the hopes of protecting the camp. The lions’ methods, patterson writes, “became so uncanny and their man-stalking so well-timed and so certain of success that the workmen firmly believed that they were not real animals at all, but devils in lions’ shape.” After months of unsuccessful stakeouts and endless sleepless nights, patterson finally shot and killed both lions. Kthe first was shot as it stalked patterson in near pitch darkness of the africa night. The second only succumbed after six shots. Patterson had both lions skinned to use as floor rugs. Two decades later the skins were purchased by the field museum in chicago for $5000, but the skins were worn and the way the skins had been cut (not to mention bullet holes) made the process of mounted difficult and the lions appear far smaller than they were in actual life. They are still on display at the museum.



Image of the new form of taxidermy.

Chapter 02 pg. 20


ogue taxidermy is the creation of stuffed animals which do not have real, live counterparts. many taxidermist do not consider this true taxidermy. they may represent unrealistic hybrids such as the jackalope and the skvader, extinct species, mythical creatures such as dragons, chimeras, griffins, unicorns or mermaids, or may be entirely of the maker’s imagination. some are made from parts of more than one kind of animal, or they may be artificially created. rogue taxidermy is often seen in sideshows and dime museums among genuine freak animals.kwhen the platypus was first discovered by europeans in 1798, and a pelt and sketch were sent to the united kingdom, some thought the animal to be a hoax. it was thought that a taxidermist had sewn a duck’s beak onto the body of a beaver-like animal. george shaw, who produced the first description of the animal in the naturalist’s miscellany in 1799, even took a pair of scissors to the dried skin to check for stitches.kthe term “rogue taxidermy” was introduced by the minneapolis, mn based group, the minnesota association of rogue taxidermists (or m.a.r.t.)in october 2004. it was first coined by m.a.r.t. founders sarina brewer, scott bibus, and robert marbury. the term first appeared in print in a new york times article about the group’s debut exhibition on january 3, 2005. since that time its definition has become more general, referring to many types of taxidermy that do not fall under the trade of it.

Image 1.1 Taxidermy created by horse parts.


Jessica joslin

Art taxidermists such as David Blyth and Polly Morgan use taxidermy to create art either as its sole content or as part of an installation.

Chapter 02 pg. 22


essica joslin was born in 1971 in boston , ma and grew up collecting flies off the windowsill to look at under her microscope. ever since, she has been enchanted with collecting a magpie’s array of remnants from the natural world. the collection gradually grew to include obsolete bits of antique mechanical mechanisms, hardware and other oddball artifacts. in 1992, she began building the first beasts of this menagerie, using objects sent in a care package from her father, the same pieces that she’d collected as a child.kin the rare moments that she is not building creatures for her ever expanding menagerie, jessica works as a commercial model maker, building prototypes of toys alternately working as a model maker, carpenter, machinist,mold maker and sculptor. she lives in a mad workshop, hidden away in chicago, with her husband, jared. “my sparks come from many and varied sources. i often draw from circus imagery, mainly from the late 19th-early 20th century. i love to look at images of animals and to watch them move, whether in the flesh or in nature documentaries. bodies are stunningly perfect machines…and there is such strong variation in the characteristics of different species. i am also drawn to the particular/peculiar stylistic organization of the natural world, as found in old-school natural history museums.

Image 2.1 is made up of dog bones.


Oskar.2009. Antique brass hardware and findings, bones, brass balls, glove leather, fur, metallic thread, glass eyes.

On this page is Spike 13x 6 x 10 inches. 2009. Antique brass hardware and findings, bone, brass balls, glove leather, fur, sterling silver, glass eyes.

Chapter 02 pg. 24

On this page is Lucky 15x7x10. 2009. Antique brass hardware and findings, painted steel, bone, glove leather, fur, silver, glass eyes.

Chapter 02 pg.25

Image 1.2 is made up of rabbit bones


“ I call it art, you can call it whatever you want.� by Serina Brewer.

Chapter 02 pg. 26


rtist and naturalist sarina brewer recycles the natural into the unnatural, breathing new life into the animals she resurrects. while earning her bfa in 1992 from the minneapolis college of art and design, she worked predominantly with oil paint and found objects, most of which were animal remains. preparing animal remains for use in her sculpture and abstract paintings slowly evolved into taxidermy over the course of a decade. brewer is now a licensed taxidermist as well as a prolific artist. she volunteers her skills in the biology department of the science museum of minnesota and is also engaged in various natural history related projects for educational purposes and museums. she is a strong proponent of wildlife conservation who also participates in wildlife rescue and rehabilitation. none of the animals used in brewer’s work were killed for the purpose of using them in her art. all animal components are recycled. Sarina works expands to many forms of taxidermy she has covered many ranges from traditional work of taxidermy to rare forms of taxiderym such as her unique line sideshow pieces, and her lines of odds and ends. her odds and ends section she sells any left over of the animal. Sarina believes out of respect for the animals, as little as possible is wasted in her studio. all materials are recycled to the fullest extent. rather than discarded, studio leftovers are prepared and made available for educational purposes and as craft materials for others artists.

Sarina Brewer art is mainly a combination multiple animal parts and bones mixed with fur and props to create her unique creatures . Sarina Brewer work include traditional style, fantasy works, sideshow pieces, Novilties,esodermy Curiosa, jewelry, preserved species, odds and ends, and emphemers.

Chapter 02 pg. 27


he utilizes salvaged roadkill and discarded livestock, as well as the many animal materials that are donated to her. Donated animals are often casu alties of the pet trade, destroyed nuisance animals and pests, or animals that died of natural causes. A very strict “ waste not, want not” policy is adhered to in her studio - virtually every part of the animal is recycled in some manner. This artist has a deep respect and appreciation for animals and the natural world. She is fascinated with the circle of life and intrigued with how different cultures honor their dead and deal with death. Immortalizing loved ones ( be they animals or humans ) by preserving their remains or creating sentimental remembrances out of their body parts does not sit well with the majority of western society and is unfathomable to the average thinker. Kyet such practices have been the norm in many cultures throughout history and still are.

Undoubtedly the average american thinks such abhorrent practices are only carried out by “savages” in primitive cultures, yet they even exist in this d ay and age in the “civilized” world , a well known example being the preserved r e m a i n s o f s a i n t s o n d i s p l ay i n catholic churches around the world . Point being , reverence is relative. Kthis artist deals with death, in what is considered by most, an unconventional manner. She does not view a dead animal as disgusting or offensive. She feels that all creatures exhibit beauty in death, as well as in life, and pays homage to them by reincarnating them in her works of art. Brewer is a self-proclaimed science nerd who incorporates her past formal art education with her passion for biology and the bizarre. Her childhood preoccupation with cryptozoology and anomalies of nature manifest themselves in her outlandish reveries of fur and flesh and every peculiar artifact she creates.

Felid Orthus one of Serina Brewer fanatasty line of work.

Chapter 02 pg. 28

Image 1.1 is a mixture of cat, rooster, rat and bird feathers.


Duel Frankie one of Serina Brewer line of fantasy line of work.

Chapter 02 pg.29

Image 1.2 is made from squirrel parts.




“The basic idea is that various stuffed animals undergo a transformation. It is difficult not to think about death when looking at stuffed animals, but in this case, the morbid is transformed into something beautiful.”

Chapter 02 pg. 30


he artistic partnership of afke golsteijn and floris bakker, who collectively are better known as idiots, present us with a unique body of work, characterized by the use of animal material exquisitely sculpted into natural positions and combined seamlessly with rich materials such as embroidery and pearls. a contemporary touch is given to the classical memento mori concept, questioning the world’s current trend in over glorification through marketing. in a constantly twisting play between fantasy and reality, idiots tell us about important themes such as life, death, beauty and restriction.the striking beauty and the vividness of the animals that figure in the works, conjure powerful emotions of awe and inspiration before giving way to our morbid curiosity surrounding death, which leads us ultimately to think of our own mortality. this contrast between beauty, luxury and greed coupled with the mystery of death, timelessly preserved, transports one into a transient state of mind, in which anything is possible. The work offers a vision of a world where fantasy and reality merge into infinite possibilities, uncertainty, and wonder. Is the lioness liquefying or coalescing? Has she fallen under some enchantment or is she dreaming herself into existence? Or is this an alchemical vision of matter being transformed into the highest and purest of elements, or a more sinister symbol of humans’ transformation of nature’s vitality into capital? Is this aesthetic hedonism or brutality? The work brings to mind Stephen Greenblatt’s description of wonder as “the power of the displayed object to stop the viewer in his or her tracks, to convey an arresting sense of uniqueness, to evoke an exalted attention.” A wonder isn’t a wonder until it completely bewilders our expectations. A wonder enthralls us with its strangeness. Image 1.1 this furniture is made up of bird parts.


Industrial Evolution II. 2006. Made with forged iron, textile, embroidery.

Fake III. 2007. Made with taxidermy bird with glass.

Chapter 02 pg. 28

Image 1.1 this furniture is made up of bird parts.


Do Not Pet! 2006. Made with taxidermied hedgehog, pins, antique wheels.

Chapter 02 pg. 28

Image 1.2 this furniture is made up of hedgehog.


“When you sit on them, you question the notion of comfort: what’s behind you, what had to die to make the chair. I have deep-rooted problems with the notion of comfort. The ultimate comfort would be lying in am upholstered coffin.”

Chapter 03 pg. 34


Miss Pokeno

iss pokeno classing herself as an ‘armchair deconstructivist’, she quite literally takes chairs apart (in one instance, throwing a chair off a cliff only to reconstruct it again and sell it for £5000!) and adds her own individual flourishes such as with her latest exhibition, england bloody england, which include - for example - from a chaise longue which includes a swan attached to its arm rest to below, a wingback chair with a pair of entwined foxes. as a vegetarian, she sources animals that have either died from natural causes or roadkill. her aims: the animals act as a memento mori1 and help to create a piece of functional furniture which “confronts the idea of comfort”.k“when you sit on them, you question the notion of comfort: what’s behind you, what had to die to make the chair. i have deep-rooted problems with the notion of comfort. the ultimate comfort would be lying in am upholstered coffin.”2 the “collection of chairs to honor the godless” will be on display from the 8th may at the ragged school, london.kas well as being a talented musician and upholsterer, miss pokeno - the name derives from a town in her native new zealand - originally courted controversy back in 2003 with a series of images created for a pressure group which called for a halt to genetically modified crops and organisms being released into the no environment. currie, who before returning to england in 20043, created the startling images - showing women hooked up to milking machines - for made (mothers against genetic engineering which she co-founded) that were then displayed on billboards to a mixed reaction from the public and politicians alike.

Image 1.1 this furniture is made up of fox parts.


To the right is miss Pokeno collection of chairs to honor the godless.

To the right is miss Pokeno collection of chairs to honor the godless.

Chapter 03 pg. 36

Image 1.1 this furniture is made up of bird parts.


To the right is miss Pokeno collection of chairs to honor the godless.

Chapter 03 pg. 37

Image 1.1 this furniture is made up of sheep parts.


“Sourcing animals is tricky,” admits Peppard. “I’m a vegetarian and the whole moral thing with taxidermy is really important to me so with my work I try to majoratively use road kill although I have taken a couple of items from pest controllers in the past.”

Chapter 03 pg. 38

Reid Peppard O

ne couldn’t really say reid peppard is obsessed with dead things, exactly. more with finding beauty in and making use of discard. thus, she builds purses and hair combs out of found animal carcasses. recently featured on cnn, reid and her work were called “garbage… stupid… crazy… disgusting” by people happy to wear leather and eat meat and eggs procured cheaply even though the lives of the producing animals are painful, cramped, and drugged from beginning to end; while reid’s raw products lived scampering or high-flying through the streets, sewers, and skies of london right up until their demise. she is my favorite designer. she is so pleasurable! i would wear nothing but her taxidermy collection if i could afford it. in a mass and in distinguishing consumption society, it is reassuring that there are some things that remain unaffordable. and so i wear none of her stuff. but since this interview, she and i continue to email each other stories about german cannibals and penis-mutilators. the best things in life are either too expensive (everything reid makes) or free (gossip and love). K Everyone agrees an owl or a rabbit is cute and decorative but a rat or a pigeon is repulsive. Why don’t you? I grew up with an aunt who was amazed at dead things her cat would bring in, so I was raised not going “ew!” to bugs or dead animals. But it’s all nature. It’s all interesting. I definitely think looking at a rat head is a thing of beauty and fascinating. Are you interested at all in human corpses? i am. I’m struck with how similar these little mammals are to you and I. A little mouse—all of its organs and muscles are on a scale like us. But humans don’t preserve very well. We’re not hairy enough. Human skin is very thin. The process of tanning would turn my skin into a greasy, brown leather. It wouldn’t look human.


Chapter 03 pg. 39

hrunken heads are black and puny and kind of featureless.Exactly. Taxidermy works because the fur gives the illusion of the animal it once was.One angry commented suggested your next project could employ aborted human fetuses, decapitated human parts from accidents, or discarded mastectomy tissue. That would certainly make interesting clothing, but would it be illegal? Yeah, and i don’t understand why. Part of why i do what i do is because it evokes a strong visceral reaction—makes people angry or happy or sad. It’s strongly emotive, taxidermy. Especially over here in the uk, people don’t like to look at each other. Once i was walking down the street and a motorist fell over onto the sidewalk and people just walked around him. It’s a british thing. I like how that can stall people’s reaction. So you can be standing right next to someone for quite a while before they realize you have two dead rats on top of your head hissing and holding a skull. I saw that… i thought those rats were making’ luv! Another woman thought i did kissing rats. I try not to be anthropomorphic. But in answer to your question about using dead human parts, i never understood why people think animals are different from human bodies. We die, animals die.

I don’t find any of it gross. The people who make horrifically negative comments about what i do will, say, wear leather without thinking, will eat meat, drive cars that pollute the atmosphere, then turn around and say my taking waste and preserving it is somehow wrong. I didn’t get any hate mail until perez hilton blogged about me. That’s when the angsty 16-year-old emo girls found out about me and that i’m a murderer.Would your hand be turned into a necklace for a loved one?Sure. Turn it into a catcher’s mitt.Did you see the exhibition of dead germans who donated their bodies? The skin wasn’t dark or shrunken at all.They use plasticides. It’s incredible. [Gasps] there was a gorgeous exhibit recently, freakishly lifelike, beautifully made wax corpses as well as really grotesque reproductions of syphilis and what other stds looked like in waxwork. Beautiful stuff. I think a lot of that comes from germany too for some reason..

This page is rat hair band.

Chapter 03 pg. 40

Image 1.1 the hair clip is made up rat parts.


Rat hair clip comb.

Chapter 03 pg. 41

Image 1.1 the hair clip is made up rat parts.


c onclus io n u


axiderym had taken many forms from the traditional ways to the new modern form of taxidermy with different beliefs. taxidermy has gone from hunting the animal and stuffing it for a trophy to a sculpted piece of art, to furniture and of used as an fashion accessories but these animals are no longer hunted they have become a form of recycling the dead and giving the a new form of life. the perspective of taxidermy has changed in this modern day its not longer a view of grotesque but a accepting feeling of allowing these creatures take a place as part of our life. giving these once dead animals another chance and a new form of life among ours. taxidermy is a great form of art and yet still unappreciated and misunderstood but this once underground form of taxidermy is coming out and showing the world that taxidermy is more than just stuffed deer mounted on a wall but an experience and form of art that can be appreciated.

pg 2-3

pg 20-21

pg 4-5

pg 22-23 pg 28-29 pg 6-7

pg 24-25

pg 8-9

pg 30-31 pg 26-27

pg 12-13

pg 32-33 pg 14-15

pg 42-43

pg 36-37

pg 28-29

pg 38-39

pg 40-41

Production Note sepia tone photography


four color process

tritone photo print

tone on tone


reincarnation white 80t

die cut

reincarnation white 80t embossing


ew leaf paper produces other papers such as reincarnation matte coated which is being used for this book. alos reincarnation cast coated c1s, also other line of papers such as primavera gloss coated, primavera silk coated, and sakura silk coated paper. all paper come in variety of sizes and finishes as well as weights, all high quality white paper. the photos on this book are curtiousy of the different artist who have taken photos of their owen work and posted them on their website. paper being uses: Epson heavy weight double sided matte typefaces being used: Tribute by Emigre, Linotext as well as Escrita printing : Epson photo stylus 2200 binding: California Office Service rubdown on cover: rubdowns done by Ricardo Bermudez at Color Image Plus cover paper: suede book cloth

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