Dorian Cleavenger Graphic design, layout, editing & articles
by Sarah Barker (Sarah-L-B)
Chris PAnatier 22
Cover art by Dorian Cleavenger
Images of Sorano Suzu by Rina Nerina & Pugoffka-sama
Acting Out with
Last Laugh logo, design & layout © Sarah Barker (Sarah-L-B)
2014 - 2015
Heidi Riker No part of this magazine is to be copied, sold
or re-distributed without permission.
All art © its respective owners as listed. Art theft is punishable by law.
Art Is Conﬂict
Lente Scura 2
+ Last Word on page 66!
What ﬁrst inspired you to delve into such a fantastical art form? I grew up watching horror movies and reading comic books, I guess that’s what got me into “fantasy” art, or it was always in me and I gravitated to those mediums because
Do you prefer to approach the same models
of my interests....kind of the chicken or the egg scenario....
in your work, a faithful few, or it is better to
which came first?
constantly use new people? I always like to use as much diversity as possible, my art ✶ ✶ ✶
should be a blank face and the viewer sees what or whom they want to in that face. It’s about connecting to the viewer and letting them be a part of it. The best expression is a blank
What, if any, were your main inﬂuences
one; you can then read many expressions (emotions) into it.
and inspirations? In hindsight, my Father was my biggest influence. He loved
✶ ✶ ✶
history and I am inspired mostly by the old masters. In totality, everything is my inspiration; they are all tools for
Naturally your work displays many female
telling a story and inevitably that is what I want to do with
forms. For those who may be wondering,
my art...tell a story.
why is your work far more geared towards featuring women? Women tend to have many more layers than men. They can be innocent, vulnerable, weak, strong, sad, happy, crazy etc. This allows me to shuffle these “layers” like a deck of cards and have more variables to play with. Also, to me, the female form is pure beauty....it has been all through history and probably always will be. Plus “sex” sells.
A lot of your pieces feature mythical creatures, human-animal hybrids and even relationships between human and animal. What draws you to incorporate these elements into certain pieces? True art should only exist in art and not the real world. Creating these creatures and scenarios takes the viewer and myself places that are a nice escape from the real world, which in my options sucks on many levels.
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You’re also a teacher of art. Do you think anybody can learn to be an artist, or does there have to be a spark of natural talent there to begin with? I believe you must have a natural proclivity towards something to be good at it, i.e. a hobby. Art is not for everybody as nothing is for everybody. Desire is the one prerequisite that I ask for with any student. I can teach a lot of things but desire is not one of them, nor should it be.
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As well as your paintings and illustrations you’ve also delved into video and animation. Tell us about some of your current projects in this ﬁeld. As a painter I was trying to tell a story with one image, one frame of a movie. I now want to tell the whole story so making movies is a natural progression. It is a thousand times harder. That’s why I like it, I need to learn and challenge myself every day. In the end, I create these things for my own selfish reason; I love doing it.
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Is there anything you have yet to try which you would really like to? Making movies seems to be the end for me, it’s the ultimate art. When successful it can take someone for a journey that may change their life.
If you could put one message out into the world, what would it be? Enjoy the journey not the destination, because when you get to the end....what else is there?
And ﬁnally - what does it mean to you to have “the last laugh”? It means you died happy.
On On Facebook: Facebook: Dorian Dorian Cleavenger Cleavenger Fantasy Fantasy Art Art 12
uveau! Chris PAnatier 15
Your work has a very Art Nouveau feel to it.
terrible. But a band that was looking for work stumbled upon
Was this an intentional move, or something that
it and asked me to do their cover. I’ve now done five of their
albums. I try to take on a new challenge with each project: a particular texture that I find challenging, composition,
Absolutely intentional. I love the lines and the contrast
colour, etc. I’m in my background in illustration right now.
between realism and illustration. Mucha, Klinger, Klimt and
I always will be.
Kurzweil pioneered all that; their lines are some of the most beautiful ever put to paper. It’s their lines I emulate. The most
Do you like to include a story or a strong theme
popular artists who have brought Art Nouveau into popular art
in your works, or is it more about the visual side
now are probably Audrey Kawasaki and John Baizley.
of the art?
What is your background in illustration?
Visual first. Always. It’s a visual medium and that’s what people respond to first. It’s great if you can do that while
None really. I actually did a watercolour and ink drawing and
also conveying a story, part of a story or just a concept,
titled it “album cover” even though it wasn’t for any band.
which I try to do.
It was just my attempt at creating that look. It was pretty
Your work has been exhibited, which must have
Tell us about the life your work has outside of
been thrilling! Was it always your intention to show
simply being shown, the ways in which it has
your work physically, out in the wider world?
It’s great and initially exhibiting my art was the goal. After five
The main way is on album covers. I’ve done some T-shirt
or six years I figured out that what I really wanted was just for
and poster work, but the bread and butter is on the cover of
people to see the work and hopefully enjoy it and share it.
records. I want to give something to the fans of these bands
The internet is really good at that. I love it when people use
that they can gaze at and get lost in while they listen.
my art for their backgrounds or headers or get tattoos of it!
That’s the best way to experience music in my mind.
That’s a higher compliment than someone even buying it in my mind! The gallery world is great but my art tends to have
What do you hope to achieve with your work in
a younger audience and they’re not rushing out in turtlenecks
to see what’s up on the white walls, you know? I’d rather have my work on a metal album any day.
Get better. Always get better. That’s it.
facebook.com/ ChrisPanatier 21
TEKnology RISING... 22
Your work is extremely lavish and highly detailed. On average, how long would you say it takes to perfect a piece? It takes averagely twenty-five hours to create a highly detailed piece. Paintings of monsters or men will take slightly less time as they are easier to paint. Paintings of giant robots where you have to deal with details, precise straight and curve lines, will take about thirty-five hours. What is your education and background in this ﬁeld of art? I never studied art in any educational establishments. My real background is in Geography and Education. Art is something I do on the side, but I am definitely trying to take a leap of faith and make a full time career out of Art. I however do learn a lot of art lessons through the internet, I would once in a while look for good tutorials or ask other working professionals for advice. In my opinion, if one wants to improve his/her art, education is not as important as actually creating the art. It’s like learning business theories in Universities versus doing the actual business - the latter can mould you into an efficient businessman so much more effectively. Tell us about the tools used in the process of creating a piece. I use Paint Tool SAI to paint women, men, monsters, etc. As for subject matters that require clean straight surfaces like those science fiction robots and skyscrapers, I will use Photoshop. I used to only work in 2D. Nowadays I incorporate a lot of 3D models into my work. Using 3D enables me to explore different camera angles and compositions too and thus make my art better, and it allow me to work faster as well. 3D programs I used are Maya and ZBrush. Do you prefer to make up original stories and scenarios, or to work with pre-existing ideas? I will say 75% of my works are all made-up ideas. I like it more. But ironically, people give you more attention when you do fanart. It is sort of a catch-twenty-two situation; if you do your own ideas you get the fun out of it, but less people would enjoy the piece because it is such an unknown idea. As for creating pieces out of other people’s idea, for example Super Mario (and provided that it is done well), it will get a lot of attention. And having a large amount of attention means you are more likely to get those sweet awesome art jobs from big time clients.
Has your work ever been used, featured or
trying to improve my art and trying to make it a full-time
exhibited elsewhere aside from your own
career. I am also straying off from the 2D scene and am
currently building a 3D portfolio for movie and video game clients. I have several goals, I want to do what I love to
Yes, my work has been featured on several art websites,
do and make money off crowd funding to pay my bills.
comics and I recently did several movie concept art jobs. If the movies I worked on are successful, you get to see
I also would like to have more and bigger video game and
them in theatres.
movie jobs. My ultimate goal though is to build my own video game company, composed of a very small number of
What do you hope to achieve with your work in
highly skilled workers, to make low budget but highly
successful video games.
At the moment, I am working part-time as a researcher and part-time as an artist. I am definitely working hard and
Acting Out with
Sorano Suzu 31
What ﬁrst inspired you to cosplay? I always loved to do different types of crafts by myself and act on scene. Cosplay looked like perfect combination of craftsmanship and acting. And I always loved to watch anime and play different types of video games, so it was a great inspiration.
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Where do you source all of your amazing costumes? All of my costumes and crafts I make by myself fully. I also style my wigs by myself and do my cosplay makeup.
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Tell us about the experience of shooting underwater. It is hard, but so interesting! The hardest thing of it is always the wig - wigs underwater are always awfully tangling. But I got some experience now and I really love to pose underwater - it’s an amazing feeling, all uncomfortableness is greatly redeemed with pure fun and great result, thanks to my friend and super talented photographer Rina.
Do you have a “bucket list” of characters yet to
What is your favourite cosplay to date?
come to life? I dunno, I love all of them! I think for now I like my Tira Sure I have! My plans are so huge that I doubt I can make
cosplay (“Soul Calibur V” game), my Abel cosplay
all of them. For example, I am planning to make a cosplay of
(illustrations for “Trinity Blood” novels by Thores Shibamoto)
Vi, Ashe and some more characters of “League of Legends”
and Velvet, Gwendolyn (“Odin Sphere” game) cosplays
game, more costumes for Tira of “Soul Calibur” game, Aurora
of “Child of Light” game and so much more! ✶ ✶ ✶ ✶ ✶ ✶ Do you have a favourite cosplay for conventions? Have you ever created an original character? I make new cosplays for every convention, so every time I We did with my friend and photographer Rina - we made
enjoy spending time and act in different costumes and images.
a costume and image of an original siren for our underwater shooting. ✶ ✶ ✶ ✶ ✶ ✶ Can you give us a sneak peek into your next upcoming cosplay? Do you have much input in the post-editing process?
Now I am in process of making cosplay of La Muerte from “The Book of Life” animated movie. I hope it will come out well!
If it is about photo retouch, no. We always try to make effects for shooting by ourselves - effects like smoke, freezelight, water splashes and glitters. For one shooting we made an effect with an image projector. 95% of effects and lights on my cosplay photos is real.
You seem to have two styles; one full of colour,
it’s just that my tutors turned out to be long dead artists,
the other in stark black and white. What attracts
or found in books.
you to these very opposing styles? Do you like to create original stories for your I love contrast, whether it’s the contrast contained in a
works, or are there elements of existing legends
particular piece, or that of opposing art styles. I want to paint
and fairy tales included?
in every style, try every medium. A bit of both, working together. The language of fairy tales I quickly become fatigued with a painting or drawing style,
has fascinated me since I was a child, and elements of those
or by using the same medium a lot and need to use
stories inform and shape my own. You borrow from your
something else for a while. When I feel bogged down by
surroundings, from the culture and in turn you build on it and
precise line work, rough ink painting is mentally refreshing.
give something back, taking part in a conversation spanning
Conversely, line work can suddenly take on a meditative
centuries. That’s what I aim for.
quality after a week spent making haphazard charcoal drawings. Whatever the methods used, I would hope that
Sometimes it’s just a snippet of an idea or a theme, the
there are elements which tie them together and identify them
backbone of a story which has yet to find its fleshy bits.
as mine still.
Maybe it won’t find them at all, and I’m okay with that... It’s wonderful to have an idea wide open sometimes and
Do you have any formal training in the arts?
see the interpretations people come up with for some of my work. I have this jewelled swan which keeps making an
I studied art at college and university but unfortunately not
appearance, for example. I have no idea what’s going on
much in the way of actual training was given. My tutors and
with that, but she keeps appearing to me and I keep
I clashed on a lot of things, though I still respected them, and
thinking I should write her story, but I have no idea what it is
we just weren’t a good match in any way conducive to
right now. So I paint and I draw. Then someone will describe
learning. University was a frustrating but ultimately useful
what it means to them, what it brings to mind, and I love
experience, just not useful in the way I might have anticipated
hearing what they think and how it has taken shape in their mind.
or hoped for. I still consider myself formally trained, though,
What ﬁrst inspired you to take up illustration? There wasn’t any particular point at which I thought illustration was what I wanted to do, it simply grew organically from my interests. I always liked drawing, felt I was good at it and so drew whenever I could for my own pleasure - usually an expression of whatever interest I had at the time, often some form of wildlife. It wasn’t until much later, in my late teens, that I found my focus and began applying my love of drawing to my old love of fairy tales and began expressing my own. I love working with others ideas too. It’s incredibly satisfying to collaborate and help bring to life someone else’s vision, and it also helps take me out of my own head space a for a while, bringing something new inside when I return.
Do you have any ultimate goals and visions for your work as an artist? I basically want to get as many of my ideas out of my head and onto paper as I can. Writing, illustrating and binding a series of books of personal fairy tales is one of my long term goals and I would love to do something in the same vein of William Blake and his prophetic books. Working in a broader sense, Iâ€™m currently involved with a group of mythic artists who exhibit together with the aim to create and foster more opportunities for other artists working in the genre to show their work around the country. All the exhibitions so far have been held in Glastonbury but there are plans to move it around the country and several of the artists have already begun to host smaller events further afield, with interest coming from artists all around Europe. The ultimate purpose of art is to communicate and connect - thatâ€™s the main thread running through whatever work I do. I paint the things I donâ€™t know how else to say.
What ďŹ rst inspired you to create such adorable
You also replicate a lot of real-life animals. Would
and mythical creatures?
you say that itâ€™s a bigger challenge than creating mythical works?
I have been obsessed with animals and fantasy creatures my whole life. Ever since I was a child I was watching discovery
Capturing the spirit of a real animal in my work can be both
channel, drawing animals and making animal sculptures and
intensely difficult and instinctively simple. It all depends on
teddy bears. I loved (and still love) fairy tales and fantasy
how my creative spirit connects with that creature.
literature and movies/games, all of which inspire me to keep creating. During college, I became exhausted from my studies
For example, cats completely boggle me artistically and I find
and stopped creating almost entirely. This all changed last
them extremely difficult to capture; but I also find in my
Summer when I started doing artwork again. I had seen some
everyday life I have a hard time connecting with pet cats and
adorable photos and videos of the baby sloths at the sloth
understanding their behaviour. I think for me the most
sanctuary in Costa Rica, and I wanted to hug one so badly
important part is having an emotional connection with what
that I thought I should make my own.
I am creating, whether that animal is fictional or exists in real life.
Tell us about your source materials and the basic
Was it always your intention to turn your skills
into a business?
It takes me a lot of time to find the perfect materials for a
I honestly had no idea my artistic skills were marketable.
creature. Often I will ship my faux furs internationally because
I went to college in Environmental Sciences to try and pair my
I can’t find exactly what I want locally. Construction often
love of wildlife with a more realistic career goal, but had been
begins with an inspiration from nature or a wildlife
working dime-a-dozen jobs since I graduated due to a lack of
documentary. I sometimes sketch out my ideas, before
availability in the field; sometimes two or three jobs at once
sculpting the face and paws over a carefully constructed wire
to pay back my student loans. I never considered turning my
frame. Some designs never make it past this stage if I don’t
artwork into a business until my friends and family told me I
feel connected with the project. After that, I design my own
should sell the sloth I made. I thought it would be a fun hobby,
glass eyes, sculpt and paint details, and begin forming a 3D
so I advertised a little bit and when I posted her online for
body out of soft stuffing and fur fabric. Once this is all done,
sale; she sold within ten minutes. I started making more when
I detail the fur using several methods of dyeing. There are
I got home from work at night, often staying up past midnight,
many steps in-between like weighting the creature to make it
obsessed with creating these creatures I had become so
feel real in your arms and trimming fur to shape it exactly the
enamoured with making.
way I want it. The face always take the most time and I have to be in the perfect creative mood so I can put all the feeling
Before long I realised it was a viable income; and when I lost
and expression I can into it.
my main job in January I realised this was my chance to go all in and prove to myself I could make it on my own. I love
Do have have any training or education in this
being my own boss and have never looked back. Although I
form of craft?
have to admit I am not so much my own boss as I am a slave to my artistic whims - I do have “artist’s block” frequently and
The only training I have is a lifelong addiction to biology and
it is extremely frustrating, but I can’t push myself during those
art. I have spent a great portion of my life studying animal
times. If I do, the creatures do not have that same spark of life
anatomy and biology in my own time, and trying out every
and expression, and I can’t live with putting out anything but
medium I could get my hands on. I have learned everything
my best work. I am my own harshest critic; it is both a curse
I know about different art mediums from un-countable hours
and possibly what has made me able to create artwork that
of research through books and internet articles, as well as
people make a connection with.
simple trial and error.
rikercreatures. deviantart.com 48
Do you make commission pieces?
What’s next for Riker Creatures?
I have been taking limited commissions, but I am unsure if
I have a very exciting project in line for the fall! I can’t say too
I will continue this practice after my current batch. It can be
much now but it has always been one of my dreams to create
exhausting when my artistic vision for a creature does not
a larger than life fantasy sculpture. In the upcoming years my
match up with a client’s. I have found it to be the most
dream is to be able to exhibit at Hugglets artist bear show in
draining work; though very satisfying when the customer
England; and perhaps the Avalon Faerie Fayre in
loves the finished piece I am not sure it is viable for my
Glastonbury. I would love to meet some of my favourite
emotional health long term.
artists there like Joanne Livingston and Alvaro Herranz. I am also working on a special commission ordered as a gift for a Disney director working on an upcoming film.
facebook.com/ rikercreatures 49
Sol Y Sombra with AlMaNeGrA almanegra.deviantart.com - Left: Bernard Bernard Dumaine. Right: AlMaNeGrA
Le Sommeil de la Raison Produit des Monstres with Christian Edler eality-must-die.deviantart.com Top: Bernard Dumaine. Bottom: Christian Edler
Collaboration plays a big part in how you like
renewal for the inspiration) so the work has to be completed
to work. What it is about connecting and sharing
partially blind by the second participant, for only a one inch
with other artists that you love most?
strip at the edge of the starting drawing is visible. The mystery of a drawing I have been receiving and the element
Since the year of 2004, I might have done about 300
of surprise when an EC is done and then revealed are two major
“Exquisite Corpses Collaborations” in various mediums such
reasons of my enthusiasm in participating in this game!
as pencil, digital, acrylics or oils and even video. I am a very solitary guy (as most artists are), but this process of creation
What is your history and education in this style
breaks this loneliness because of the contacts which are
necessary in order to plan an EC and having to complete someone’s drawing forces the inspiration. The internet
Strangely, although I was very interested in anything related
technology permits international connections and I am glad
to Surrealism when I was having curses at the Fine Art School
we are in some way following the path of the Surrealists in
of Angoulême, I never thought of having such collaborations
which, since the very beginning of the movement, lots of
with the other students. My very first ECs were done with
nationalities were involved.
Dutch artist Willem Den Broeder back in the year of 2004. A few months later I joined the art site deviantART and posted those
One thing I enjoy the most is one never knows what the
drawings. Deborah Valentine (USA) saw them and we then
outcome of an EC will be because of the hidden part of the
planned to make some together. We were both delighted with
first half drawn (which could be else divided in diagonal,
the results and she rapidly created The Exquisite Corpse Club
quarters, or circular, each of those possibilities being a
on deviantART, exclusively dedicated to those collaborations.
Nouveau Monde with Germain St-Onge ger696.deviantart.com - Left: Bernard Bernard Dumaine. Right: Germain St-Onge
The site gained immediate success. Lots of members were
Your work ﬂows in a very organic way. Do you
interested in participating in the game and the collaborations
carefully plan each piece, or wait to see what
grew up in an exponential manner and it still continues!
comes to light while creating?
I think the most common point in my work is the use of chance and randomness. Each drawing from my “Sans Titre”
Do you have any particular inﬂuences or
(“Untitled”) series was done without any plan nor model, I just
let my mind and pencil flow and it was some sort of a discovery of the work once I had it finished.
At a young age, my first steps with art were consisting of copying drawings from comics books; painting or drawing still
My “Clay” or “Humble” series were drawn very accurately
life or sculptures, so my artistic background was very classical.
(I even drew my fingerprints which were sometimes present) but in this case again, I was using lumps of clay that I created
Later on I discovered and learned about Surrealism when I
for my models in a very aleatory way and in a few minutes
was preparing for my diploma in Sculpture and it rapidly
while I spent an entire month on the drawings. And chance is
became a source of inspiration. One of my favourite painters
involved in the creation of my digital paintings as well.
is Yves Tanguy who created an inner world combination of
The exception concerns some landscapes or portraits,
high level technical skills and amazing imagination.
painted from photographs on which I concentrate on realism.
Someone very influential too was the French painter Gérad
Have you ever reached a point in which
Titus-Carmel whose concept was to draw after he created
something you have created has been deemed
his own models, my favourites being upper angles of wooden
too strange even for yourself?
frames over which were added hangings tied with twine. I don’t think this ever occurred....I am just more or less satisfied and sometimes amazed by the final result of a work,
I loved the idea and I applied it to my “Clay” or “Humble” series
but I never felt I have been creating something too strange. Could be a challenge for future works!
Right: Lost Shoe with Ton Haring tonharing.deviantart.com - Top: Bernard Dumaine. Bottom: Ton Haring Left: Dripping Brain with Pinina Podestà podestina.deviantart.com - Top: Bernard Dumaine. Bottom: Pinina Podestà
Alice with Anne-Marie Bricaud ahembe.deviantart.com - Top: Bernard Dumaine. Bottom: Anne-Marie Bricaud
What do you hope to achieve with your work in the future? My main goal in art is to continue to create whatever the theme or medium is. Anyway, I would like to improve my technical skills in oil or acrylics.
Right: Squareabellum with Chris Morant 50lbhead.deviantart.com - Top: Bernard Dumaine. Bottom: Chris Morant Above: Dream of the Wizard with Paul Carrick nightserpent.deviantart.com - Middle: Bernard Dumaine. Upper & Lower: Paul Carrick
Originally featured as a cover artist in LLM #003, Lente Scura shows us some of her latest works and the thoughts behind them. Be sure to check out the original interview too, via the ofďŹ cial page ISSUU.COM/SARAHBARKER
Sole Brucia Tutto
Art is conflict and the expression of conflict within. I really don’t know where to start but from a position, a place, of conflict when I create my art. Over the past year I have wondered if my art could exist without this conflict, the sadness running through my art as if a
Benvenuto Alla Notte
loose tread. If removed, would it unravel all that is me, leaving me without a voice, no meaning at all? It is fair to say all my work is an expression of the subconscious during the creation process. Even though from time to time I plan out pieces, the vast majority are created through a stream of conscience; in the moment if you like, allowing my mood and emotions to overtake me resulting in a therapy session on the digital canvas. The two main sources of this sadness stem from a poor childhood and being bi-polar. My childhood was spent growing up in poverty in housing projects, where I experienced an abusive and repressive environment. Those years were painful and the effects of going hungry from day to day, living in fear of violence, being labeled as poor and being looked down on by society made me see the world as a bitter place of haves and
Entro il Sogno del Drago
have-nots without much hope or mercy from people.
Piscina Della Luna
Ombra del Sole
Though I spent most of my life since my late teens
can escape and enfold herself in its warmth, but a place
improving myself and opportunities, those earlier days
that never can endure. Similar themes can be found in
have left a mark that has affected my self-esteem,
‘Paralisi Dell’anima’. The figure is paralysed from doubt
personal worth and how I see the world.
and anger of the past even though the figure struggles to rise up, she is locked in a nightmare of paralysis.
As a person who suffers from a bi-polar condition, the world is a highly sensitive realm of towering heights
Equally, the need to hide and veil oneself comes out in
based on delusions and valleys shrouded in shadow and
my work. The need to cover up one’s past, one’s state of
permanent night. This condition does affect me and my
mind, so people don’t think badly of them can be seen in
art, intensifying the need to express emotions and moods
such work as ‘Piscina della Luna’ and ‘IlTempo dei
in a bold and turbulent manner as well as with softness
Serafini’. The mask or veil, be it man-made or in the form
of mist or smoke, is to conceal one’s past, one’s history, in the hopes to be seen as normal or at least
The painting ‘La Porta di Incubi’ is an example of this
be not noticed as odd, though the opposite effect is the
mixture of life experiences and psychological condition,
result. This state of concealment is a form of a self-
where the two come together to create a world, a state,
designed cage where the prisoner is the jailor.
a mood of a dream-like horror. The painting has a nude figure posed as if hiding from the gaze of the world,
Then there is the rage and anger that seep and form into
withdrawn and helpless. A painting of a skull hangs on
clouds and blinding light. This rage is seen in such works
the wall as a constant reminder of death and chaos that
as ‘L’inerzia Nero’. The figure is cloaked in black, in a
looms and always in sight. Finally, there is a false hope
storm of blood red black clouds, spinning and turning
of escape off to one side in the form of bright light.
and forming a twister of rage.
This bright light is the “Dream World”, a world where she
In ‘Sole Brucia Tutto’ the rage is more subdued, but
Art is conflict. Over the past year I have come to face
equally violent as the rage is self-directed and absorbed,
that conflict and accept it, but not to end it. The end will
twisting the soul of the figure.
never come for it is a part of me historically and within my DNA. I have come to embrace the thread that holds it
Finally, there is such work like ‘Ombra del Sole’ that
speaks of the silence I seek, the state of sleep and dream that never fully come. The figure floats in a void of cloud and light, locked in time and never to wake, but only to dream and to escape the realities of the world.
Il Tempo dei Serafini
Paralisi Dell Anima
La Porta di Incubi
....from Sarah-L-B (creator, designer, Jerry’s pirate friend...)
I’ve worked so very, very hard this past month. Worked very hard to change my job and even harder to train in it, making sure I’m as good as I can be. I’ve worked hard on this issue too, trying to ﬁt it in between being physically drained and emotionally stressed. I’ve also worked hard to make sure I stay in contact with people and put time aside for friends and family.
I want to give a quick shout out to Anette Olzon and her online clothing store/blog, which I have purchased quite a bit from recently! If you need new clothes and want to grab something cool, check her out! anetteolzonsvintagestore.blogspot.co.uk
But it’s here; my new job is in the bag, this issue is in the bag, I have an inner circle that nobody could ever break and on the whole it’s a very good month for me! There are very few things I believe in, but Karma is one of them. Not in a “the universe is mad at you” kind of way, but rather in a very real way. In many ways we make our own Karma... If you’re lazy you achieve nothing. If you work hard you can make it eventually. If you’re a nasty person you will push away those who would have been happy to help you. If you have an open heart you can make friends for life. If you think the glass is only half full it almost always will be... I’ve pushed through a hectic and stressful month with positive thinking and sheer determination. Here we are; my fourteenth issue. Last Laugh is still going strong! 66
Published on Jul 21, 2015
Featuring: Dorian Cleavenger Chris PAnatier TEK Sorano Suzu Katrina Sesum Heidi Riker Bernard Dumaine Lente Scura Please read, share and pa...