It was a bit of a bear to make this, but I’m glad I powered through!
In general, I prefer having miniature things to making them. And I am very good at sourcing things. But I couldn’t find a big, school-style blackboard from any of my usual miniature sources. It needed to be scaled to Dr. Hank McCoy, who is a big figure! So I built it from scratch.
Luckily, I save every single piece of miniature wooden trim!
I cut a backing board from illustration board and then framed it with several different trims to get the ledge for the chalk and eraser.
I had to miter cut the trim with my miniature miter-cutter, which I hate doing. I packed and moved the miter-cutter to Berlin knowing I would need it, and I have. But damn, it drives me nuts.
I pleated a piece of felt and glued it to a strip of trim, then cut it down, to make the eraser. Pesky!
For the board surface I used self-adhesive chalkboard vinyl.
It may not be as archival as chalkboard paint would have been, but it was neater and faster. I used two layers, for opacity, and I still only needed a tiny bit; I can give the rest to my friend with little kids.
And white gel pen was perfect for the writing – it even smears.
I did some work on the facade of the house today too; the whole thing is coming along. It’s damn near completely done, in just about a year. And then, the front garden, with gates. And then the Danger Room, underneath, and the Morlock subway tunnels under that, just like the laboratories and subway under the other dollhouse. I gotta make a custom Callisto…
You can read about how I came to know and love these characters, how they led to my career in comics, and my friendship with their creator, Chris Claremont, here.
There’s even a cameo by Bill Sienkiewicz in the Marvel hallways in 1986. But it’s not an easy read, be warned.
As soon as I was gonna have an action figure dollhouse, I needed New Mutants action figures, and particularly Rahne and Dani.
Because my emotional investment in these particular characters was so profound, they needed a safe home in the Valhalla of my dollhouse even more than the other avatars of story-people who helped me survive. I started accumulating parts to make the customs, like heads, almost as soon as I started collecting Marvel Legends scale figures. I have literally had the heads for Sam and Dani since at least 2003.
I got my first 6″ (dollhouse) scale action figure in 1999.
She was a DC Direct Death figure, a gift from a boy at work who liked me, and kept giving me terrific comics-related gifts, even though I was married. That Death figure released the lifelong lust for a dollhouse I’d managed to contain until age 32. I found out that action figures were being made in one-twelve scale, and it was the tipping point.
I could bear not having a dollhouse with dolls in it – but I couldn’t bear not having a dollhouse with super heroes in it.
I didn’t finish the dollhouse for a good fifteen years, but I started collecting super hero action figures like a fucking fiend right away.
1999 began the first heyday of 6″ scale action figures, the early days of ToyBiz Marvel Legends and DC Direct and McFarlane, plus LOTR figures and various other genre properties that were being done in 6″ scale.
It genuinely shocked me, the obscure characters that began appearing as the adult collector market developed. But I knew no-one would ever make New Mutants figures for adults, that was TOO obscure.*
It was incalculably thrilling to me to see the new X-Men figures released with the first film in 2000.
It was lying around the store as a joke object. Because it was so funny, so ludicrous that a character as fucked up as Wolverine, from a property as weird and obscure as the X-Men, could have been made into a plastic toy a child could buy in a regular toy store.
And because the idea that comic book readers would buy toys of their favorite characters was unimaginable.
I bought the first Wolverine action figure, though, and I still have mine, though his snap-on claws are lost.
Because it was hilarious and insane that this secret world of ours had extrojected itself into real space, but it was also magic.
I took my time getting my hands on these, because I was waiting to see what else might happen, and eventually the Jean figures started popping up individually on the secondary market.
I wound up paying at least thirty bucks for each of the three figures I bought, but they are so terrific, it’s hard to be upset.
The body for Dani was a Marvel Legends version of Kitty Pryde released in 2016. The sculpt was way too tall and lean for Kitty (though appropriately less bosomy) and perfect for Dani. I used the Jean Grey body (“buck” in action figure talk) for Rahne, Shan and Illyana. Illyana, insanely enough, was recently actually released as an action figure. Dani is just the right amount taller than the other girls. ‘Lock was remade in action figure form last year, and look how great he is!
By 2018, so many X-Men action figures had been released I needed to build a new dollhouse.
So I built a School for Gifted Youngsters, seen above. It was a huge effort that took about a year, but it’s 99% percent done. The kids, of course, are relaxing in the living room.
I made Rahne’s head from a resin dollhouse doll, sanded and resculpted with my beloved Apoxie Sculpt. Painting her teeny little face took me, a professional portrait artist, a total of over three working days. it was worth it to me because my emotional investment was vast. But… it was DERANGED.
Whatever they charge you is a bargain. The work involved in doing it yourself, even as a professional artist in a fully equipped craft space, is bananapants.
Where are the boys?? Doug is done, coming soon, and I’m working on Sam. I plan to use a Miles Morales head for Bobby, and they cost a mint, so I’m working on it.
I should probably say more about how I made them, and I will. But it was so emotionally wrenching to make them, and such a relief and mercy to be done and place them safely in the X-Mansion, that I’m done for now.
Enjoy these amazing gay teens in the safe harbor I have built them, as I slowly build a safe harbor for my own amazing gay teen self in the ship of my adult life.
*breaking news out of San Diego, July 19 2019: Hasbro is releasing a New Mutants Marvel Legends Dani Moonstar figure with Karma and Wolfsbane heads! But actually, I like mine better 🙂 Of course I’ll buy the Hasbro Dani Moonstar figure anyway! I totally want a furious badass version of Dani and a transitional Rahne action figure and a Shan with a headband!
In 2001 I used to sit at my desk at ESC, the visual effects company where I worked on the Matrix sequels, and read about “orange peel” and paint rub.
Painting plastic has evolved over the years, but it’s still unpredictable. And moving from the US to Germany meant everything I’d learned about Krylon and Rustoleum had to be thrown out the window and relearned with Dupli-Color. Dupli-Color, founded in the US but now the ubiquitous hardware store spraypaint of Europe, has several different formulations for priming and painting plastic.
For the last four years I’ve been trying to learn all their tricks; I talk a lot about techniques I used for my last bas-relief insect project here. So when I wanted to make a seat for our hallway, I felt pretty confident.
Because we don’t have cell phones, but we do have a landline, we needed a little seat for the telephone in the hall.
We’re always dragging a chair in from the library when we need to call a doctor or something. I had the idea of buying a simple boudoir stool on Amazon and decorating it to fit the hall, which is perhaps the creepiest part of our whole creepy house. I ordered it and it arrived. I removed the seat, which I planned to re-cover, and wiped the whole stool down with cleaning wipes, then damp paper towels. I used the glue gun to adhere a bunch of plastic bugs and resin flowers around the existing bas-relief floral decorative elements. I had previously washed the bugs and primed them with Dupli-Color clear primer for plastic.
Then I used epoxy clay to really blend the new elements onto the base. Thinking I could expedite things (epoxy clay is a beautiful material for conjoining disparate materials, but expensive and slow) I also used some regular tube spackle for some of the big gaps. To smooth and unify all the surfaces, I painted many areas with Mr Surfacer500, a Japanese gap filler/primer product for model builders. Its grey surface is supposed to function as a primer, so I wasn’t worried about it not adhering or not accepting paint. Then I sprayed the areas with the bugs again, with the Dupli-Color primer. Here’s the original stool out on the balcony at that stage, last July.
Then I spraypainted the whole thing. WOOOOOO what a mess.
Yeah that did not work. There was some kind of reaction between the painted cast resin decorative elements of the stool and the plastic primer, or between the Mr Surfacer500 and the spackle. Tiny bubbles appeared all over the work I’d done, the areas where I’d filled crevices around the bugs to make them look carved from the surface.
Plus, the paint on the original resin elements had become tacky, which means disaster for a mixed-media work. It means there is a reaction preventing the curing of the paint, and that area will never harden and will attract dust for all time. Possibly a reaction between overspray of the Dupli-Color clear plastic primer, which is a chemical scuff, and the paint used on the resin elements.
My project was fucked. I took the picture above to show the chunky, unevenly cured surface, but you can’t see all the damn bubbles!
So I decided I’d remove the paint and re-prime the entire thing.
Guess what, I had primed the bugs and new flowers so effectively that the paint was virtually inseparable from them. And the original curliques and flowers just got gunkier with every solvent I tried. In the end I was trying orange oil and baking powder, which will take off damn near anything, and scraping sections with a dental probe, because I just hated the idea that this was a thing that had to be thrown away.
I could not get a clean surface. I could not get the paint off. I did salvage and scour one centipede, because plastic centipedes with a flat underside are hard to find. Here it is soaking in olive oil to remove the last of the paint.
Luckily, I got a new dollhouse which took my mind off the maddening primer/solvent/paint mess, and eventually I brought myself to throw the bug stool base out. Because it had so many different materials on it, it couldn’t go in any of our German recycling bins. It bothered me.
But it bothered me even more that we were still dragging a chair into the hall to use the phone!
So I decided to try again. I ordered the same stool, and set to work. But this time I tried a new approach, from a new action figure customizing blog. A bunch of incredible tutorials had gone up in December on a site called Action Figure Art. One of them suggesting sealing acrylic paint with Mod Podge! I was ready to try this new approach.
I had used Mod Podge as a primer for a plastic toy exactly once, back in about 2002, to prime a little cat figure for the top of a wedding cake I was making. But I’ve used it for various other projects over the years, mostly for decoupage. It is popular for furniture as a glue, primer, sealer and finish, and comes in different formulas. I ordered the matte finish for the bug seat, because I wanted to paint on top of it with acrylic paints.
Of course I did the usual prep of washing the bugs with hot water and soap, and I used the glue gun to attach them again. I took my time filling in around and under the bugs with Apoxie Sculpt.
This second attempt was during my Make-Cation, so I had plenty of time.
Here you can see the stool in progress along with some other projects, including the Baroque Bug Frame, which I used the same technique for. Pictures of the frame finished here!
Mod Podge is a like a rubbery plastic coat you are sealing everything under, a form of isolation coat. That’s why it prevents chemical reactions between plastics and paints. Because it’s thick, it also does some gap filling and overall smoothing. I used about five coats over the panels with the bugs. Then I spraypainted the whole thing, with Dupli-Color Next in Berlin Berry.
Dupli-Color Next is a “universal” spraypaint, one of the new class of acrylic lacquer spray formulas that’s supposed to go on almost anything without primer.
A similar product is Krylon ColorMaxx. I have found Next to be inconsistent in finish – some areas dry shiny, some matte – but it’s easy to use, with flexible recoating time and low-odor/toxicity. Since I was planning to put a gloss acrylic sealer coat over everything, I didn’t care about the problems with inconsistent finish. It took about two cans total to really cover the whole stool, which is a good example of how spraypaint is actually an inefficient and expensive way to paint things! However, the paint adhered to the Mod Podge finish really nicely.
Then I started painting on the details.
Because Next spray is acrylic lacquer, not enamel, I could paint on top of it with regular artists’ tube acrylics. I did layers of black wash, then dry-brushing highlights, then lowlight passes. In between the accent paint layers, I added additional layers of Mod Podge. This ensured each batch of highlights was sealed under a protective coat. If I went too heavy with a highlight, I could wipe it off without disturbing the black wash underneath. I can’t even tell you how many layers of this I did – gotta be at least ten. Each Mod Podge layer helped the bas-relief, carved-on effect.
I also did some sponge-painting effects and scumbling on the panels themselves, to give a nice Impressionist quality. You know how those Impressionists loved cockroaches.
At the very end I used an acrylic-based (rather than solvent-based) gold marker to add a few more highlights. Cause I’m so subtle. Then I let it all cure for a couple days. I had also spraypainted the legs of the stool, with the Berlin Berry, and let them cure too.
Then it was time to spray the fuck out of it with Gloss Acrylic Sealer Coat!
The outrageously comprehensive Mod Podge craft site Mod Podge Rocksrepeatedly states that to truly get a hard, non-tacky finish on your Mod Podge project, you need to seal it. That seems pretty shady, since Mod Podge itself is supposed to be a sealer, but I wasn’t taking any chances at this point. Acrylic sealer it was, and four coats!
Finally, I attached the recovered seat with the incredible velvet death’s-head moth fabric.
Wow that fabric was a close call. It’s actually a cut-up dress from a goth clothes company called Killstar.
I ordered the largest size they had praying it would cover the seat without a seam, and it just barely did. Killstar have a lot of custom fabrics made and I knew I would never, ever find this fabric anywhere else. It was a hard call to buy a brand-new dress, for forty euros (of course I used a coupon, you know me!), and immediately cut it up. But I knew that the pleasure of seeing the fabric on the stool, day in and day out, would be far greater than having a dress in the closet.
The velvet-and-gilt purple upholstery braid I ordered from the UK covers the places the fabric doesn’t quite stretch!
This is Lydia, aka Lylicious Ink, tattooing a lovely lady, ON A BOAT. Lydia is a friend who is a fantastic artist who is now a tattoo artist, like Daria.
I went to the new Drink And Draw Berlin location finally, and holy heck it’s amazing. Drink And Draw’s classes and events are now held in a 90-year-old boat docked in the Historic Harbor by Markisches Museum. The atmosphere is so cozy, so charming, so superbly comfortable for drawing, I cannot even deal. I want to go back ASAP.
These two cool as hell friends of Lydia’s were talking about tat appointments, and one of them was also drawing.
I just was so happy there! There were groups of artists and tattooists working at tables and on couches throughout the boat’s comfy seating areas, and another woman tattoo artist, the fantastically badass Strix, working up on the stage, and people doing stick-and-poke.
This is Elliott, stick-and-poke tattooing his own leg.
I knew people stick-and-poke tattooed themselves, as my incredible artist sister-in-law Caitlin has a number of beautiful works she has designed and done herself. But I’d never seen it happening live in front of me before! I was like, look, a hot boy stick-and-poking his own leg on a boat! What could possible be more Berlin? But then I remembered my friend Suz told me about a nonbinary person who stick-and-poke tattoos drunk club-goers on the party train U8 on Friday nights around 3am, and that is actually more Berlin 🙂
I had some lovely Fritz-Kola on the boat (local soft drink company well known for always sponsoring art events!) and altogether the nicest time.
Thanks, Drink and Draw Berlin! I’ll be back!
And always, my deepest and profoundest gratitude to my Patrons, who crowdfund my documentary art project of a feminist intersectional lens on Berlin life! You can help, with any amount you like per month, a dollar or euro is great ?
My Patrons on Patreon give monthly financial support which allows me to make this free documentary art available for all to share!
I made this doll as a sort of summoning spell/eidolon/telepresence device for my friend Eliza Gauger.
Eliza lived in Berlin at one time, and may return someday. The idea is that the doll holds a space for her here, whenever she’s ready to return, and when she does arrive she can have it as a gift. Until then, it will sit on my shelf with my Alien figures from a beloved friend/muse/Patron and cards from friends.
Eliza is, of course, the artist/creator of the Problem Glyphs open source art project and book. Which is a healing spell of love and sacrifice, a work of sustaining power.
Eliza was also one of the people who sent us money when we were desperate, the first couple months in Berlin, cause Dan couldn’t work and we had to pay cash for my meds.
And Eliza had a hard year, this year. You can support her work on Patreon and download open source Problem Glyph art here, buy your own copy of the Problem Glyphs coffee table book here, buy Problem Glyph t-shirts here, request a sigil for your own problem here, buy original art and prints here, and follow her shitposts on twitter here.
I started the doll months ago, when I noticed one of the porcelain fairy heads I bought at a craft store in St. Paul, Minnesota in the early 90s reminded me of Eliza. At the same time, in the doll parts drawer, my gaze fell on a little leather jacket. It was from a Living Dead Doll I bought in the early Oughts, which I had cut up and redressed for some other project. The vision of the Eliza Reserved Parking doll came together in minutes, scrabbling through the drawer.
But – there were no arms in the doll drawer! Just a grubby baggy of taxidermy weasel feet.
Video of this disappointing moment on my IG video here. I found the elongated, fairy-like mint-colored arms, from a Monster High body sold withouten any head, online. The arms have ball joints and pegs, which I inserted into shoulder pieces of epoxy clay, thus meaning the doll has some posability.
Their body (the doll is definitely non-binary) is made with the traditional batting-stuffed cotton body, and their legs are porcelain ballerina legs that I made stockings for and gave boots from a totally different Monster High doll. I used grey nail flocking, just like the flock I used on the White Witch’s reindeer’s ears, to give the doll’s head some pale, glinting texture.
During the time I was making the doll, Eliza got a dog.
A gallumphing nightmare beast of a lolloping moor-rambler, with glowing eyes and black fur. Luckily, while searching through a box of action figure bases for Sentinel parts for my upcoming Danger Room project (which will go under the School for Gifted Youngsters), I found a nice black wolf. Maybe he came with a Wolverine figure? Idk.
Anyway I had exactly enough left of the deep purple glove leather trim I got from an LA handbag manufacturer on etsy back in 2005 to make the terror goggie a harness. And while I used silver Sharpie and a bit of drybrushed gray acrylic to reduce the albedo of the micro-rhinestuds on the doll’s jacket, I left the ones I glued on the dog’s eyes alone. Hence, the glittering.
So here it is, “Parking Space Reserved for 3Liza”, a work which will hold a space of love and protection here until such time as Eliza collects it.
Dollhouse planning drawings by Suzanne Forbes, Aug 30 2018
My first dollhouse became a kind of Valhalla, a safe haven for all the characters and stories I love. it is a large, unwieldy, fragile metaphor for healing, hope and closure.
I imagine the School for Gifted Youngsters will work in a similar way, but more specific. My feelings about the X-Men and The New Mutants are my strongest of all and there is a lot of processing happening within even starting this project.
Also, my first dollhouse took ten years to complete, so I must be out of my mind. But actually, not so much; I have a plan.
I knew from pretty early on in the construction of my first dollhouse, around 2000, that I would need a second dollhouse. I already had too many action figures, even then, and too many weird geek jokes and visual puns and obscure heart-wrenching vignettes to tell with them.
Plus, as more and more X-Men action figures were made, it became clear the X-Men and the New Mutants would need their own house.
As I searched for a second dollhouse over the last ten years, I knew I wanted it to look a certain way. More “mansion”, less Victorian curio. Designed to be front-opening and kept for display against a wall in the English “Dolls House” style rather than open in the back for play like an American “Dollhouse”.
And I wanted it to be a “quick-build” routed MDF style, for fuck’s sake, rather than the insanely laborious die-cut kits that are now almost completely replaced by slightly less laborious laser-cut kits.
I never want to do a die-cut kit again, though I’m glad that I did get the very last Cambridge Dollhouse available on the West Coast in 2000. (For some reason I was obsessively determined that the Cambridge was superior to the nearly identical Greenleaf Beacon Hill).
There’s an excellent explanation of the different types of dollhouse kits here on Mysterious Miniatures for anyone curious about the hell that is punching out and sanding hundreds of die-cut pieces from a stack of 1/8″ plywood sheets. You can also see lots of pictures and read more about the process of building my first house here.
Below, the far superior routed/sawn MDF pieces of my Gables Dolls House kit, primed and laid out yesterday.
The reason I pulled the trigger and bought my first dollhouse kit was that the model I had been eyeing suddenly disappeared from the tiny pool of online shops that existed then.
Windows for the new house primed and drying before painting.
Panicked, I called all over, looking for a Cambridge, and actually found one, the last one, at The Hobby Co. of San Francisco on Geary. I hauled the box home in triumph and terror, and spent the next three years just building the structure.
Of course, I “kitbashed” the hell out of it too, custom building the extension, rebuilding the dormers and adding new walls and high quality Houseworks wooden windows and doors.
To use routed wood doors and windows I had to reinforce all the interior and exterior walls individually, from 1/8″ to 3/8″, cutting all the pieces to size. Without power tools.
I had to learn to solder to use tape wire for the electrification, because it didn’t have grooves for round wire. It was insane, and I said “I am never doing this again”.
So I kept an eye out for a front-opening, high-quality, quick-build dollhouse that was also really cheap. For a decade.
During that time several models I liked went on and off the market. I didn’t have the wherewithal, on many levels, to acquire any of the models I liked. I finally completely finished the first house and added the landscaping, walls and greenhouse in Oakland around 2013, but I waited to secure it to its base because I knew we were leaving the US.
I knew if we moved to Europe I’d have access to a completely different dollhouse kit supply chain, the mother lode of front-opening English dollhouses. And when we did, I started researching and pinning and comparing all the houses available. I got my first house set up and truly finished here in 2015.
It had to fit a very specific space, and be a very specific style. After two years of research, I had pretty much settled on The Gables kit from The Dolls House Workshop, a family-run British company.
It was gorgeous, it fit the space next to the first house perfectly, it had big rooms, it had an entry hall, it had bay windows, it had an attic for Ororo, and it was the very epitome of quick-build, including channels routed for the goddam wiring.
Most of all, it was incredibly cheap for a heirloom dollhouse kit, only £209 when they can run to the thousands.
So I was thinking about it, but I am cheap and terrified of spending large sums, so I was hesitating.
Then it started disappearing from the four online sites I had it pinned from. Marked “Discontinued”, then “Permanently Discontinued”. It was still listed on the company’s own site, so after a week of nerve-wracking waiting til my Patreon money came in, I wildly took the plunge and ordered it. Two days of euphoric planning and excitement later, I got an email from DollsHouse Workshop.
They politely explained the kit had been discontinued some time ago and it shouldn’t have been on the site.
They would process me a refund. I was crushed and at a loss. I just didn’t know what to do next. None of their other models had the turned wood windows l love, were the right size, or even had grooves for the damn wiring. The other companies’ houses didn’t move me the same way.
After a couple of days of moping, I emailed the company to check on the refund, which hadn’t shown up. I mentioned that I was devastated, that I had really wanted that particular house. I don’t why I did, I guess I just figured it couldn’t hurt to share my truth!
Later that day, I got an email back from Kelly Wiltshire-Tokeley, co-director of the company, saying she had tracked one down and it would ship that week!
What an angel! Isn’t that amazing?
Oh joy! Oh happiness! The X-Men will have a home at last!
Seriously, this is such a big deal. And of course, such a big project.
Even a quick-build dollhouse is a huge DIY project, with many stages, many decisions, and many materials involved. First I did a dry build, to check for fit and parts.
Then I had to prime. The MDF walls had to be primed with a specialty MDF primer, and the turned wooden parts primed with a wood primer.
On the left you can see some of them! Our whole house smells like primer right now. The stairs will be stained with gel stain, which I’ve ordered.
I have all the paint ready for the exterior and have ordered all the wallpaper and carpets. Putting those in before actual final assembly will make a difference of at least a hundred hours’ labor between this house and the first house.
I will use modern battery powered LED lights and run a single wire through each room rather than tapewiring the whole thing.
Plus, this house has a perfectly simple rectilinear floor plan, rather than the incredibly complex layout of House #1. Which I think I will call SlurkCroft, from now on.
So I’m not making any promises or predictions, but I’m hopeful that the School for Gifted Youngsters will be open by Christmas.
On February 14, a small group of female-identifying people gathered at Ludwig Berlin to make art out of a pile of magazines, glue and scissors.
With the help and support of Suzanne Wegh, I tried paper collage for the first time. What a startling process!
It was not at all like I thought it would be! It was confusing, and mysterious! I thought it would be challenging, but it was in fact quite a bit harder than it looks.
First of all, it never occurred to me that you could move the pieces of the picture around before you glued them down.
Until Suzanne explained that’s what she does! I was as startled as I was the first time someone showed me windows being minimized and moved around on a computer, in 1996. With my bricolage shadowbox projects, I glue each thing down as I go.
This idea of fluid composition broke my brain!
Then, it didn’t go the way I planned. I had some ideas, and a color scheme, and the first collage I did was actually the complete opposite of them.
I saw this greyed out pastel flower paper and wound up choosing a palette of images and materials related to it, and then making this rococo chicken being ridden by a chicken princess.
I wanted to make a Baba Yaga! What the heck??
So I decided to just go with the process, even though for someone as afraid of artistic failure as me that was pretty scary. I’m learning things I never expected to about composition, pattern and color from my bricolage and mixed media work. I can see how those things could be put to work in making collage art, but I’m a long way from being able to do it.
photo by Suzanne Wegh from Galentines Collage night Feb 14 2018
I was really amazed at how the other women could make their collages look like something so easily. I mean, make them look like resolved images. The one below, which Suzanne made, is just beautiful. You can read about her experience of our collage adventure on her Patreon here.
Collage by Suzanne Wegh Feb 14 2018
The Medusa with butterflies at the top was actually the third I made, and the only one I felt sort of resolved into an actual picture. And that expresses my style, with its beetles and jewel colors! Why is Megan Markle’s head on fire? I have no idea! It just happened!
I don’t know if I’ll try collaging again right away; it was pretty disorienting for me. But I’m so glad and proud we created a safe space for me to try it.
More bug stuff, because it’s not like our house can have too much creepy bug decor.
I made this mantis shadowbox using some 1970s upholstery fabric I got in Berkeley in the late 90s, some vintage velvet flowers and little bees saved from the same era, and a machine-embroidered mantis from this amazing artist in Kiev, who is doing totally innovative textile art with the digital embroidery tech now available.
I’d always wanted an egg glossary display box.
No natural history, curiosity cabinet-themed library is complete without one! I used the 70s fabric again; a glue gun is my method of choice for stretching even wrinkled fabric smoothly across the particleboard backing of a shadowbox. Some of the little speckled eggs and the grapevine nest came from topiary ball displays I made for my first wedding, in 1993 or 4.
I have nights where I crash around the flat asking, “What would Tony Duquette Do?”
And the answer is always, “Glue gun, Passementarie, MORE.” I added a couple trims to this silk velvet patchwork upholstered bench. After the intensity of the first three quarters of this year, with teaching and drawing and painting and my hub becoming a cyborg and being sick quite a bit, I really need this November make-cation.
I made a display holder for some of the earrings I’ve sculpted, made and modified.
I just took the glass out of a deep frame and gluegunned fabric to the backing. I used a beautiful textured knitting yarn left over from some lovely crochet blossoms my mom made me; the texture keeps the earrings from sliding around.
And most significantly of all, I got one of my first adult textile art pieces back up on display.
I made this mantel scarf of crushed changeant velvet and celestial Czech glass buttons and bead embroidered wire and pleated ombre ribbon cockades in 1999.
I was living with my second husband in a gorgeous Craftsman fourplex in North Berkeley. It was the first place I ever painted like I truly wanted my home to be, in insane shades of aniline violet, quinacridone red, and chartreuse. It was full of built-ins I decoupaged with gilt paper Dresden trim, Victorian frogs and lizards, and accented in burnt orange.
We gave such parties there. It was such a beautiful home. I loved my second husband, or who I thought he was, so much.
This piece was in storage for a long time, and it hurt me every time I came across it in my increasingly desperate and disenfranchised moves.
When the Great Recession finally ebbed a bit and I moved in with the man who became my third husband, I thought about getting an electric fireplace, where it could be displayed. There just wasn’t enough room in the exquisite jewelbox Craftsman apartment in Oakland that I designed to showcase his Black Irish beauty.
Here in our home in Berlin, we have plenty of room.
I used my glue gun to apply an emerald botanical brocade to the top of the particleboard shelf I had attached to the top of the electric fireplace I got on eBay.
Again, using a gluegun and moving fast, smoothing the glue flat with my fingers as I go, allowed me to get a nice flat surface bonded to the mantel. Then I just gluegunned the mantel scarf onto the brocade and added a few tacks to stabilize. I’ll add some finishing gimp braid and brass upholstery tacks soon as I get around to making it to Bauhaus.
Sorry I couldn’t get a better picture in our dark haus but we like it this way :))
My Trans Dino-Witch is finished at last! I’ve been working on her all month.
She was a huge project for such a small work!
I am thrilled to have finished her and she gives me strength. I hope other folks will find strength in her too.
Look at those pathetic, evil Neo-Nazis running away from her mighty teeth!
Look at her group of friends who are riding along on her back to support her and enjoy the mayhem!
I made their tiny colored hair out of nail flocking powder, way cheaper than fancy “craft” flocking powder. You can get a set of 10 colors on eBay for a euro.
She is a companion work to my Pride piece, Queer Dino-Witch, which I made last month.
It was harder to make her, because I had some harder feelings. I realized while making her that I often connect deeply with trans women partly for a very sad reason.
Most of the trans women I know have C-PTSD from repeated, systemic sexual violence, as I do.
Although my Trans Dino Witch is a work about Neo-Nazis, the despicable Alt-Right, I can’t make art about trans folk without thinking about the other kinds of attacks they suffer.
During the making of this piece the Orange Shitclown lashed out violently at transfolk.
He announced (on twitter, of course) that he intended to ban trans people from serving in the US military. Just yesterday he signed a formal memo. Since trans people have been serving with honor in the US military since at least 1862, lots of luck running the armed forces without them.
Also during the making of this piece, Chelsea Manning built a rainbow army of loving, celebrating followers who just won’t stop being brave and kind.
My generation of comic artists was so inspired by Jeffrey Catherine Jones and her commercial and comics artwork that always transcended the commercial. I hope she would like this tribute.
Catherine is a work built on a legacy of artists who inspire me. First, the incredible sculptor and assemblage artist Elizabeth McGrath. In 2005 I saw her show Altarwise By Owl Light at Billy Shire Fine Arts in Culver City.
She is the artist who opened my eyes to the power of modern assemblage and pop-surrealist artists. Her works are creepy, adorable, mythological and emotionally meaningful.
And some of them have little railroad miniature people in them! And they’re full of fake fur and Swarovski crystals and weird shit she found somewhere! And they’re like being hit in the heart with a bus.
So finally using tiny railroad people in a piece is my tribute to Liz McGrath.
I was also very influenced by the constant miniature close-ups on the Instagram feed of Jake and Dinos Chapman. The group of works by these YBAs called “Hell” is an intensely political anti-Nazi work that took them two years to complete and used 60,000 toy soldiers.
I decided to do dinosaur witches for Pride because of Mab Graves‘ DinoKitty show at Red Truck Gallery in New Orleans this year.
I thought, Dino-Kitties! That’s a fine idea. I wonder why you never hear about Dino-Witches…
Mab Graves has been hugely inspiring to me as an artist who never apologizes for making paintings, illustrations, sculptures (in a craft-identified medium iike needle felt!), commercially produced prints and diffusion line mass produced t-shirts all at once.
I love that she gets to make unique fine art objects and show them at the national level and sell melamine plates in her Etsy store.
She controls it all and completely owns her brand, despite enduring years of suffering from endometriosis, which she has been courageously transparent with her fan base about. Inspiring as fuck! I can’t work as hard as she does, but I am working as hard as I can.
Seeing those clear, bright flag stripes pass by in my Instagram feed day after day – seems like queer people are playing a lot of baseball lately, or something – is surprisingly comforting.
I give back 10% of my Patreon income to young queer and trans cartoonists and comic artists. Scout is one of them. So is Sam Orchard. Because fuck, the only people who have a harder and shittier time making a living as artists (especially as comic artists) than women are trans people.
My Patrons made it possible for me to spend fifty hours sculpting, painting and dressing Catherine. I hope she gives back some strength and inspiration.