La oveja Shaun: La bestia de Mossy Bottom
En vispera de Halloween, Shaun juega a cientifico loco para salvar el huerto de calabazas y acaba soltando una bestia por los bosques de Mossingham.
What it is made of
The source
Frankenstein; or, The Modern Prometheus
The attic workshop stocked from the dissecting room and the slaughterhouse, the candle burning down on a November night, the yellow eye that opens. Yellow skin drawn tight over muscles and arteries, lustrous black hair, straight lips, eight feet of him. And on top of that, whatever the cinema added: the sea of ice below Mont Blanc, homunculi in glass jars, the terminals in the neck and Kenneth Strickfaden's crackling coils.
A Bestiary of Folklore
What you see here is specific and strange before it is symbolic: the belt that turned a man into a wolf and the breaking wheel from the Cologne pamphlet of 1589, the bullet cast from a medal, the hooded procession with candles and cross of the Santa Compaña, the wicker basket, the birch rods and the cowbells of the Krampus, the three-legged planchette and the alphabet set in two arcs on the 1891 board. On the print side, the skeleton taking a man by the arm in Holbein's The Dance of Death (Lyon, 1538) and the winged monsters of Goya's Capricho 43. Not one generic skull: every object comes from a plate or from a dated court record.
Forms of Nature
Millimetre-wide radiolarians turned into rose windows, siphonophores hanging like chandeliers, jellyfish trailing golden filaments, diatoms, lichens, orchids, bats and antelopes arranged by symmetry on black. Birds at life size and caught mid-violence, the flamingo bent into a U because there was no other way to fit it on the sheet. And a whole metamorphosis in a single print: the plant, the egg, the caterpillar, the chrysalis, the adult — plus a pinktoe tarantula eating a hummingbird.
About this work
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