Crafts – Necromantic

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Sempertarium

The dramatic and beautifully vivid jewelry of Saint Petersburg-based Sempertarium (by Olya Starvina) features Biblically accurate angels, bats, swords, and Victorian hands. Gothic cathedral arches are set in gemstones like glass, creating a brilliant, unique, and gorgeous effect. With their air of ecclesiastical splendor, Starvina’s jewels are both elegant and saturnine.

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Ecclesia

Ecclesia Jewelry evinces a godly geometry. Combining medieval themes and inspirations with modern aesthetics and natural forms, it is simultaneously minimalist and baroque. I love the pieces incorporating pearls (there is an ingenious, multi-stranded necklace of pearls, The Splitting of a Cell, in which the strings of pearls resemble spindle fibers during mitosis), and concentric lines reminiscent of organic shapes, and the sinuous, hypnotic forms of fire. There are rosaries, castles, chalices, tears, fascinating prismatic stones, and even a beautiful piece representing the milky eye of a blind dog called Eyes of a Blue Dog (or the Milk-Eyed Mender). Ecclesia has a highly distinctive style which evokes Catholic symbolism as well as the pure and intricate creations of nature.

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Embroidery by Lost Teeth

Lost Teeth/Natalia Czajkiewicz is a painter, musician, and textile artist based in Seattle. Her work is described as “meditations on grief, hope, memory, control, fear, and privilege in an increasingly dystopian society.” Natalia’s embroideries are minimalist and quaint, having a precious poignancy, a dark and childish quality.

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Bloodmilk: Katabasis

My perennial favorite jeweler, Bloodmilk, has come out with a new collection, Katabasis (from the Ancient Greek for “descent,” meaning a journey to the Underworld). The pieces are inspired by various elements of Hadean mythology, including Lethe, the river of forgetting, Hekate, the witch goddess who holds the keys to the Underworld, Orpheus who descended in order to bring back his doomed bride Eurydice, the terrible Morai who spin and cut the thread of fate for all mortals. Iridescent moonstones and onyx nest within intricate oxidized settings which seem to blend the ancient with the modern, the elegant sparrow claws and bat bones of Bloodmilk’s iconography forming cradles for the jewels.

Jessica’s statement for the Psychopomp ring is touching and lovely:

…the first iteration was meant to serve as a devotional ring to yourself, a declaration of accepting all of the sharp, inky, messy parts of yourself…your inability to mask at all times…your inability to say the right thing when you “need to”…that you can’t quite seem to feel good any day of the week… This first ring meant accepting these things, wearing a ring that meant belonging to all of the parts of yourself, saying “yes” to every little part, no matter how much society says “no.”

Many years later, this newer version of this ring means all of these things, and it also means you have permission to change too, you have permission to face these things and to chip away at any of them and any of them I missed, and you have support too…something to touch and turn on your finger to know you’re not alone, that I believe magic is real and you’re allowed to believe that too, in whatever way that word resonates for you.

It’s my wish that you’re not alone. That you feel safe and protected, whether it’s with this ring or not, whether it’s with the pages of a book, with the kinship of others…with knowing someone else feels the same way and is working on it too, is also just accepting the same things about themselves too.

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Otherworldly Gems by Omnia Studios

Omnia Studios fashions gorgeous, lavish, surreal and fantastic jewelry. Themes of the occult and mythology predominate, taking inspiration from a range of supernatural symbols and iconography, including cartomancy, Puritan winged skulls, the Moirae (Greek goddesses of fate), and Spiritualist planchettes. One of my favorite pieces is the absolutely incredible Charon’s Lantern Amulet, which represents the lamp of the river Styx’s ferryman, containing quartz crystals for illumination and held by two little ghostly hands. Bold, ornate, and baroque, these splendid jewels are perfect for darkly luxurious occasions or as everyday, beautifully odd statement pieces.

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Withermore: The Creations of Caitlin McCormack

The uncanny fiber sculptures and paintings of Caitlin McCormack convey a sense of torment, embattlement, and even tenderness. There is an organic sensation of movement, chaotic groupings and orchestrations, and also an element of whimsy and grotesque humor. These little crocheted creatures, as strangely alive as strokes of paint would render them, embody all the rancor, violent struggle, and darkling energies inherent in the mysterious world.

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Tribal Macabre: Miyu Decay

Miyu Decay is the jewelry label of fine artist and designer Stephanie Inagaki. Her signature bat skull is a motif that adorns many of her accessories. Cats, crows, and wolves also have their place among Miyu Decay’s themes. Influenced by her studies in Middle Eastern dance as well as by Victorian mourning jewelry, her designs often amalgamate the tribal, the macabre, and the mystical. The delicate detail of the tiny skulls is contrasted with the talismanic power of the pieces.

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Theeth Jewelry

Mushrooms entwined with crystals and small animals are the signature of Theeth Jewelry, hand-crafted by Portland artist Kimi Kaplowitz. These unusually beautiful and intricately delicate pieces are brilliant in design and marvelously executed. Macabre, lovable, unique, with the little imperfections born of the process that make them more astonishingly memorable, they are cast from original specimens and tiny things, spiders, cicadas, serpents, mantises, ferns, and the omnipresent mushrooms with their fragile striated gills. The resulting dear objects are odd, captivating, and spectacularly special.

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The Inner Cathedral: The Exquisite Dolls of Mari Shimizu

The ethereal creations of Mari Shimizu are hauntingly beautiful and impossibly detailed. Shimizu crafts elaborate ball-jointed dolls which possess an angelic appearance of purity and seem haloed by their tragic suffering. The figures are saints, martyrs, Madonnas, and vampires emanating an aura of innocence overshadowed by affliction. Many of them contain intricately carved Gothic arches, chapels, or even miniature Gardens of Eden within their torsos – the most delicately beautiful element of her works. These hollowed-out cavities of the architecture of anatomy are inhabited by demons and angels, homunculi, scenes evoking Hieronymus Bosch’s Garden of Earthly Delights, as well as antique cabinets of curiosities. Combining biblical themes with her love of historical fashion, Mari Shimizu’s doll sculptures are like three-dimensional paintings with as much detail and subtlety as that medium, in their small-scale, inner paradises and hells.

The roughly 2-foot dolls are characterized by both captivating realism and disturbing surreality. Their unnnerving, almost obscene quality reminds me of the doll projects of Hans Bellmer, an inspiration of Shimizu’s. Working with traditional Japanese materials, Shimizu forms the heads and limbs out of papier-mache or clay, and the hair is made with goat’s hairs or silk threads.

Reminiscent of Anatomical Venuses, these entrancingly lovely, dolorous ladies have a wasted, spiritual look and sometimes are even dissectible/vivisected, with removable organs. The lacy decay of some of their figures, with spots in their flesh as if eaten through by decomposition, exposing ribs and inner cavities, is touched with a melancholy, morbid sensuality. Their bodies seem to be both the sacrifice and the altar upon which they are sacrificed. Also intriguing are the sculptures that represent dryads of the dead, human-tree hybrids seemingly overtaken by decay and strange growths of skulls and corpse-like beings.

These fragilely beautiful girls, with their air of adolescent bloom, at the same time give the impression of being catacombs containing hordes of the dead and decomposing. Thus, they are always both radiant and dark. Although they seem like the miraculously preserved and incorrupt bodies of saints, they have a breath of the crypt. I particularly love the Death and the Maiden-themed pieces which vividly depict the juxtaposition between a young girl in the bloom of youth and the macabre specter of Death, giving shape to a figure that seems literally torn between youthful beauty and grim dissolution. One of these is currently available for sale on Akatako, as well as one of her anatomical girls, in a violin case.

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Monique Motil’s Miniature Marvels

The very eerie and very elegant creatures of Monique Motil are assemblaged from a variety of organic and synthetic materials, including bones, beads, textiles, and animal body parts. Attired in exquisite, fanciful costumes which are meticulously crafted, rich brocades and velvets, embroidery, and beadwork, each one-of-a-kind creation presents a persona combining the historical and the present, the live and the dead, the human and the animal.

With a sense of the dramatically uncanny, these aristocrats of the macabre, beautiful apparitions, avian or mink, beaver or cat skull-headed, carry out an endless mourning. They are pervaded with a sense of agedness, which is soaked into the richness and detail of their garments, and have all the delicacy of the most fragile and lovely dolls, without their quality of preciousness.

Instead, these creatures exude a foreboding sense of being timeless, deathless, ruthless executors of justice, vessels of past vengeances, long-carried grudges and dark passions. With their cruel claws, their magisterial dignity, their lace and fripperies, Monique’s hybrid creations embody haunting gracefulness on a small scale. Monique Motil also designs shadowboxes, assemblages, headdresses, and other artistic artifacts.

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