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Frankenstein; Or, The Modern Prometheus

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So powerfully did the whole grim aspect of Ahab affect me, and the livid brand which streaked it, that for the first few moments I hardly noted that not a little of this overbearing grimness was owing to the barbaric white leg upon which he partly stood. It had previously come to me that this ivory leg had at sea been fashioned from the polished bone of the sperm whale’s jaw. “Aye, he was dismasted off Japan,” said the old Gay-Head Indian once; “but like his dismasted craft, he shipped another mast without coming home for it. He has a quiver of ’em.

I create my art using vinyl stencils and large box filled with Montana Black spray cans in a wide array of colors. Here's the step-by-step process:

  1. The preparation is where much of the effort lies. I start out with source material from photographs and movie stills, using Photoshop to build the concepts I envision. The key is to simplify these images into just a few color layers that are aesthetically pleasing and maintain structural integrity once they are cut into stencils.
  2. The cutting. Previously I did this by hand using an x-acto knife and paper stencils. Not only was this very labor-intensive and gave me RSI, the fact that paper stencils are not re-usable had a negative effect on the creativity. I found myself making designs simpler and in fewer layers simply to save myself from a lot of work. Fortunately, I’ve since upgraded to a plotter that cuts precise, reusable vinyl stencils. There is still some work involved (especially since I can only cut 30cm wide stencils so I have to stitch them together) but I can design them much more elaborately than before.
  3. Then, layer by layer, I build the painting on a canvas or canvas board. Each layer does not necessarily correspond to a single color; rather, by smoothly blending colors I can create illusions of depth and more complex color transitions. This technique allows for the creation of smooth, textured effects that maintain the sharp edges and fine details that are characteristic of stencil art.

    Stubb was the second mate. He was a native of Cape Cod; and hence, according to local usage, was called a Cape-Cod-man. A happy-go-lucky; neither craven nor valiant; taking perils as they came with an indifferent air; and while engaged in the most imminent crisis of the chase, toiling away, calm and collected as a journeyman joiner engaged for the year. Good-humored, easy, and careless, he presided over his whale-boat as if the most deadly encounter were but a dinner, and his crew all invited guests. He was as particular about the comfortable arrangement of his part of the boat, as an old stage-driver is about the snugness of his box.

    Don’t you miss the days when you manually picked a cd or a vinyl album to play, or a mixtape you carefully put together, rather than having The Algorithm play a ‘mood’ for you? The physical act of putting a cartridge into a playback device, it had something magical. The simple push of a button. No fumbling for a password, no interruption from a Windows update, no keyboard, no loading times. But, unfortunately, all your music is in the cloud nowadays. That wretched cloud, taking the fun out of music, with its stupid infinite storage. Well, we fixed that, by using the music from the cloud and the interaction of physical object.

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