Griffin D’Zmura McGuire / Painter (USA) - unpublished submission

So much great art out there in the mental maelstroms of dark creativity.

Too much to print them all in the magazine. “Unpublished Submissions” is your gallery. For more evil art propaganda, check out INSIDE artzine

preview, cover, click, dark art





Griffin D’Zmura McGuire

– mixed media painter (USA)
Website: Linktree griffindart

“The looking glass has broken, we must brave the Kaleidoscope mirage…”

Q: Who are you?

I’m Griffin, an artist on the other side of a degree in Philosophy from UC Berkeley. My favorite mediums are acrylic paint and ink. One of my aims is to invite viewers into another world, one which will remain with them in the hidden alleyway of the subconscious mind.

Q: Darkness is not only the absence of light. What more is lurking in the shadows (of mind)?!

Shadows conceal, but also provide form and feature. The play between shadow as a metaphor and shadow as absence of light provides an interesting field of exploration. In my work I often explore autonomously without intention. I feel that this allows me to explore the shadows in my own mind without censorship.

Q: What is the most important taboo in art?

For me, I find the association of a price tag with a piece of to be a taboo that is worthy of deeper exploration. Many of the artists that are most widely spoken of are known in part due to the notoriety of their sales volume as opposed to the questions their work explores. In this strange dynamism between value and creativity there’s much more to think on and is one of the reasons I decided to move my digital work into the blockchain space.

Q: Why is the beauty in ugliness so fatal?

Art is not just a pursuit of Beauty. In the unsettling, and disturbing, a whole range of emotions which are under-explored and critical to artistic exploration are able to be brought into the open.

Q: What question would you ask the most evil person on this planet?

Though I’m not sure there’s someone who is the most evil, I’ll ask them if they enjoy Pineapple on pizza.

Q: The world seems to become more and more a violent, unkind place. Greed and egoism seems to be the only impulse of any change. Did mankind still have the chance to build a peaceful, sustainable world for every living and feeling being or would it be better if somebody dispose everything in the sewer of the evolutionary failure?

From my perspective, it seems that history shows us a world in which violence is the norm. We see much more of the ugliness in the world with news and the advances in new media, though this doesn’t imply that the world is actually more violent than it was in the past. A new slate, a Tabula Rasa, can be an appealing idea but in practice only leads to forgetting our standing as humans and moves us away from working on the problems we face.

Richard A. Kirk, black and white drawing, dark art

Richard A. Kirk - STRANGER IN A STRANGE MIND: Black and White madness

Gallery and gonzo interview from the fever dreams of  a drugless mind

+++ Chris Mars (USA), Seth Siro Anton (GRE), John Santerinerros (USA), Absumaniac (Poland)

INSIDE artzine #18, dark art magazine, H.R. Giger, Chris Mars, Seth Siro Anton

richard A. Kirk, black and white drawing, dark art

“There is no excellent beauty that hath not some strangeness in the proportion” Sir Frances Bacon, Of Beauty, Essays” 1625

When, finally, I felt strong enough to open my tired eyes completely I realized I wasn’t alone. Not very far away from me, there was an inconspicuous guy in white clothes sitting huddled in the corner, drawing on the wall with a black pen. A black-and-white flood of details arose behind him, like the arms of a naked, dancing octopus. All over the windowless walls, the inaccessible ceiling, the pristine-white PVC floor, up my legs, and out into the crowded, dysfunctional universe of a world without brains. And the things that trickled onto my tense retinas really frightened me. ME! A human-looking bird skull which was entwined with sly, plant-like vines. Swollen flowers, their delicate heads bent into the urinary puddle of daze. Thin skulls, filled with empty eyes. Mouldy mushrooms on seething bodies. Dumb figures in poisonous flower meadows. A woman like weaved of chlorophyll. Spiky insect arms, spindly child legs, torn skin, proliferating, sprawling, weird. And all that in such an obsessive, nightmarish wealth of detail that you had to gasp heavily.

Richard A. Kirk, black and white drawing, dark art

“If you want me to help you, you have to talk to me.” His voice made me wince like a pig at the
butcher’s. I heaved my skull but couldn’t see very much because of all that drool and snot. All I could do was hissing, “… call my lawyer then, asshole!” His pen continued scratching on the wall while he talked to me, “Nobody is here without a reason…” His voice sounded polite and bored, but between his words I could perceive something powerful, something freaky. Something authoritative. I could feel the taste of burning styrofoam trickle into my thoughts: “Who the fuck are you?”
„I am Richard Kirk, a 59-year-old artist – illustrator born in Hull, England in 1962. I grew up in a small industrial city in Ontario, Canada. I’m a draughtsman by nature and the vast majority of my artistic production is done in ink. I also work in silverpoint, a technique with its own special challenges. My choice of technique and subject matter compliment each other. The images come from my imagination, and I represent them in naturalistically, drawing much inspiration from form found in nature. My art explores natural processes. This interest is the focus of my work that lies beneath the narrative: decay, transformation, growth, evolution, and dissolution. My work is frequently described as organic. I am the owner of Pekoe the wonder-dog.“

I stared on the floor in front of me, my balls dug into the ice field. Directly from under my fastened feet, a
walking beetle wriggled itself out which had strange mush-rooms on its head
growing into its mouth. The floor was completely full with his drawings. They seemed to creep towards me and invade through my soles into my skin. It was itching terribly. I wondered whether I should ask him. Beg him. To unfasten me. Or at least scratching me. But then I preferred him staying in his corner. “Eh mate, you’re
frightening me. I really don’t want to know where do you get your ideas…”
His voice sounded as comfy as HAL9000 now: „Nature provides me with a lot of inspiration, as does literature, but it helps to be open to many things. Ultimately, when I sit down to draw I’m not that conscious of external inspiration… “


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Nihil, ventre, art book, review, dark art

NIHIL (France/Norway) - VENTRE - art book review

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Nihil, ventre, art book, review, dark art

Artist images & texts: Nihil
Artist music: In Slaughter Natives
Titel: Ventre
Features: Hardcover, 17x25cm/7×10“, Book 115 pages, CD 39:18 min

Nihil’s work has been accompanying me for several years now through the hidden valleys of a remote art taste. The French photographer and picture manipulator has always been a welcome guest in our mental asylum for a reason  – his works conceal something that only comes to light under the most extensive physical effort in a genre, characterized by darkness and despair: elegance! Sublime poses burst upon grotesque wrenches here, graceful silence upon seething menaces. And the pictures always seem to lack something. The iris in the eye. The expression of the face. The hairs on the heads. White surfaces where secondary habits expect primary sexual characteristics. This lack of physical identity puts his figures into the fleshless light of saints and martyrs. Because they suffer. This is the last remaining expression which cannot be taken away from them. Heavily depressing and wonderful at the same time.
The dark, brooding soundscapes of the industrial band IN SLAUGHTER NATIVES of the enclosed audio CD are integrated perfectly between the full-screen refined pages. A perfectly successful cooperation of two masters of dark art. And finally, to draw a line between the two unholy covers of this publication, Nihil provides us with reflective, dark stories for our restless sleep, all of which confidently float between dark dignity and menacing doom. An amazing artistic synthesis!!

felix roca, plastic bag on head, dark art

Felix Roca / Painter (Spain) - unpublished submission

So much great art out there in the mental maelstroms of dark creativity.

Too much to print them all in the magazine. “Unpublished Submissions” is your gallery. For more evil art propaganda, check out INSIDE artzine

preview, cover, click, dark art





Felix Roca – Figurative painter (Spain)

Website: @felixrocaart


Faith and fear of Death, an action reaction to each other, come together to be opposed, for the same duality,
by Childhood and Game. The Summing of the four concepts can be understood as the day to day struggle of the adult life. Not as a pessimist view, neiter, as a chant to innocence, but a consecutive presentation of individual postcards as allegories in which one of those four concepts is more imperant than the others.

Q: Who are you?

I am a Barcelona Based painter. born in 19991 who is scared of death and paints about it, and what it means or we have been told it is supposed to be an adult, that will be all.

Q: Darkness is not only the absence of light. What more is lurking in the shadows (of mind)?!

Answers, the shadows are those spots on your mind that you have been luring into, your self doubts and where you really find yourself, if you are sure about everything, which is imossible, you are dead and an estatich creature. Is that doubt that will move you forward and keep evolving. Like the Age of Empires Pc game map.

Q: What is the most important taboo in art?

Money, everyone works and paints for it, but it is supposed for us painters, in the art business, to paint and draw because we need to express ourselves, and to have a large mistic reason paint for paying your bills is not what it is expected for us to say.

Q: Why is the beauty in ugliness so fatal?

Those fucking greeks and the renaissanse, god is beauty and the devil is ugly.

Q: What question would you ask the most evil person on this planet?

Would you pose for a portrait? The prison guards will let me in once a week if that’s ok for you.

Q: The world seems to become more and more a violent, unkind place. Greed and egoism seems to be the only impulse of any change. Did mankind still have the chance to build a peaceful, sustainable world for every living and feeling being or would it be better if somebody dispose everything in the sewer of the evolutionary failure?

Self destruction is an inner part of human nature. Technology has put it on a great scale. But at the same time humor and going down the pub is as human as well, and for those as we are, interested in creation and art, let’s have a beer an art talk and paint it until the bomb explodes near us.

SBRGENk (Japan) - BLOODBLISTER IV - art book review

Girls & Gore: BLOODBLISTER IV - Unknown Cults


+++ Chris Mars (USA), Menton 3 (USA), Absumaniac (POL), Trevor Brown (Japan) +++

preview INSIDE 21, cover, slime. dark art




SBRGENk art book, cover, blood, young girl, dark art

SRBGENk – Bloodblister IV Unknown Cults
Softcover A4, 68pages, english/japanese
Purchase: shop

Probably the best known incarnation of the Japanese attitude “Kawaii” – which I immensely adore – is undoubtedly young girls. Although in Japan there are also “cute” dustbins, traffic signs, shopping trolleys, sex toys and so on, the beauty i.e. “cuteness” of the female appearance is increased to iconic proportions in the Japanese world of art and therefore basically present. And here in particular, wild excrescences are becoming more and more prevalent, to tailor new, absurd facets into this beauty’s dainty face. SBRGENk has chosen an especially radical way. Many of his portraits of young Japanese girls and women show the actually
opposite side of “Kawaii:” Violence. And it’s not the supposed domestic violence which grows, for instance, in the blue eyes of Trevor Brown’s works – here are heads flying. But no matter how bloody things are (and yes, there is also a lot of undamaged stuff), the ubiquitous beauty of his models is always preserved and remains always in the centre of his talent as a painter. This has absolutely nothing whatsoever to do with splatter films and glorification of violence; rather a completely new form of aesthetics is created out of the struggle of the two poles “cute” and “des-
truction:” an undestroyable and superior beauty. And admiration. At least mine.

Joseph D. Myers, USA, classic collages, R.I.P., bizzare, grotesque, depression, dead eyes, bloody hands, dark art magazine

Joseph D. Myers (USA) - DEEP IN A HAPPY MIND LURKS RUIN: Bizarre collages from hell

Gallery and interview with the master of the visual abyss.

+++ Matt Lombard (USA), Seth Siro Anton (GRE), Marcelo Vasco (BRA), Yukaman (Japan) +++

Joseph D. Myers, USA, classic collages, R.I.P., bizzare, grotesque, depressionThe truly bizarre creates fear. Fear of the things that dwell in the things. That even in the most “normal” things, something is lurking, just waiting to jump out of cover and take over our minds. Rarely has this fear of going crazy been manifested more intensely in pictures than in the collages of the American Joseph D. Myers. Bizarre, macabre, disturbing… weak words that cast only a faint light on the monster that will one day devour us all irretrievably. Joseph D. Myers died in 2014 at the age of only 38. We conducted this interview with him shortly before his death. Rest in peace Joe, your art will forever remain in our world.

Joseph D. Myers, USA, classic collages, R.I.P., bizzare, grotesque, depression, dead eyes, bloody hands, dark art magazine

INTERVIEW with Joseph D. Myers (1974-2014) First, I have to admit, that I have never seen such powerful collages for a long time. They are confusing, disturbing but nevertheless absolutely intriguing in the same time. GREAT JOB! You named your own blog „The Terrible Art of Joseph Donald Myers“. That‘s pretty good description of this wonderful gloomy gallery. Think, „terrible“ is a negative term for most of the people. Can you describe your art in your own words? What is this „terrible“ thing in your art?

JOSEPH:Thanks for the kind words! I think I settled on “terrible” because it describes, both literally and ironically, what my art is about and what I think others may think of it. My work has always been very strange and scary, and I have always wanted people to react strongly, to get some sort of emotional response. I remember back in my high school days a woman (an English teacher, I think) was watching me hang some of my crazy drawings and she looked at me and frowned, not saying anything. After a bit she asked: “What are those supposed to mean?” I said, “I don’t know!” and she walked away. I want my work to be like a beautiful car accident… something you can’t take your eyes away from even if your brain is telling you “Stop looking at this!” I think that’s terrible in the best sense of the word. The omnipresent deformation steps to a new dimension of ugliness. Do you think ugliness touched the people more than beauty? Think we can imagine, what do think about ugliness so what is your definition of „Beauty“?!

JOSEPH: I think there is so much inherent beauty in what is normally considered “repulsive”, like the grin of a decayed corpse. These “accidental” results of decomposition and nature and humanity – all of this is so deeply fascinating to me. I find beauty in the skeletal remains of a dog, an abandoned home, a stormy sky, a stern portrait of a mother from the 19th century, an image of space captured by the Hubble telescope… the list goes on and on and on. There is so much beauty in darkness. So many details overlooked because of fear.

Joseph D. Myers, classic collages, R.I.P., bizzare, grotesque, depression, child, fire, nightmare, artscum I‘m curious about your inspirations. Are there any historical examples like the collage dada heros or modern artists like Winston Smith/Dead Kennedys? Any current favorite (collage)artists we should know? What is the fascination of the collage method?!

JOSEPH: As far as my artistic inspirations are concerned, they are many and varied: Salvador Dali, Francis Bacon, Joel Peter Witkin, Al Columbia, Chris Ware, Stanley Kubrick, Stephen King, Robert Crumb, H.R. Giger, Robt. Williams, H.P. Lovecraft, Berni Wrightson, the list goes on and on. So many amazing visions from these wonderful minds. I have learned so much from so many.
I think the digital collage method grew out of me out of necessity, because I was spending so many hours working with Photoshop because of my career. Up until this recent series of digital works my art was created with pens and pencils and pastels, but when I discovered the complexity and depth of the Adobe software, especially Photoshop, my creative world was changed forever. There’s a magical world of creative power contained in what many consider to be a fairly benign yet powerful piece of software. It has allowed me to combine all of the things I find interesting, layer by layer, until the resulting image is born. I always listen to music when I make these things, so I’m tapping into a very deep place, and the art blossoms from these improvisational experiments. It’s very close to what I would consider genuine magic. Because of the ability to find images of literally anything you can imagine or that has existed within seconds (thanks to Google and such), I am able to create these collages as if I were a musician, or a chef… or Dr. Frankenstien. Gathering disparate ingredients and putting them together to create a completely original image. That’s what keeps me interested and amazed. The benign and mundane and feared parts of our world, meeting in a unique way. Most of your work looks like nightmare visions of a madman. Do think the mind of man is a fragile thing? What must happened to lose control about reality?

JOSEPH: It’s funny, because I’m a pretty “normal”, very happy person. I am a father of three wonderful boys and a husband to an amazing wife, and I grew up with very few worries. But I have also confronted many different demons over the years that have contributed to my macabre artistic tendencies. So I am a bit of a contradiction, I suppose. Which is fine. That adds to the whole mysterious nature of my artwork. J No one really knows what’s going on in my mind except for me, and that’s probably a good thing. But I am so full of love and happiness, many people are quite shocked to see what pours from my imagination. So, yes, I think the mind of man is a very fragile thing… but a fertile ground as well. I am lucky that I have the ability to do something “productive” with my nightmares. Because I think a lot of people, if they were honest, would admit to thinking about some crazy shit from time to time. But instead of tucking those thoughts away, I embrace them and celebrate them. I become friends with them. Much better to be friends with darkness and fear and horror than enemies. Do think that everything that seems to be possible use as an object in art? Or is there are anything that be taboo, even in art?!

JOSEPH: I think the “taboo” has to play a part in what I’m doing in order to make the viewer question their own sensibilities about what is “gross” or “perverse” or “forbidden”. I try to avoid gratuitous violence or pornography, but sometimes the animal tendencies that lie within the heart of man have no choice but to show themselves, especially in my art. One thing that I explore and embrace in my work is post-mortem photography from the 19th century. There are so many hauntingly beautiful images of loved ones that died too young before their time… because the mortality rate was so high back then, and photography was such a new technology, people were embracing it as a means to keep the memory of the dead alive forever. So people would sometimes pose the departed in a natural setting, or simply take a picture of them during a funeral viewing. Anything to hold onto the memory through photography. That’s so fascinating to me… and these slices of time/space are captured like magic, the subjects never knowing that someday, some guy with a computer would be staring into those eyes to find beauty and inspiration.

Joseph D. Myers, USA, classic collages, R.I.P., bizzare, grotesque, depression, children has the faces of their puppets, bed, puppets, black and white, nightmare, dark art magazine I‘m always curious about the man behind the art. Often the audience compare the artist with his art. So are you an incurable lunatic with bad dreams or an intellectual visionary who can see things we can not see? What do you tell your new girlfriend, parents, neighbors about your art. Or do give a damn about the reaction/opinion of your audience?

JOSEPH: I think I’m someone who’s not afraid to find beauty in horror, order in chaos, and translate that into something interesting and powerful for the viewer to appreciate. Maybe they’ll look at the world a little differently after studying my work, who knows… I just don’t want people to dismiss what I do as the artistic equivalent of a raving lunatic. The world is a scary, scary place. I’m just holding up a funhouse mirror for everyone to see a little bit more. Mankind more and more develops into a heap of selfish, daft self-destructors, both as for globalization and respect for one another. What is left of the beauty of the cosmic creation? Of the creative spark for perfection? Does Mankind still have a chance, or would it be better to flush the whole shit down the toilet of the evolutionary failure to give the future protozoa a shot for life?

JOSEPH: Best question ever! The state of modern humanity frightens me deeply. I think the human race is pushing itself to extremes, both positive and negative. This balancing act, although important, is very nerve-wracking. I fear that there is a very fine line between control and chaos, civility and barbarism. But I also think that there is so much love, so much good in the world. It’s disturbing how ignorant and shallow-minded many people have become, and I truly hope that people will begin to truly understand the power of compromise and love and peace. Maybe this obsession with self-destruction will fade away someday, but it may take an “act of God” to truly correct all of the problems on our wonderful planet. A wildfire to even things out, create a fresh stage for true spiritual rebirth. But until that time, we have to maintain our corners of the universe and try to appreciate the good aspects of life. But we can’t always turn away from the darkness, the horrible, the terrifying. Sometimes we have to face and embrace these things like dear friends.

Joseph D. Myers, USA, classic collages, R.I.P., bizzare, grotesque, depression, tooth, starry eyes, butterflies

JOSEPH: Jenz, one very important thing that I forgot to mention was my fascination with TEETH! Teeth are a HUGE part of my aesthetic, and I will forever be fascinated by how deeply primal and scary they can be. One of those things we take for granted, but can be so much more than what they are designed for. Sort of like how the female breast has taken on a sexual appeal… I mean, they were designed as very efficient and well-designed food producers/containers when you think about it. Only through human perception have they become sex objects. Just like teeth, although designed to be perfect food cutters and smashers, have become much more interesting to me over the years. So powerful and frightening, and very much a part of our Mammal heritage.

My current body of work, which I began in early 2009, is an almost direct response to the death of my mother. Although the Number One Champion of my artwork, Mrs. Linda Myers did not, however, enjoy my more sinister sensibilities. “Why don’t you do something nice?” she’d ask on a regular basis. “Because I don’t really know how”, I’d reply. As I struggled with the idea that she was no longer physically present, I also realized that I could explore death and dying (and the beauty that surrounds it) to my heart’s content without the worry of disappointing her. Sounds strange, especially since my mom was/is The Most Amazing Mother a son could have asked for and her loss is a void that will never truly be filled. All the same, she taught me how to find silver linings in the strangest of places. The result has been close to 200 unique pieces since April of 2009.

My creative process is relatively complex, albeit one that has become deeply intuitive over the past few years. My essential goal to tap into the deep fears of my childhood as well as the fears I have developed as an adult. It all starts with a scavenger hunt of sorts. I scour the internet for images that involve, but are not limited to: death, dying, old portraits, wars, mouths and teeth, insanity, deformity, landscapes, insects that scare me (especially wasps), aggressive animals, humanity in general… the list could go on and on. I will also photograph parts of my own body or use original nature photography if there’s a certain “something” I’m attempting to capture. Then, like an improvisational chef or musician (or Dr. Frankenstein), I start assembling bits and pieces of the images that have spoken to me using Photoshop. Many times I will create separate illustrations that will fill in certain gaps or add to the overall effect. If there is any need for text in the piece I will hand draw and scan that as well. Sometimes I attempt to incorporate a theme, other times the themes emerge like long-silenced screams from the past. I want to present to the world unique images that are at once familiar and terribly alien; comforting and disturbing; beautiful and terrifying. I want to welcome you into my brightly-lit home on a pleasant Spring morning, then slam the door, turn out the lights and strap you to a chair with eyelids held open forcing you to see what lurks in the dark, mad corners of the universe.

Or something like that.

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Seth Siro Anton, woman in a dark mood, dark art

Seth Siro Anton (Greece) - DEATH METAL FOR THE EYES: "...simulate the state of mind of clear dreaming."

Digital paintings, dark music & burning churches...

6-PAGE SPECIAL (inkl. Interview) IN
INSIDE artzine #16 (PREVIEW/BUY)
+++ Matt Lombard (USA), Chris Mars (USA), Dan Verkys (AUS), Yang Xueguo (China) +++


INSIDE artzine no16, tentacles and a cute girl, dark art

seth siro anton portrait, dark artTo get closer to the deeply disturbing surrealistic work of the digital painter Seth Siro Anton, it helps to turn the loudspeakers as far as it will go! Seth, who was born as Spiros Antoniou in his home country Greece, is the mastermind of the death metal band SEPTICFLESH. Besides vocals and bass he is also responsible for the complete artwork. And it doesn’t happen often that artwork and music are such a dense, disturbing unity, as they are here. The dark, threatening expression of Anton’s visual works finds a brutal, perfect counterpart in the sonic outbursts of his music. When you look at Anton’s pictures, the darkness in them softly seeps into your mind, but when you listen to the music, the visions are mercilessly beaten right between your eyes. With all their black violence, their disturbing madness, and, last but not least, with sublime beauty. An album like “Great Mass” leaves its marks on your imagination! Septicflesh cover by Seth Siro Anton, dark artAt first you scream like crazy; then you pull the plugs out of the loudspeakers. After that, you are left in a strangely soothing silence in front of Seth Siro’s pictures. Only then, after the surreal madness of the first viewing has faded away, you will be able to notice the fragile textures in the faces of the tragic actors. The insectoid melancholy that is unerringly established under the skin of your own otherness. The surreal second when you woke up from a nightmare.

seth siro anton, decadence scene with two women, dark art


Art is always a question of tools. What I call “digital painting” is a multitude of different artistic disciplines. In addition to the composition of evil things on the computer, Seth’s digital collages are primarily based on his photography. Their realism is the basis that looks at us through his bizarre work and reminds us that every nightmare is nourished by the real world out there.


Even though the Seth Siro Anton (Gonzo) interview in INSIDE artzine #16 ended in chaos and fire (and with his expulsion from the country), it contains some clues about the state of mind of the exceptional artist from Greece. As so often in the murky mud of underground surrealism, it is our dreams that poison the health of mankind. “Dreams are valuable because they release the primordial chaos stored in our neurons, by resetting the power of the time-space continuum. When I paint, I’m trying to simulate the state of mind of clear dreaming.“ In the interview, I had tried to confuse Seth with quotes from Nietzsche, but he was not impressed and stroke back with Carl Jung: “Jung defines the Collective Unconscious as the area of the soul which is infinitely older than the personal life of the individual.“ Therefore the psychic fever that Anton’s art triggers in all of us is not caused by random cosmic coincidences. Seth Siro Anton knows what he is doing. Wherever from.

Beside SEPTICFLESH his work can be found on the covers of other metal albums like MOONSPELL, PARADISE LOST or VADER. Check his website and listen to the music of SEPTICFLESH and read the interview with him in INSIDE artzine #16. It wasn’t my fault that the whole church had burned down in the end. At least not really.

H.R. Giger, biomechanoid, skull on a worm, licking creatures, artscum, dark art

H.R. Giger (CH) - VISIONS FROM THE "BLACK ROOM": „If I were like my pictures - that would be almost unbearable...“

Pictures, books, films, design, museum

+++ Chris Mars (USA), Seth Siro Anton (GRE), John Santerinerros (USA), Absumaniac (Poland)

INSIDE artzine #18, dark art magazine, H.R. Giger, Chris Mars, Seth Siro Anton

H.R. Giger, painter, Chur, Switzerland, portrait. smiling„If I were like my pictures – that would be almost unbearable,“ he is said to have said once in an interview. So the question arises, how much can an artist bear whose creative work is deeply pervaded by nightmares, anxiety; and madness? Hans Rudolf Giger, or „H.R.G.“ for short, has certainly created his own standard of „the endurable“ in the field of the so-called „Dark Art“. Always close to the abyss, of which we know since Nietzsche that if you look into one long enough, it will also look into you.

But how much of his personal abyss is really hidden in Giger’s work? It’s the famous question about the man behind the painter and designer from Chur in Switzerland, to which I have already tried to find an answer in the Giger-Special in INSIDE artzine #18. A particularly exciting question, because his work is considered the epitome of the offside in art. When the painterly view falls through the thin skin of the so-called common sense upon the… well, upon what? Upon the absurdity of the impossibility to bear a border between beauty and ugliness?!

Giger, Alien, monster, movie, skull, dark art, science fiction classicOliver Stone, US film director, screenwriter, and producer, said about Giger: „When, in a few decades, people will talk about the twentieth century, they will think of Giger.” Giger’s work for the 1979 film „Alien“, directed by Ridley Scott, has certainly remained in the memory of the world. In hardly any other film, the design work has had such a decisive influence on the effect of the content. Apart from the actual alien, a parasitically adolescent species called „Xenomorph“, Giger has also created a variety of technical designs, environments, and buildings that have contributed significantly to the almost physical threat and cult of this science fiction classic! It was Giger’s commercial breakthrough, although there is a rumor that, despite the immense success of the film, he was never paid adequately. Having been asked this in interviews, he always replied in his broad, benevolent Swiss dialect that he “didn’t get upset about that anymore“. After all, he was awarded the „Best Achievement for Visual Effects“ Oscar for this film in 1979. So, even if we don‘t know whether the „Alien“ was his alter ego or simply imagination, modesty was obviously not foreign to him. (More about the movie „Alien“ on the Internet Movie Data Base.


Gigers Necronomicon, art book, satan, altar, dark art
My personal first encounter with the work of h. r. giger was a copy of the legendary book „Necronomicon“. As I was already familiar with the unholy work of the mad Arab Abdul Alhazred since my earliest youth, I believed I was prepared for anything when I bought this book. But even the extraterrestrial horror of H.P. Lovecraft‘s creatures could not have prepared me for the impact of this dark beauty and this nightmarish grandeur that I found in Giger’s work. The book shows works from different periods of Giger’s creative life and thus creates a perfect overview of the whole tragedy of the supposedly ugly. And everything is bathed in the wonderful light of the beauty of his unique talent. Full stop. If you are ignorants: Enter the h.r. cosmos by „Giger‘s Necronomicon“ book. From here, you can reach every corner of his rich imagination, no matter how dark it is. Gigers online store

H.R. Giger, biomechanoid, skull on a worm, licking creatures, artscum, dark artBIOMECHANICAL CREATURES – METAL IN THE BOWL
Also still present today, every time I look into the engine room, are Giger‘s biomechanoidal works. While in the beginning it was only a few machine parts that made their way into primarily female bodies, the nightmarish body additions over time developed into entire landscapes full of teeming ambiguities (man or machine?). In the short film „The Art of Biomechanics“ (on You Tube), you can listen to Giger, saying that he adored women above all else, but also that sometimes he was afraid of them. Exactly this conflict seems to be trapped in the dark eroticism that oozes out of the extensive series. Was Giger a man who was frightened by his own sexual fascination with women? This is, like all theories about sex, a very bold one.

Is there any better place to approach an artist and his work than a museum? According to his status in contemporary art history, Giger of course has his own museum, which is located in the medieval Château St. Germain in Gruyères / Switzerland. Drink a bottle of good red wine beforehand (this is what the author of these lines did), and dive down. For hours. Or was it days?! You will never get a more comprehensive overview of the art of Giger (pictures, sculptures, sketches, furniture, videos) in all your life. And to close the clasp of preparation again, you can complete the trip with even more red wine in the „Giger Bar“ opposite the museum. H.R. Giger, giger bar at the giger museum, Gruyères, SwitzerlandBesides the many highlights in the rooms of the museum, there is also a more remarkable one with regard to the human being Giger: Upstairs, under the roof of the winding building, there is a collection of artworks that Giger himself has collected over the years. From drawings and paintings to bizarre sculptures and rather bizarre „fan art“ (e.g. Giger portraits), one can make assumptions about H.R.‘s personal taste in art. Some of the objects exhibited there, the visitor probably NEVER would expect to appear in a Giger museum; therefore one can conclude that Giger’s art horizon was going far beyond the “Dark Art” category.

giger, record cover, celtic frost, ELP, dark artI can‘t remember if there was any music playing in the Giger Bar (the red wine?), and if so, what kind of music. I had been hanging around the bar in the famous Harkonnen swivel chairs and pondered how Giger‘s work could be translated into soundscapes. Some of his work has made its way onto records / CD covers of famous bands like EMERSON, LAKE & PALMER (ELP) or DEBBIE HARRY. But no other band visualizes the dark beauty of the art of Giger as perfectly in their songs as the Swiss metal band CELTIC FROST (and their follow-up band TRIPTYKON). Somewhere in the eternal twilight between Black Metal and Doom, the spirit of the artist is still lurking today. Although the bandleader Thomas Gabriel Fischer and Giger were friends for many years, we do not know whether H.R. was a metalhead… A selection of Giger record covers

H.R. Giger, ink, high heels, stockings, dark artWith the awestruck view of the admirer, it is hard to tell whether H.R. Giger‘s inner life really reflects what our intoxicated imagination believes to see in his paintings. I especially like to let my gaze drift past the bombastic, room-filling shadow visions of his main work and onto the very early works. Here, the more „macabre“ and „evil“ side of the artist‘s brain is evident. In these early ink drawings, an unbridled lust for the ugly and the bitter is brooding. In his later work, this lust always flashes up again in the background, but then apparently smiles in the guise of technical perfection. But in blank ink on paper, however, this lust is young, raw, irreverent. In almost all biographies, the so-called „Black Room“ is mentioned, which was obviously the room of the young H.R. Black walls where format-filling, rakishly smeared pictures and notes with crazy drawings were lurking. H.R. Giger, black room, private room, young gigerdark art,

So here it is: The abyss from which the impressive world of Hans Rudolf Giger seeped up to us. A work that can only be described by itself: Gigeresque! And without this work, the magazine INSIDE artzine would have probably never existed! As I already wrote in the Giger Special in INSIDE artzine #18: „Giger has returned into his Black Room. Thank you my friend, for the look behind the black curtain…..“ (Hans Rudolf Giger died on May 12th, 2014).


Chris Mars, painter, The Replacements, USA, sureal art, oli painting, schitzophrenia, hanford, nuclear contamination, malformation, eyes, tentacles, dark art magazine

Chris Mars (USA) - PAINTER OF THE PERCEIVED INSANITY: We are the monsters!

Paintings, music & monsters...

INSIDE artzine #17 (PREVIEW/BUY)
+++ Matt Lombard (USA), Seth Siro Anton (GRE), Marcelo Vasco (BRA), Shichigoro Shingo (japan) +++

CHECK OUT THE SPECIAL ABOUT HIS GALLERY REPRESENTATIVE “COPRO GALLERY” (including an interview with the gallery owner and pictures of Chris Mars, Chet Zar and others) in INSIDE artzine #21 (PREVIEW/BUY)

Chris Mars, painer, infront of one of his masterpieces, dark artIt is difficult to describe the pictures of the American painter Chris Mars. Although he uses a wide variety of media such as oil paint, pastel chalk, scratchboard, or even film and music, a certain thought seems to run through all his works. They all seem to want to tell a dark, unknown story. The expression in the faces he depicts is too impressive, the scenarios too oppressively detailed and the dreams of the viewer too lastingly disturbed to be a mere visualization of an indefinable mood of the painter. Years ago, for an interview in the magazine VIRUS, I asked the painter and musician from Minneapolis/USA exactly this. He replied, “In the end, I want my paintings to tell a story, but at the beginning I never know which one it will be.” So let’s follow the dark path through the imagination of Chris Mars, wherever it may lead us.

The name Chris Mars first seeped into the world in 1979 when he was the co-founder and drummer of the band “The Replacements”. Initially a punk band with legendary wild, alcoholic live gigs, the band with the singer Paul Westerberg then turned to the much quieter “Alternative Rock” in the eighties and even reached number 1 in the American Billboard Modern Rock Charts.

Chris Mars, painter, The Replacements, USA, sureal art, oli painting, schitzophrenia, hanford, nuclear contamination, malformation, eyes, tentacles

Whether that’s good or bad, I don’t know. Although the (later) music was radiating some sort of dark melancholy, it is difficult to find roots there for the painter’s obsession that burst out of Chris Mars after he left the band in 1991.

The boundaries between artist and artwork often seem to be fluid in dark, surreal art which has the effect that the viewer is driven into the realm of a personal revelation between beauty and abyss, “Let me tell you something about monsters. I have great empathy toward monsters, or more accurately, perceived monsters. To me, monsters are more like misfits, people who are physically deformed, or rather, uniquely formed (as indeed we all are, each of us); or, people who are mentally on a different plane than the majority. I am sympathetic toward perceived monsters, because I have known and loved perceived monsters, and have felt this way myself.“ Do we see “monsters” in the pictures of Chris Mars? Are faces with these deeply emotional looks “monsters”? Or is it just that what often makes his works seem grotesque? The beauty of the monster…. Chris Mars himself?

Chris Mars, painter, The Replacements, USA, sureal art, oli painting, schitzophrenia, faces, letter, red nose


A key to Chris Mars’ work seems to lie in his past. In interviews as well as on his homepage, he tells about his brother who suffered from schizophrenia. “He saw things, he heard things. Were they monsters? Was he? He was fifteen. I was five. I went to see him. The sights, sounds and smells I experienced as a small child visiting him there, are prevalent throughout my work. Did he see monsters? Or did I?”

Chris Mars, painter, The Replacements, USA, sureal art, oli painting, schitzophrenia, hanford, nuclear contamination, malformation, eyes, tentacles, artscum

It is not so much the disease itself, which is accompanied by a strong change in perception (voices, hallucinations) and behavior (listlessness, falling silent) of the person concerned, that obviously has become the object of Chris Mars’ artistic vision. It is rather the way how society dealt with his brother’s illness in particular and with “otherness” in general that became the topic of his creative action: “I want people to consider the beauty that lives beneath the veneer of my troubled figures and faces. Through my work, it is my intention to bring these souls forward as a symbol of and a memorial to the many who live with mental illness, those who are labeled and thereby limited by some flaw that is in truth only a fraction of what that whole person is about.

We are the monsters! Look into the Chris Mars’ pictures as if you looked into a mirror. Nobody is really ugly, not even those who only believe in beauty. One of his art books is therefore called “Tolerance” (Shoplink)

Read more of his thoughts on his WEBSITE watch the incredible videos/shortfilms on his YouTube channel (some “time-lapse paintings” videos showing how he paints his masterpieces) and also check out the other artists like Chet Zar, Menton 3 and Allen Williams from his gallery representative COPRO

Trevor Brown, Japan, illustration, girl, guts, heart, lung, liver, rips

Trevor Brown (JAP) - CONTROVERSAL CULT PAINTER: „Does it bother you when people masturbate to your work?“

Hidden beauty, invisibile brutality and... unchallenged cult!

8-PAGE SPECIAL (inkl. Interview) IN
INSIDE artzine #19 (PREVIEW/BUY)
+++ Chris Mars (USA), Seungyea Park (Republic of Korea), Kamerian (Japan) +++

INSIDEartzine No. 19, dark art magazine

Trevor Brown, girl with sad eyes, dark artIt‘s your own fault when you always listen to the opinions of others. When you move preconceived opinions to and fro in your own perception, like scenery in an empty theatre. Art can change fundamentally in the angle of viewing – this becomes only too clear in the work of Trevor Brown, an Englishman who has been living in Japan since 1994. In the Western understanding of art (by the way, also on Wikipedia), Brown is seen as a morally condemnable chronicler of the humiliation of young girls and thus pushed into the light of pedophile glorification; in Japan, however, he is considered as a master of anti-Kawaii. To understand this typical Japanese way of thinking, it is not enough just to clarify the terminology, but it helps.


Trevor Brown, Japan, illustration, child, bunny ears, black leather, gun, fetish, art scum„Kawaii“ can be roughly translated as „cute“ or „sweet“; it is a design term in Japan that is used not only in art (mangas and anime, for instance) but also in news graphics, traffic guidance systems, and/or commercial aircraft interiors. To Western brains, these aesthetics of cuteness often seem rather „inappropriate“ or „unserious“. It has probably to do with the enviable effort of the Japanese not to have to unlearn childlike behaviour in old age completely. And the art, described on Trevor Brown‘s website as „baby art“, then prefixes the term with an „anti“…. Exactly. Anti! There are the cute little girls with black eyes, bloody mouths, and various medical instruments stuck under their skin. The look of the big manga eyes share the expression with grotesque eye rings and deep sad melancholy. This head-on contrast potentiates the impact of Trevor Brown‘s images into a grotesque urgency that is hard to resist.


Trevor Brown, Japan, illustration, childs, pigtails, chopper, butchery, kitchen, dark art magazine


Trevor Brown, medical bondage, dark artWhen you want to approach the work of Trevor Brown, you should also include his early works. Even before 1994, before his relocation from England to Japan, Japanese women, forms and characters were very present in his works. Fetishes from BDSM, such as (Japanese) bondage or humiliation, were even more visibly incorporated into Brown’s motifs than they are today. The violence in his early paintings seems more painful and unmistakably more real without today‘s „kawaii effect“. This kind of brutality can still be found in his works today, despite the comic-like abstraction and the big eyes. But it has become more enigmatic and thus more intense. The conflict of „violence“ and „innocence“ disturbs many viewers, and only the true connoisseurs of art can face this conflict. Art has to touch the mind, even if it hurts. Otherwise it is only decoration.
You can find an excellent overview of the artist‘s development on his website. You will find an extensive portfolio there which, divided into years, goes back to 1994.


The look on the person behind the work, behind the forehead, is always exciting. What lurks up there in the watery thought muscle of creative outlandishness? In the case of Trevor Brown, this is rather difficult. There was no photo of him to be found in the whole fucking internet, and at the launch for the artbook of INSIDE artzine #20 (in which his work is also represented) in Tokyo‘s „Vanilla Gallery“, he didn‘t show up (okay, outside it was +30° Celsius… at night…). In the 8 page interview with Brown in INSIDE artzine #19, he says of himself, „I find it difficult to believe in anything (even in myself?!).” Lack of self-confidence, however, I could not detect; to the question „Does it bother you when people masturbate to your work?“ he replied, „I make art to please myself primarily… which is synonymous with masturbation.” Unfortunately, as almost always in INSIDE artzine, the interview quickly developed into irresponsible madness, but his statement „all art should be aesthetic terrorism“ is something I‘d want to write on my forehead.

Trevor Brown, artbook "Alice", dark artHave a look at some of his great art books like „Trevor Brown‘s Alice (in Wonderland)“ (2010), „Pandora“ (2015), or the current „La Nursery Noire“ (2019), which, by the way, was censored (!) on some pages by the involved printing company. It seems that anyone who likes has a say there… Buy his books!


Trevor Brown, cosplay of his art, young girl with sweets, dark artTrevor Brown’s art in Japan has been described with many clichés – clichés that apparently exist only in this country. For example, the above mentioned „Kawaii“ (cute), or „Ero Guro“ (art that is focused on sex and decadence and combines the erotic with the grotesque). One of the most famous Otaku excesses must not be missing: Cosplay. There are lots of Japanese websites and blogs where countless (female) Trevor Brown fans recreate the scenarios and poses of his paintings! Some of them are in an adorably dilettante and obsessive way photographed with the own mobile phone, others however are professionally staged with makeup, costumes and professional post-processing. Compare „original“ and „cosplay“: The „Trevor Brown-Special“ in INSIDE artzine #19 shows both the original illustrations and the photos where fans represent exactly the same poses. Trevor Brown’s visions come to life, as it were. Did I hear someone shout the magic word „CULT“ from the last row?!? That‘s right!!! Great, unique art that touches you deeply despite, or even because of, the innocent surface!