The Art of David Coffey

Written by Alexander Greco

July 20, 2020

Hailing from Dallas, TX, David Coffey’s is an artist whose figurative style and darker undertones and themes I quickly resonated with. Ranging across themes of power, abuse, human duality and beauty, David’s artwork expresses tangled and conflicting aspects of human nature, much of which we are averse to confronting in our waking lives, but are ever-present in our psyches.

David has been creating art since childhood and, as with many underground artists and creators, is self-taught.

“I’ve been drawing as long as I can remember. My love for art began with sketching during class at school, continued into drawing while lying on the carpet floor of my room as a boy, and I’ve never stopped drawing since. I didn’t start painting until just about 2 years ago, so that’s been a learning experience. I never have had any formal training. I use a lot of books, tutorials, and such to learn. I also just experiment a lot to see how things turn out. I try to imitate things that I really like. My greatest inspiration is other artists both living and dead. They are my teachers.”

Despite the many faults of living in this Digital Era, one of the great benefits—possibly one of the greatest benefits—is the access that everyone now has to information and education that might have previously been barred from many because of money or circumstance. While books and various forms of public access to them have been around for hundreds of years, the sheer level of information that can be accessed now is unprecedented, and it’s a tool that few seem to really appreciate.

So, I wonder how many artists and other creators like David—how many people even outside the arts—we’ll hear about in the coming years who found success from circumventing traditional routes of education and taking their talents and ambitions into their own hands.

Picasso Portrait
Acrylic on Canvas

David spoke quite a bit about some of his influences and inspirations, which span across historic eras and artistic genres:

“[…] my love of art began with comic book art as a boy. I still adore comic book art. Since around my teenage years I’ve been enamored with a number of famous artists: Picasso, Van Gogh, Francis Bacon, Bosch, Baselitz, Philip Guston, Max Beckmann, and others. I pretty much like anything that’s in the modern art time period. I also adore Japanese art of all flavors from the old school landscapes to contemporary stuff and Manga art.”

“[…] I’ve been reading [comics] ever since I was a boy and still at it. Swamp Thing (old and new), Watchmen, Sandman, Hellboy, anything by Charles Burns, Fables, Books of Magic, Paper Girls, Saga, Buddha (by Tezuka), Bone, Amulet, The Walking Dead, to name a few in my collection.”

“Yes, my Doppelgänger and Nephilim [series] definitely have some Bacon influence. They are dark in theme, have a fairly solid background, and involve a lot of chance and improvisation both within the body structures and the textured backgrounds.”

In David’s first figurative series, his “Artist Portraits” series, many of these famous artists emerge on canvas in a blend of David’s and the artist’s style. His comic book and manga influence likewise can be seen throughout many of his series, whether as reference material or as thematic inspiration for some of his work.

Regarding his art process and how he plans or organizes his pieces, David discussed quite thoroughly how his pieces come to be:

Nephilim #3
Acrylic, Sharpie and Sealant on Canvas

“I think about a larger general idea I’d like to explore, such as power or exploitation, I think about what sort of human figures I’d like to experiment with, some general thoughts about style and composition, and how many I’d like to include in the set. […].

“I don’t tackle any details at all until I start working on an individual painting. When I’m focusing on a single painting, I usually begin with source images that I want to use for composition. […] From there, I start making vague decisions about other elements that I’ll include in the painting (such as including snakes to the interact with the main character) and what colors I might like to use.

“On the actual canvas, I usually begin with a pencil sketch that is very close to the original pic I’m using as a basis. From there I alter the pencil markings. This is pretty intuitive, so I just keep changing things until I see what I like. The pencil serves as a basic sketch for where I might place paint. The painting process is super intuitive. I have ideas about what I might like to do, but I rarely make decisions beyond what I’m doing in the moment. I change colors often, experiment with movements and blends, add, cover, etc. It’s really just a constant work of adding and covering elements that I don’t like. I evaluate the work about every 30 seconds or so.”

The process of creation is something I’ve personally been interested in. The mechanical aspects of various forms of creation are endlessly fascinating. Composition, color arrangement, grammar, narrative structure, chord progressions—these are all the architectures of paintings, music and stories we’ve all come to love. But then there’s this sort of black-box of intuition, where the mechanics of art end and the subtler mechanics of the psyche begin. There’s a sort of jumping off point, a place where you’re swimming in open water.

With David’s work, this jumping off point comes as soon as the brush begins spreading color across the canvas. There’s the underlying structure of the sketch, and the themes he plans to incorporate, and then it’s all based on intuition from there.

Da Vinci Portrait
Acrylic on Canvas

Beginning with his “Artist Portraits” series, there is a lean towards figuratism, as well as expressionist and impressionist styles. For each different artist, David mixed the style of the artist with his own personal way of painting, making portraits that reflect both his and the artist’s work.

“The artist series was an attempt to explore some of my favorite artists by incorporating elements of their style into a portrait. I was the one making it thought so it actually was more about me than them and how I thought about them, what I wanted to learn from them and their lives. […] I mostly chose artists that I admire and that I personally felt provided major breakthroughs in the art world, but that’s just according to my own bias.”

These portraits include Egon Schiele, Pablo Picasso, Salvador Dali, Leonardo da Vinci, Vincent van Gogh and William de Kooning. The one exception to this blending of styles seems to be with Leonardo da Vinci, where, rather than blend styles, David includes personal, childhood icons with his portrait of a man who made incredibly iconic pieces of art.

Nephilim #5
Acrylic, Sharpie, Mixed Media on Canvas

In the next series, the “Nephilim” series, David pushes his artwork into an almost surreal space of impressionist figuratism—which carries on into the series after it, “Doppelgänger”. This series consists of incredibly muscular—at times grotesquely muscular—figures painted in a style that blends abstract with impressionist. The figures in these paintings strike intimidating and violent poses, and are presented over backgrounds of layered and textured color. However, the most striking feature of these paintings are the unreal, bulging, chorded muscles of the Nephilim—showing the unhealthy excess of power each possesses.

“The Nephilim is basically about power and how it leads to destruction and isolation. Some of the stories of the Nephilim were based off of biblical accounts, extra biblical accounts, and some of it I just made up in a growing narrative. […] The figures were all inspired by comic book art. I chose some of my favorite comic drawings as source material for the forms, mostly coming from modern Swamp Thing comics and Animal Man.

“I did a lot of experimenting with using markers, various acrylics and sealants to get the affects. Lots of back and forth between drawing with black sharpie, covering it with white paint, letting it dry, adding a sealant, adding more marker, etc. They are better to see in person because they have so many layers they actually have very thick textures. Some of them are actually quite heavy and have deep grooves.”

In much of David’s lore surrounding the Nephilim, there are themes of isolation and corruption, and we spoke about these themes in tandem together.

My primary thoughts were, does corruption lead to an isolation from the larger community? Or does isolation lead to corruption? Do we seek power because of our own corruption? Or does the search for and eventual gaining of power corrupt us?

Or, coming around to the first questions, is it powerlessness and isolation that urges us towards seeking power, and having that power as an isolated, “evicted” individual spurn us toward abuse of that power onto the community that expulsed us?

These are a complicated tangle of ideas to parse apart, and it was interesting hearing David’s take on the themes:

Doppleganger #9
Acrylic, Sharpie, Mixed Media on Canvas

“[…] I believe the corruption is both passed down and generated through personal actions. […] Though perhaps they desired to use it for good, the nature of the world must win out. Yes, their form does evolve over time. The more they use their power for evil, the more deformed their bodies become. The black form (the last in the series) is almost a purely spiritual form, but, in a sense, in the end the nephilim become fallen angles just like their fathers.

“I think power pretty much always lead to corruption, at least that’s all I’ve ever seen or experienced in this life. But I like your point that isolation could also lead to a hunger for power. A desire to change one’s destiny or perhaps hurt those who put one into a position of isolation. The thought that the ability to change circumstances and overcome others would lead to happiness is an interesting one. It’s very natural to think that way, but false I believe. […] All that being said, I don’t believe power itself is bad. I think there is a possibility of it being used for good…”

This corrupting influence—whether an inherited disfiguration or a maladaptation evolved across time—can be seen in the bodies of the Nephilim and in the heads and faces.

While the bodies certainly do have grotesquely muscular, powerful forms, it’s their heads transformed the most, and in many ways heads and faces communicate an individual’s identity.

With Nephilim #3 and #5, the rectangular and spherical-headed Nephilim, there’s a transformation to simplicity in shape, expression and simplicity, and a sort of self-dehumanization.

With Nephilim #3, the rectangular head reflects a flatness—an almost uni-dimensional, machine-like personality, devoid of warmth, compassion or empathy. It looks cold and calculating, like a computer screen, and the narrowness of its eyes and mouth might be the narrowness of its vision—it’s vision of power—and the narrowness of its ability to communicated with others—a narrowness of empathy and an inability to socially connect.

With Nephilim #5, the shape of its head is roughly spherical, but it’s like a head that’s been crudely molded and can’t decide what it is. It lacks any expression except for it’s tiny, slitted eyes and enormous, toothy mouth. This giant has lost any defining features, its vision has been narrowed to a tiny slit, and its mouth appears to be useful for little more than violence, consumption and animalistic vocalizations.

Doppleganger #8
Acrylic, Sharpie, Watercolor, Sealant on Canvas

Following a similar thread as the “Nephilim”, the “Doppelgänger” series features surreal, heavily muscled figures over a textured background of simple colors. With the “Doppelgänger” series, David pushes both the surreal musculature of his figures and a darker, more abstract vision of human nature through their entangled forms.

“The doppelgänger series is about a personal belief in the dual nature of humans. I personified it in these figures. A lot of it relates to personal inner conflicts I’ve had throughout my life. The forms are inspired by comic book art again. I did get more experimental with the forms than in the ‘Nephilim’. […]

“In my view most of the interactions are negative. Either one form dominates the other or the forms are in conflict. There is a very strong undercurrent of violence and domination. When I drew details on the forms, I got more abstract with the muscle forms sometimes making it close to a vegetative or organic bubbly form. This was all very intuitive. I used the basic shapes as my guide but created lines from a moment to moment basis.”

The “Doppelgänger” series immediately struck me when I first look through it. There’s a tremendous intensity to many of these forms, and the various emotions of each piece seem to be ripping out of each figure’s bodies (perhaps the internal force that’s turning these subject’s muscles into such grotesque shapes). The extreme musculature shows the power of these forces, but their inhumanness and occasional grotesqueness show how they warp the subject into something equally inhuman or grotesque.

As David alluded to in his explanation of the pieces, with the doppelgängers, there seems to be this sort of reversion into a chaotic state, where the bodies of the figures are turning into stringy, tubular, or wet, bubbling, oozing states. The figures seem to be returning to the chaotic state of nature—to the bubbling, swampy morasses of life that we come from: the violent, grotesque state of nature modernity often tries to ignore, but that is ever present.

Doppelgänger #7, the white-background doppelgänger, is beating its identical twin—its clone, copy or its self—into a thick, viscous, frothing foam. The muscles on its body are on the verge of bursting—of popping with blood and bulging flesh—and even parts of its body seem to be turning into this bubbling, oozing material.

Doppleganger #3
Acrylic, Sharpie, Sealant on Canvas

There’s this blend of violence done unto the self, or possibly of self-domination and self-submission, and this reversion into a primordial, hyper-violent chaotic state—the animalistic and grotesque reality humans have emerged from.

Doppelgänger #3, the red-background doppelgänger, similarly has this reversion into a dissolving, deindividualizing state. The muscles have lost any real resemblance to a healthy body, and are more like piles of intestines strung up on a skeleton frame. The two bodies are intertwined to the point where its difficult to tell which limbs belongs to which body, and, at certain points, there seems to be an entire dissolution of a concrete, bodily form. There’s just this fleshy, dripping entanglement where individuality reverts to primordial flesh and organs.

Finally, there is David’s “Siren/Muse” series, which is David’s latest and still ongoing series. Here, David takes a large leap from the style of his previous two series, but still retains elements of his figurative style, and explores similarly dark and all-too-human themes.

“For the ‘Siren/Muse’ set, I really wanted to go with more colorful figures that were females. I didn’t want them to look aggressive or violent, so I gave them more of an anime inspired smooth appearance. I also wanted to convey a sense of ‘fake-ness’. […].

“This series is basically about a potential danger in the pursuit of beauty. Hence the toxic creatures. It made sense to meld music and art. They accomplish a lot of the same things. I also liked exploring the myth of the sirens and the myth of the muses. I do think they’re related. I guess with the siren there’s a draw toward sex that ends in destruction. With the muses there is a desire for inspiration and the ability to create perhaps at the expense or abuse of the muse herself. I think those are both about creation in a way. Both can end in the abortion of a desire. Both can consume and ultimately destroy. I really love contradiction and contrast.”

When I was first reading David’s explanation of this, I was reminded of story arc in the Sandman comic book series where an author has kidnapped one of the Greek muses and sexually exploits her in order to find inspiration for his books. I brought this up with David, and found that this was indeed part of the inspiration for this series.

“So glad you mentioned the Sandman story about the muse. That actually was what first got this idea for the siren/must series percolating in my mind! What an amazing story (by the way, Sandman is probably my fav comic series of all time). I was so drawn to the idea of someone abusing a muse in order to get inspiration it made me think that perhaps that is a deeper truth about the lengths people will go to grasp fame or fortune, much like the writer did in that story.

“It also melds the idea of sexual dominance, but really again just a picture of abuse for personal gain. I guess when you think in terms of a siren though the tables are turned. The female is in the position of power.”

Siren/Muse #1
Acrylic on Canvas
Siren/Muse #1
Acrylic on Canvas

As with our conversations over David’s other sets, our conversation of “Siren/Muse” delved down its own rabbit hole.

In modernity, there is a tension between fact and opinion. This tension likely goes deeper than most people realize, but one of the most obvious tensions comes from beauty and aesthetic. Can something be objectively beautiful? Is there anything that can be said to be truly beautiful?

Or is everything regarding beauty and aesthetic just an arbitrary illusion of the mind? Is there a tangible reality or truth to beauty? Or is it all arbitrary opinion?

“I do think there is definitely something objective about beauty, but I’m not really sure what it is. I just know that people often agree on what is beautiful, but if it were totally subjective maybe that wouldn’t happen as often. For me though, beauty is just what I find physically appealing to my eyes. The structure, composition, color, framing, etc. so many things go into it. And the more refined your eye becomes the more you are able to appreciate beauty, like a fine wine.

“Personally, I’m obsessed with beautiful things because I love to consume them with my eyes. It’s much like enjoying a good steak or tasty beer. It’s very visceral to me and just flat out pleasing to my soul. But beauty can also be a marker that points to something beyond it. A deeper truth or a more lofty ideal. This is what creates such strong emotional reactions and perhaps has something to do with why people sometimes seek to destroy it.”

David’s “Siren/Muse” set has only just been started, with two completed pieces so far. One features a blonde-haired pop singer with green snakes emerging from behind her—similar, I would say, to not only the sirens and muses, but the gorgons as well. We have a beautiful woman, whose face implies pleasure, in front of a microphone onstage, with snakes surrounding her and facing the audience while her eyes are closed.

There’s a sort of narcissism here, being the center of attention and finding pleasure in one’s own existence as the center of attention. There are also a number of quasi-sexual phallic elements here, one being the microphone in front of the woman’s lips, the others being the snakes emerging from the woman herself. The microphone is where the singer projects herself—the center of her self-pleasuring narcissism, as well as the tool by which she holds the crowd’s attention.

Every man in the crowd might wish they could take the place of the microphone, and let the singer speak—or more—to them. The microphone might actually be the stand-in or an idol representing every man in the audience, almost like a voodoo doll by which she can manipulate from afar.

But this also comes at a cost, as everyone in the audience is ogling her. She loses her identity as well, and becomes simply an object of desire, just like the microphone is every man being turned into a tool to derive attention from. She is no longer who she was before she got dressed, put on her makeup and went on stage, she has become a sexual and artistic or musical object—her trade for siphoning the audience’s attention.

The snakes also hold additional meaning, as the snakes are what make her unapproachable. Though all eyes are on the singer, though every man in the audience wishes he could be the microphone she sings to, she is also writhed in fear and danger. Just as when we see someone we are attracted to, and freeze in fear, unable to think clearly or do anything but act like an idiot, we see the beautiful woman on stage singing to us, but we also see the fear of death around her like a venomous halo.

How often then do we seek to abuse, deface and destroy these beautiful things we are afraid of?

At times, these living idols, these people made living statues, are sources of inspiration. At other times, they are source of zealotry and obsession. At other times, they are the sources of our fear, contempt and resentment—the objects of our hate as much as of our love.

The second “Siren/Muse” piece possesses similar elements, though I won’t delve too deeply into these. The emotion of the singer is more lively, more energetic. Rather than snakes, the singer is surrounded with bees like loyal drones. With the first painting, the color scheme is roughly green, black and golden/yellow, which is somewhat suggestive of a dragon guarding gold. The second painting, by contrast, is primarily violet, blue and yellow, which contrasts cooler colors with the more energetic yellow body and red eyes of the bees. So, there is a calming effect, but there is still an awareness of danger. In the second painting, there is also the sexual implication of the microphone.

David’s art journey is still relatively early in its story. His works are still experimental in many ways, and his style and talent are still developing. However, the works he’s made so far are quite impressive. The emotions and ideas he’s able to capture in his paintings have drawn my own eye, and seem to be catching many others’ eyes. It will be interesting to see where he goes next with his “Siren/Muse” set, but it will also be interesting to see where he goes both with his work and with the themes he explores after this set.

There was much more we both could have talked about with each other regarding both his artwork and the themes surrounding his artwork (and, also, the long list of comic books we both love). Hopefully we can extend some of these conversations in the future.

In addition to his artwork on @davidcoffey_figz on Instagram, David also has many other pieces, primarily commission pieces, on his Instagram page @davidcoffey_artstudio. There are many beautiful paintings here as well, many of which follow a more impressionist or post-impressionist style. Please give his work a look and a like, and if you enjoy his creations, give his pages a follow.

The Art of Maury van Loon / Fall~

Written by Alexander Greco

June 29, 2020

The more I delved into the artwork of Maury van Loon (artist name, Fall~), the more I was reminded of two books: An Eternal Golden Braid, by Douglas Hofstadter, and House of Leaves, by Mark Danielewski; and I was reminded of two specific concepts from those books: consciousness as a feedback loop of infinite, mirrored reflections, and unconsciousness as a labyrinth, with our conscious egos/identities as the trapped Icarus.

Maury’s artwork really clicked for me when I saw in them these mirrors and this labyrinth.

And Then the Bubble Burst
Summer 2019
A5 paper. Pen and ink.

Making almost exclusively black and white ink art, though with a few notable pieces that include color, Maury mixes elements of surrealism and abstraction with influences from anime and similar art styles. Her artwork has wide range of content and subject, but the primary focus seems to be on identity: our identity in relation to others, and our identity in relation to ourselves. Maury does this with portrayals of faceless or featureless individuals, depictions of bodies disassociated from their faces, mirrored counterparts of either twin-like or dualistic individuals, and of people falling into vast or disintegrating spaces.

However, as Maury discussed more and more about her creative life, I discovered her interests and skills to be far broader than only visual art. In addition to surreal ink-work, Maury is active in music—including work on film scores—currently studies Japanese Language and Culture, and has worked off and on for a few years on a fantasy story. Though our interview focused on Maury’s artwork and the underlying themes of the artwork, our overlapping interests opened up a number of topics we only scratched the surface of.

“[…] I would currently describe my endeavors as an artist as ‘illustrator’, but I have a degree in music composition, and I’m currently studying Japanese which sometimes makes me feel a bit in Japanese I would say barabara, which means ‘in pieces’, as if I’m holding a handful of different identities and I am not just one person.”

Still, though Fall~ has a wide range of interests, art has been and remains a central part of their life.

Us
April 2020
A4 paper. Pen, ink, gel pen.

“I have been drawing since as long as I can remember. It has always been a form of expression, as I had (and to a certain degree still have) trouble grasping the meaning and reality of my being. I think I started with illustrating, since it’s a very low-key form of art. Basically I can draw whenever I want, wherever I want, because I only need a pen and paper.

“I do believe all different forms of art have their own ‘language’ of expression – music or film can take you on a whole different emotional journey – and I am more than only an illustrator, as I have done a degree in music composition with a specialization in film and I’m currently doing a degree in Japanese Language and Culture with a specialization in Japanese film and animation. But making art is the one that seems most consistent throughout my life.”

Here, I completely agree with the idea that every form of art has its own sort of language, but I would also go on from that and say that every artist has their own variation of that language, with Maury being no exception to this. So, what is the language she speaks with her art?

We Live Inside a Bubble
Summer 2019
A5 paper. Pen and ink.

Maury speaks with sharp contrasts of black and white, swarming lines like black static, and blurred clouds of grey. Maury’s syntax is the human form, floating or falling into teeming mouths of the abyss, or into the vast emptiness of space. Faces especially are key in this language, whether they are emotional, blank, expressionless, hollow, or replaced with disconnected, celestial objects.

Many of Maury’s pieces depict twisting, knotting throngs of arms reaching out to or out from the piece’s subject, or other similar serpentine forms. In many pieces, there is a symmetry to them, either a mirroring of images or some other geometric translation, and many pieces also possess a yin-yang type of duality, strongly influenced by the black and white contrasts. In others, there is an almost anti-symmetry, a chaos of lines or ink static.

Circles are a consistent motif, some being the subject’s head, some being in or through the subject’s head, others being in the subject’s chest or abdomen, and others surround an individual or individuals. These circles—often comprised of circles within circles (sometimes within even more circles); and often ringed with jagged lines or objects, or with twisting, looping, knotting forms—recall the forms of the labyrinth, particularly the Classical Cretan labyrinth and the Medieval Chartres pattern.

However, the best example of this Labyrinth is not in any of the pieces with primarily circular patterns, but in “Lost in Thought”, which really shows this maze-like nature of the mind.

Lost in Thought
June 2020
A4 paper. Pen.

“This piece is about how far you can become separated from your true self, by trying to fit in or please people around you. It’s a recent piece, but it reflects back to a time when I truly lost myself and now I regularly evaluate my choices and how far I stand from things that matter for me, instead of trying to become the ideal of society (or rather, how I think society would like me to be). The further you get, the harder it becomes, so the line between body and brain becomes this maze-like thing and at some point, you will get stuck and lose (like in the Nokia 3310 snake-game).”

So much of Maury’s artwork relates to identity: either finding or rediscovering oneself.

How is it that the most difficult thing to find on this planet is yourself?

How is it that so many of our own thoughts can be so much harder to understand than the endlessly complex machinations of the external world?

How is it that our own minds—the place we ought to feel most at home, the place we ought to know better than any other landscape, the place we ought to feel safest can be the most frightening and cruel of landscapes; can possess the deepest jungles of the uncanny and unfamiliar; and, in times of great uncertainty, in moments of overwhelming depravity and in the darkest architectures of our Dreams’ wild cinemas, can our own minds be venues of such tremendous violence, disorientation and disassociation?

Let Us Catch You
February 2020
A4 paper. Pen, ink, gel pen.

There is also a recurrent theme of falling, though the movement of many subjects is ambivalent (in many pieces, individuals could potentially be perceived either as falling or rising). Paired with this theme of falling/rising, there is often an impalement or explosion from the abdomen, and in a few, there is another body emerging from the abdomen, implying something like a birth or a rebirth (similar in some ways to the emergence from a cocoon or chrysalis). This also carries on the ambivalence of rising/falling, as one body seems limp and lifeless, while another living body reaches up above it.

On this theme, Maury explained:

“It contains this sense of loss and despair, living in a world that doesn’t feel quite right. A world where you don’t seem to belong. When you long for something, someone, anyone, and reach out, but you can never really grasp it. Is it just an illusion meant for someone else? Are you not worthy?

“It’s a sense of the fear of not being in control yet at the same time it’s the realization and acceptance you’re not in control and that it’s completely fine. Maybe it’s not falling, but letting go.”

A number of pieces possess the motif of a wave-like object/figure which seems to be just about to crash onto the subject of the piece like crashing water of an ocean. This might be the internal ocean of the unconsciousness crashing down on the conscious ego, but this might also be the minotaur stalking that unconsciousness, overpowering the conscious mind.

The piece “Shadowself” puts a face to this crashing wave or cave minotaur, and Maury gives it a name.

Shadowself
March 2020
A4 paper. Pen and ink.

“My official artist name is Fall~ and the right character in this piece is the visualization of Fall~. It represents the unexplainable core of feelings and thoughts that want to break out.”

Does this make the figure on the left Maury?

Is this Maury studying Fall~?

And Fall~ studying Maury?

And if Fall~, as depicted here, is the “Shadowself”, the unexplainable core of feelings and thoughts attempting to break out, does that mean the Minotaur stalking Maury’s mind is Maury’s own creativity? Is the Shadowself (Fall~) a rejection and repression of creativity—of ideas, talents and expressions not welcomed by society—and the projection of negative attributes onto oneself?

A loathing of something you love—of something that makes you unique—until it becomes a monster you must reconcile with?

But Maury, rather than flee as Icarus did, confronted this minotaur in her artwork, and it became Fall~.

Here, I think I’m actually reminded of Gandalf and the Balrog’s fall in the Mines of Moria, prompted not by the wizard fleeing, but by his confrontation. This fall—this confrontation—not partially parallels the Icarus myth (Moria being the Labyrinth, the Balrog being the minotaur), but also has the ambivalent duality of rising and falling. The two’s fall eventually led to a rise back up from the depths, where the battle finally concluded on top of a mountain peak. This of course led to transformation, metamorphosis and rebirth.

These complexities of identity, self-identity and self-transformation do not end here, however, and Maury had quite a lot more to say about both one’s self and one’s ego, as well as one’s self in relationship to others.

“I think one’s identity is relative and thus continuously changing. Without people around us and memories to mirror who we were, who we are, and who we do or do not want to become, there is no ego. There is a certain human connection to it, whether through a shared experience, a longing, or a realization that you have gone so far from your true self. By exploring these areas through art, I can identify, acknowledge and express things that are blocking me, but also things I couldn’t or wouldn’t say out loud.”

Here, I asked if this fluidity of identity was something inherent in being human, or if it was a contemporary issue of modernity, and also if there was any way of truly getting to know one’s self. Maury replied:

“It’s probably part of human nature, but I do think modernity has amplified our sense of self and our capability to manipulate our self-image. One reason is that we are now encouraged to become individuals and have our own opinion, and this seems to go hand in hand with a sense or a wish to be unique and different […] On the other hand, there’s social media and textual communication, which allows you to have a big control on how you represent yourself in your use of words, your looks, your identity. With which sub-culture do you associate yourself with?

“Maybe we have become a lot more self-centered, but maybe we also have become a lot more dependent on the approval people around us. We’re more fluid. And because upbringing and environment have such a huge influence on the development of oneself, I don’t think you could ever purely be your true inner self. Maybe if you live in a shack up a mountain in Farawayistan. I try to keep myself in check by really trying to listen to my belly-feeling (inner-universe 🙂 ) to feel if choices I’m making feel right for me and feel right for my moral-compass, and if my moral-compass is still moral enough, so I can keep going without self-doubt or regret.”

How do you go about defining yourself? And where do you plant your flag in saying, “This is ‘I’; this is what ‘I’ am and what ‘I’ believe”?

So many, if not all, of our own ideas and beliefs are ideas have been circulating throughout cultures and societies across history—evolving or adapting with each new age or era and growing into new ideas or spawning new fields of knowledge. So much of what we call our own mind are collections of ideas passed on to us through our parents, through school, through our friends, or through televisions, computers and phones. So much of our behavior is either instinctually or chemically influenced, or they are behaviors we’ve picked up from those around us, people we see on TV, characters in books, comics, movies or shows.

How much of “you” can actually be found amidst this carnival of “not you”? And how much of the “not you” has influenced and altered “you”?

Beyond this, “who we are” can be such a fleeting reality. We’re one person at one moment, then we’re angry or sad or scared the next moment, and suddenly we’re practically a completely different person. We may even change how we act depending on what we wear, who we talk to, where we talk to them. How different of a person are you if you’re having drinks at a bar compared to drinks at a friend’s house, or how different are you when you wear denim jeans and sneakers compared to shorts and flip flops, or when you’re at work compared to when you’re at home?

How different of a person might you be just based on the colors of the walls around you, the smell of the room you’re in, the expressions and body language of the people nearby?

Maury further explores the influences that others have on us and our sense of self, particularly the painful and at times frightening aspects of it, in the piece, “Kings”.

Kings
Summer 2019
A5 paper. Pen, ink, gel pen.

“’Kings’ kind of represents all the people around us that we feel are judging us (often with no good reason). It could be that guy in the train, or the woman in the store. They gang up, stare, judge. Them against us. There is a sense of power and arrogance in it, hence that they are self-proclaimed kings. I think it is also influenced by the growth of the importance of individualism, in which many are prone to believe they themselves are the most important, rather than the wellbeing of the community.

But obviously this judging only happens in my head, because 99% of the people you pass in the streets don’t even notice you, let alone care.”

An often overlooked or undervalued aspect of understanding someone’s creations is understanding where these ideas have grown from—the inspirations and influences of someone’s art, music, writing and so forth.

In addition to anime, Maury mentioned a number of other influences, including film and music.

“I have this peculiar habit of intensely loving only a few artists so much that their work is on repeat rather than exploring a quantitative amount of artists. My current repeat playlist (named “repeat”) consists of #2 by Nils Frahm and a handful of tracks from the Westworld soundtrack by Ramin Djawadi. I especially love films that are thought provoking, or take me on a journey and preferably have an amazing atmospheric original score. Watching the Lord of the Rings Trilogy kind of has become a yearly tradition, and I have become so familiar with the lines that I bought the Japanese dubbed version to use it for my language studies haha. Anime is also a huge influence, especially visual, since the Japanese seem to apply a lot of shots and poses that I find beautiful and my computer is full of screenshots that I use as reference.

“In the end I love the feeling these works give me, this feeling of inspiration, or they maybe even make me feel alive and that I’m allowed to live. That there’s more to life than only living. And that’s what I want to give back to the world. If the inspired-me can inspire someone else again, who then can inspire another and so forth… That would be enough.”

In discussing her favorite anime, Maury said:

“One of my favorite anime films is Ghost in the Shell, because it’s full of layers. As humans we are watching a drawn representation of human-like cyborgs, so there is this double sense of artificiality. The director Oshii Mamoru also uses a lot of visual symbolisms and mechanisms that confuse the spectator. This is even more noticeable in his other animation film Angel’s Egg in collaboration with illustrator Amano Yoshitaka, who also worked on the Final Fantasy series (which I love 🙂 also the soundtrack!). The themes in Angel’s Egg are about loneliness and purpose and faith, and it’s set in a very dark world where this girl wanders through a deserted town with an egg, until she meets a man of whom we never truly know if he is friend of foe. It’s on YouTube with subtitles if anyone’s interested.

The original Fullmetal Alchemist has been hugely influential, which I prefer over Brotherhood because I think the original is more dramatic. Although, both soundtracks are wonderful. The hands that are represent in my work definitely find their origin in this series. The parallel universe/time travel theory of Steins;Gate also had a very big impact on my own way of theorizing an approach to life choices. They have a timeline that breaks up in several timelines, and made it really visible. Nowadays, when I look back at choices I have made and how they lead me to where I am now, I imagine the choices being forked roads and every path is another Maury leading a different life.”

Welcome to My Mirrored World
Winter 2018
A3 paper. Pen, ink, gel pen.

The influence of both Ghost in the Shell and Fullmetal Alchemist can be seen in Maury’s works, “Welcome to My Mirrored World” and “Let Us Catch You”.

Maury mentioned that a shot from the 1995 Ghost in the Shell anime film inspired “Welcome to My Mirrored World”, and though I don’t know specifically which shot this was, the scene I immediately thought of was one where the protagonist is rising to the surface of a body of water, and her reflection creates a sort of mirrored, parallel reality before she breaks the surface of the water. With “Let Us Catch You” and several other pieces, we see the inspiration of the long, tendril-like arms related to Truth and various scenes where certain types of Alchemy are performed in Fullmetal Alchemist.

Though we didn’t discuss her art process in as much depth as we discussed other topics, Maury did explain how she comes up with many of her ideas, as well as part of her process of using recurring motifs in her art:

“There are two ways. Way 1: I live life. Life gives emotional friction. This emotional friction finds a visual representation that I doodle in my book of ideas. Way 2: I watch film. Film merges with random thoughts and memories of other things and I doodle it in my book of ideas. When I feel creative or a necessity to deal with my thoughts and emotions, I open my book of ideas, pick a pre-sketch and start drawing the composition. A lot of times inspiration and this feeling of necessity happen in the same moment.

“Often, I already know what kind of textures I want to use, or I decide to use several, for example I make one with a universe background, while the other will get a tree growing out of somewhere. For this reason, I create a template for most of my designs so I can easily make several versions with the help of a light box. I kind of see it as a puzzle. I have several reoccurring textures and motifs which I keep switching around in new compositions. Sometimes new ones are added or old ones become obsolete.”

Along with discussing her art, Maury and I talked a bit about her music, film projects she’s been involved with and a story of hers she’s been working with off and on for a few years.

“I would love to compose a score for a Japanese animation. That’s definitely in the top three of my bucket list.

“During my music degree at Plymouth University I worked on the feature film Jannertown with director Guy Brasher, which was such an amazing experience. His film is presented in several chapters that all have their own genre, but everything is connected. So musically this meant working with several themes that could return in various ways ranging from elevator music to futuristic synth music and orchestral superhero music.

“More recently I have worked with Pim Kromhout on a performance theater act inspired by the painting “Golconde” by René Magritte. The act consists of four very tall men with umbrella’s and there is music coming out of the umbrellas. Although the four men look the same and the music sounds as one whole, every man has his own tune that symbolizes his individuality. Unfortunately, it’s on hold because of Covid-19.

“[…]

Chaos
2016
A4 paper. Pen, ink, coloured pencils.

“My art and my music come from the same inner-location, which I at some point started to see as a fictional world. In my art there are returning characters which were initially just personifications of emotions, but at some point, influenced by the endless amounts of binge-watched/read-stories, I thought I could try to make my own story. And I got as far as plotting the whole first part of a trilogy, including strange dimensional travel laws, gods and prophecies, geographical maps. It was supposed to get a soundtrack too, with themes for different locations and characters. There was a lot of longing and tragedy.

“Unfortunately, I’m not a very good reader, so I failed to read back what I had written and then I lost track of all the complexities and now we’re three years later. But with all the free time Covid-19 has given me I’m actually taking a different approach in telling the story in a visual novel style. (trying to.) (also giving me a temporary meaning in this meaningless existence.)

“The story is set in an unchanging world. Characters that do administration of administration of administration. They look like barcodes and every minute of every day of every day is planned out for them. The world has long ago reached a form of perfection and so they are in a state of preservation, because if there would be any change, Being would change to Becoming and he would carry the world back to Chaos. (this works better in Dutch). While this barcode-species called ‘Others’ are supposed to be like robots, the main character has this inside-universe that makes her set out into the world and then things happen and she meets all kinds of people and discovers all sorts of secrets.”

The fortunate and the unfortunate aspect of Maury and I’s discussion is that we had a huge overlap in interests and so much to discuss. There was a lot Maury had to say that I could not fit into the article, as well a lot I wanted to say about Maury’s artwork and a number of topics related to her artwork that I could not fit in. Nonetheless, it has been a pleasure going through her artwork and hearing her thoughts on many things.

Whaleoplane
March 2020
A3 paper. Pen, ink, gel pen.

Maury’s artwork spans across philosophical and psychological themes and subjects, but her artwork stands on its own even without these underlying themes. The stark contrasts of black and white captures your attention, pulling your mind into a reeling labyrinth of shifting identities, crashing emotions, and the enveloping hands and faces of a comforting, conforming throng of people. With every day being another trek through a maze of faces, words, beliefs, motivations, personalities, relationships—and all the twisting, knotted, overlapping, intersecting crossroads between them—how long can we avoid the minotaur we’ve kept imprisoned inside our minds?

How long until the walls come down? And all the thoughts, emotions and beliefs we keep bottled inside come surging out?

Maury’s art is able to show both the tension between ourselves and others, and the tension between ourselves and our own minds: the mazes and the mirrors we navigate every day.

If you would like to see more of Maury’s work, you can find her on Instagram at www.instagram.com/fallsomnia or @fallsomnia and @fall.in.progress. Her primary website is www.fallsomnia.com and her music can be found on www.soundcloud.com/fallsomnia. Please give her art as well as her music a look/listen, and if you enjoy it, be sure to follow her.