Michael Turner, RIP

Aw, man ... another bites the dust.  This has been a sad year indeed.

I loved Witchblade.  And he was a phenomenal artist.  Never even knew the bloke was ill as he always came across as such a positive, nice guy.  Bloody hell, this just tears me up inside ...

RIP, mate.

From Aspen Comic's Vince Hernandez -

Hello all,

Unfortunately it's with great sadness that I must inform everyone that Michael Turner tragically passed away last night, June 27th at approximately 10:42 pm in Santa Monica, Ca. Turner had been dealing with recent health complications arisen in the past few weeks. More details concerning Turner's passing, and services, will be given shortly.

Anyone wishing to send their condolences to Michael Turner's family is encouraged to send to:

Aspen MLT, Inc.
C/O Michael Turner
5855 Green Valley Circle, Suite 111
Culver City, CA, 90230

Aspen also encourages anyone wishing to make a charitable donation to please send to Michael Turner's requested charities:

The American Cancer Society

Or

The Make-A-Wish Foundation


Turner was diagnosed with chondrosarcoma (a bone-based cancer that attacks the cartilage) in March of 2000, which ultimately cost him his right hip, a portion of his pelvis and several pounds of bone. Turner was very open about his cancer, making convention appearances throughout the entire time, and never giving in to the illness.

Mike got his major break in comics at Top Cow, where he made his name as the artist on Witchblade with a look that was reminiscent of studio founder Marc Silvestri, but was all his own. His work was highly in demand throughout his career, and he was a frequent cover artist for a diverse number of series over the years. Turner’s style influenced many artists in the new millennium, probably more than Turner himself ever realized.

Turner’s creator-owned Fathom debuted in 1998, and in 2002, he left Top Cow to found his own Aspen MLT, Inc. where he saw Fathom resurface, along with other projects such as Soulfire and Ekos. Turner had done a significant portion of work at DC early in the decade, providing covers for Identity Crisis and Flash, as well as for the “Godfall” arc in the Superman titles (which he co-wrote), and the interior art for “Supergirl from Krypton” in Superman/Batman, where he and writer Jeph Loeb re-introduced Supergirl into the modern DC Universe. More recently, he had been providing variant covers for Marvel titles, such as next month’s Uncanny X-Men #500. At his most recent convention appearances, both Turner, and later Aspen representatives spoke of how the artist was eager to complete his obligations to other companies, so he could finally get back to work on his own projects at Aspen.

Despite his illness, Turner was one of the most upbeat people at conventions and in the industry. He always radiated a sense of humility and gratitude to his fans, and always had time for a quick chat or a smile. In an industry that can and has beat the happiness out of many creators, Mike was resistant to it, and was ever happy to work and talk to his fans, and even talk to the press. From the first moment you met him, you were his friend, and he treated you like he'd known you all his life.

Since his initial diagnosis in 2000, Turner had several ups and downs, but, surely thanks in part to his positive attitude, he was seen as the guy who was going to beat it, and be drawing for years to come - he just had to kick this thing first. Mike was 37.

Slippered Lady

I am usually not particularly impressed by photos of flowers and the such, consigning them to the Hallmark greeting cards genre of photography.  But this ... this is just breathtaking.

I've never seen this particular strain of orchid but it is bloody gorgeous.  It is apparently a white lady's slipper orchid.  What an apt name.

And thanks to postpurchase over at Flickr who took the picture.  

Cradle of Life

I'm not a baby person and not inclined to the Anne Geddes type thing but something about this photo, New Arrival, really struck me as fab.

Saw this at Flickr from a photographer by the name of katbphotos and she was saying she wanted to use tulle instead the next time.  Lord, no!  

The cheesecloth gives an organic texture and realness to the piece that is very powerful.  I cannot imagine what the hell she must have been thinking to even contemplate tulle.  Next, she might want to sprinkle star dust on the baby ... Shudder!

Among the comments was a reference to yet another famous Flickr photographer, shutterblog, who apparently had had the same idea before.  The colour is gorgeous but I still prefer the one by ktabphotos.  Somehow, the stark contrast of the black velvet and the pristine yet weathered paleness of the cheesecloth works so well in highlighting the baby.  Shutterblog's one is just a little too Anne Geddes cutesy for me.

Even if katbphotos had unwittingly produced a powerful statement (I will never get over the tulle leaning), I think New Arrival portrays the beauty of birth and life perfectly.  It's not all pretty.  There's grit and strength behind the paucity and seeming fragility of new life.

Running Around Like a Headless Chicken

'Nuff said.

How Do You Like Them Puppies?

Am a little visual made this week.  I saw these puppies from Flickr and Linkinn and thought I would share.

Body of Work

Body painting is a much misunderstood art, I think.  It takes quite a skillful artist, creative mind and eye and physical stamina (on both sides) to create a sublime piece of body painting.  

However, the often lurid and tacky titillation and shock factor of many so-called body paintings has relegated this art to either a novelty circus act or a stag night cake topping.

The use of body paint to create sexual connotations and arouse puerile attention is a pity.  Body painting's beauty lies in what you can create with the natural lines of the body.  What is the point of streaking colour onto the body to create illusionary outfits so that people will be tempted to play spot the nipple or beaver?

The truly gorgeous pieces of body paintings are those that create landscapes within and without the model.  

But words are cheap.  Well, not really ... but I think a body painting paints a thousand words.

This superb body of work comes from a user called gahsoon on Linkinn.  Very, very impressive.  Quite stunning.

Tripping Over The Girl

In one of the White on White series, I mentioned a photographer named Girltripped.  I found this young woman's work rather noteworthy and after looking through her rather extensive potrfolio over at Deviantart, decided to feature some of them here.

Let's start with Bedtime Sonnets.  It looks a bit commercial to me but still has that slight edge to make it more interesting.  It evokes a backstory of a rather naughty Snow White taunting the evil stepmom and the prince all at the same go.  The use of muted colours and soft lighting on everything except the face is quite well done and the slightly harsh, almost skanky expression on the model's face is a nice juxtaposition of the soft, romantic veneer of her surroundings.

Definitely not a fairy tale you would be reading to your 5-year-old in bed.

The next frame drew me the moment it splashed across 

my screen.   By now, you might probably have cottoned on to Girltripped ethereal use of light and subject matter.  

Quite lovely and wonderfully evocative.  One could surmise that she is a water nymph quietly dallying the day away or a maiden seeking to cleanse her thoughts by dancing gently in the cool, lapping waters.

You get a sense that she is moving out of your frame, leaving only the gossamer ripples of her memory.

Yes, there is much to wax lyrical over this stunning photo.

There is a continuity to Bedtime Sonnets here but if I remember correctly, it did not seem to happen in the same time frame as they were shot or at least uploaded on her site.

The reason why I say this is because you can understate that the artist may be a one-theme wonder.  But not so.

Her other works show a more interesting range and approach but I do notice the constant of using feminine subjects and themes. 

Candle could have been used in the White on White series but I decided that it would be paid better justice on its own merit.

Again, there is a softness and delicacy that was missing in Bedtime Sonnets.  Is the subject shocked by the sudden flash of the camera?  Was she caught in a moment of private contemplation and slightly wary and unhappy at the intrusion?  The eyes and lips speak to you and seem to almost rebuke you for the startling of such incandescent beauty.

Likewise Comma gives off that same sensation of catching a comtemplative beauty in mid-thought.  

However, whereas Candle featured a more mature subject, this one seems to hold hostage a young, budding flower in mid-crouch.  

You get the impression that the ingenue is in the midst of some forbidden act or thought and is caught off-guard.  There is almost an I'm-busted air about her that seems to calculate of the photographer is an ally or a naysayer.  

The use of colour is masterful.  She almost blends into the wallpaper yet glows brilliantly against it with her expression and luminosity.

And now we see the diversity of Girltripped's skills.  In Endless Summer, the approach is much more vibrant and in-your-face.  

The colours are much more vibrant.  Almost stark in comparison to her other works above.  The subject is also more canny and harder looking ... well, except for Bedtime Sonnet.

While her expression may be soft and her body almost awkwardly youthful in position, her dark-rimmed eyes and sharp focus directly into the camera gives the impression that this is a hard young lady indeed.  Caught in a rare moment of gentle repose.  For her, anyway.

Typically, I find such poses ungainly and slightly vulgar.  I keep thinking of Britney Spears.  But the use of the bright, summery colours and the position of her head lightens this so it is not a crotch-shot but a capture of a moment in time.

Hatred of the Minutes (I hope that is right) reminds me of one of Linda Bergkvist works.  The latter has an obvious obsession with masks and this one somehow reminded me of one she did of Beth.

Again, I love the lighting and the colours.  But this one is almost sharop-focused compared to her earlier featured works in this post.

Also, she exhibits a tendency for the darker side here with the suggestion of hawk-like, almost predatory stillness.  I rather like it.

There are lot more beautiful works from this talented photographer.  I shall let them speak for themselves now.

White on White IV - Assorted

Continuing with the whitewashed series that Coilhouse selected are the last three artists of Gaelle Morand,  illustrator/photographer Stuntkid and student photographer Matthew Burgess.

I like the first but the other two somehow rather left me cold.

The comments on the Coilhouse post also offered a few gems.  Lucylle contributed with a photograph from Eythor, and Jessica introduced Patrizio Di Renzo with Aoki Devon's posterior (yes, it's her).

Instead what really drew me were kReEsTaL's recommendations of The Removal by visceral, Light As A Feather by Girltripped (very impressive photographer whom I shall talk about later), and an unidentified photo by another commentor by the name of lo.

I decided to look through some of my own archives to see if there were any that I could add to the white on white theme.  I unearthed some Lori Earleys and Cassatis.

White on White III - Dou, Cheesy

I can tell that Coilhouse is in love with Oleg Dou and why not?

Although not strictly photography, his work treadles the fine edge of photorealism so beautifully that you are hard press to define what is real and what is surreal.  I would call his work more photomanip if you really need to put a label on it.

Just when I am applauding Coilhouse for their good taste, they ruin the moment with choosing this particularly cheesy piece from David Charles.  Even they knew it was cheesy ...

It hurts me to even put this picture beneath the surreal purity of Dou's works.

White on White II - Kimiko Yoshida & GMK

Coilhouse's second choice for its white on white ensemble of off-colour artists includes Kimiko Yoshida.  Their selected image was her Divine Bride Praying, which I actually find a little insipid.

Yoshida is very Japanese in her approach and the stark white or sharp, raw, unrelieved juxtapositions of single, solid colour can seem a little awkward and contrived.  

There are some pieces which yield some depth and complexity rather than overt messaging.  I have selected a couple I was not indifferent to.

I feel awfully conflicted that I am not terribly moved by her work which seem too orchestrated and lacking real flow and back story.  

But I suppose that is the beauty of art.  Some speak to you and others maintain a cold silence even as they appear to whisper into the ears of others.

I was much more impressed by Coilhouse' 3rd choice - GMK's rhinestone encrusted vision of ethereal paleness and the soft loveliness of his wife, Dominique .  So impressed that I am going to include some of Gregory Michael King's non white on white pieces just to illustrate the maturity, depth and lushness of his work.

Such richness, masterful control of colour and lighting, and such loving connection with his subjects.  It is ironic that while Yoshida does mostly self-portraits, GMK seems to have a stronger connection with his models.  

His photographs look like oil paintings.  His paintings look like surreal photos.  He manages to cross the divide between photorealism and painterly art with ease and aplomb.