'ALAOMAI' RISOGRAPH PRINTS


























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Measurements  /  16.5 x 11 5/8
Paper  /   Cyclus Offset 250g
100% recycled paper
Edition of 30 each
Signed & Numbered

'ORIGIN OF RELIGION'

This drawing is titled ‘Origin of Religion’, it is based on the research I did on the link psychedelics had with religion. I personally have always found this topic interesting and always reminds me of the analogy of pulling wool at a sweater. As you pull the thread it tugs on others segments of the sweater, some threads are linked with think sturdy thread and some with weak lonesome threads, some so thin you can barely see them... those threads are the ones that I find compelling and satisfying to pull. This specific topic is a thread of which I’ve always wanted to pull, and this project allowed me to do that. Based on my research it is clear that the Christian faith in particular was responsible for the suppression of psychedelic substances, they did so by associating shamanism to witchcraft, punishing anyone who sought religious experiences through other methods such as psychedelics. This is why I have included on the right robe banner a collection of hands pointing to the mushroom as if to blame it, more importantly the power of intimidation of their being lots of hands, being similar to the effect of the majority in the Christian faith at that time in history. Due to the Christian faiths approach to psychedelics it effectively stopped its use for hundreds of years, preventing them from being explored, more importantly it allowed corrupt hierarchal frame works to grow stronger, profiting greatly from filling the religious void that psychedelic substances could potentially offer. I feel as if allot of Christians are unaware of their own religious history, which personally baffles me, it confuses me how people subscribe their life to a belief, and just do exactly that...... believe. Believe without question, without doubt or disconcert, believe on the basis of belief of others, base it on the very belief that there is no disbelief of the concept of it being wrong. And yet when you are met with something that contradicts your belief, or puts your belief into question it is simply dismissed. I was trying to think of an image or a scene to show something about the Christian faith that people of the Christian faith wouldn’t know, apart from the very apparent mushroom link. As if I were playing a game of Jenga with a Christian, I wanted to just flick one of their jenga pieces at the very bottom to show the weakness of their jenga tower, just so they know its not a solid structure and its very core. The pretzel worked perfectly for this point, the pretzel was created by German monks in 610AD, as presents to give to the children that said their prayers (the shape resembling that of a children’s arms when praying), now I very much doubt many people know that, me only knowing this through a graphic designer who has done extensive research on that subject, so I felt it to be a good additional image to convey at the center. To make the point that people don’t even know that the Christian faith played a role in the creation of the pretzel, what else have they played a role in throughout history? 






Another aspect of the Christian faith that is so compelling is its link with the actual creation of the religion itself. In the research shown previously in this book, it can be seen that there is allot of evidence to show that allot of the stories, visions and events were inspired through psychedelic experiences, such as the ‘Manna’ being sent down from heaven. It could be argued that the Christian faith was inspired through the use of psychoactive substances, and by the success and power that came through that faith gave them cause to prevent others from obtaining a similar inspiration and the power that comes with it. I have tried to show this in the drawing by having a gem covered cross over floorboard, where of which the mushrooms are being hidden and locked away. In the right hand I have put the key poking out on the bottom hand to represent how the key of understanding this subject isn’t even visible unless you really look for it. In the drawing the cross is stemming from a giant stem of a mushroom, as if to show they have molded the effect of psychedelics into their own form and symbol, of which they have profited greatly from. The hills within the coat were inspired through a visit to Austria and the vast beautiful flat mountains, Austria has a very large Catholic population, there was crosses and shrines built all around the mountains, Now I’m not religious myself but some of the shrines and surroundings in Austria felt heavenly, complete silence, organic surroundings, living, peaceful. I felt that those surroundings would work as a powerful metaphor for what the Christian faith was offering people through their religion. The drawing itself is based on the most used images of ‘Jesus Christ’; I wanted to embody the shape that people associate with a famous religious profit. I also wanted to show in a subtle way how the Christian faith have killed in order for their cause to continue, on the left banner there is a row of skulls to portray this aspect, The idea of this drawing was to show the cracks within the Christian faith’s origin whilst also providing hints as to what truly lay beneath those cracks. This subject is so vastly dense, I felt that the drawing shouldn’t bombard the viewer with two many references, by keeping it to only a few it will hopefully, if successful, inspire people to research into the subject themselves further.


'DOCKLANDS DICHOTOMY'

I started this drawing around 3 years ago when i started working in a framing shop called 'Frontispiece' near where i lived on the outskirts of canary wharf. This by far has been the most detailed drawing iv ever done, the reason it took so long was the sheer amount of lines involved in detailed the windows of all the buildings, this made it to say the very least.. very repetitive. So i kept having to hide it away and come back to it every now and then because of how dizzy it made me - however ridiculous that sounds. Without this sounding like an episode from Opra, i have built up a rather big attachment to this drawing, its been the thing that has been worked on in so many segments throughout my life. Since starting this I'v lived in three different places in London, Nearly completed an entire degree at university, went through a couple rough breakups, experienced the highest of highs and the lowest of lows and throughout all of it i still had this drawing to come back to as if all the trials and tribulations of the external world was irrelevant to the progress i could see developing in this drawing as i worked on it over the years. It may sound silly but i think thats one of the most appealing factors of working in a creative medium, being able to create something and know that whatever happens in your life, no one can really take that away from you, even when your dead. The drawing itself is a representation of the finincial inequality in the Isle of Dogs area of London, on the left you have the buildings that make up canary wharf, on the right you have some of the most iconic council estates surrounding Canary Wharf. Within the drawing are many dots and circles and they represent money, have a look for the dots and il leave it up to you to see which side has more..... SPOILER ALERT.... its Canary Wharf, the financial ant hill of London.




'THEY'RE FUCKING THE PLANET'



This drawing is titled; ‘They’re fucking the Planet’, it is largely based on the research as to the effect of psychedelics on people now in current day. Displaying how people view the world after a psychedelic experience and the view they have on the people running the planet. The common opinion amongst people I interviewed about their psychedelic experiences is that it creates a strong empathy for the world around you, and living things, a feeling of being connected to the very exterior that creates your world. In some cases people even say they felt compelled to protect nature, which I feel very strongly about as well. The most interesting thing I found in my interview research is how psychedelics enable people to see the world in a more transparent way, see it for what it truly is. A more significant example of the enablement of a more transparent view can be seen in the causes that people who take psychedelics fight for. Usually being the protection and preservation of the planet of which we inhabit. One of the most prolific examples of a cooperation that profits from the complete opposite from a protective ethos is ‘BP’ (Petroleum industry company). 







Now I know its a bit of an easy target but their flower like logo made it virtually impossible for me not to want to fuck with it somehow in a drawing, the complete contradictory nature of their logo is something that makes me giggle every time. I mean its a company that profits beyond belief at the destruction of the planet, causing landslides, earthquakes, flooding, toxic poisoning of the ocean, destruction of nature that’s been around before the dawn of mankind and yet their symbol resembles that of a lovely green and yellow happy flower. I wanted to mimic this transparent view that psychedelics enabled in other people and show the true nature of what is going on through the ‘BP’ logo, I wanted to make the patterns on both of the logo’s confusing and disorientating, almost to make the viewer dizzy to show how it feels when you discover the true nature of that company. In the research I did on cultures that still use traditional euahwascha rituals with shamanic surroundings the general feeling they have towards the West is they are destroying mother earth, I wanted to translate that to the opinion that people who take psychedelics in my age demographic. The general word being used about the state of the planet is.... fucked. Its not as articulate as you’d perhaps get from a more ‘academically’ correct demographic, but it does however perfectly hit the nail on the head of what is actually going on right now.

As a metaphor I felt it to be a perfect example of what psychedelics are enabling people to see today, and also the position that psychedelics have in our society today. In the drawing the men controlling the ‘BP’ logo pipelines are having sex with women who are make up the planet Earth, almost as if they’d sculpted the parts they want, deeming the mouth unneeded in each one. The dominant position of each man insinuates it isn’t neccesserrily consensual which to be honest I didn’t want to make any more obvious or crude because its a subject of great sensitivity to some people and went about that aspect very carefully. I did however try and show that the effect of what said corporations are doing is profiting of the very tears of Mother Nature, which is shown by the ‘BP’ logo being connected to pipelines that are drilled into the planet, being connected to a scale, which gathers and collects the tears from Mother Earth. Through the pipelines it exits the back of the planet and creates a scale, which on one side has stacks of coins and the other, a collection of trees. The tree’s are withered and old to show the state we’re in now, as if its in the middle of a time lapse and the coins represent the profit had so far, the trees are at a point of primary structure, its basic core, there’s nothing left of use on it and the coins have filled the other scale, what now?

This is feel relates to the current fuel situation on this planet, companies such as ‘BP’ are struggling to find oil left on this planet, turning to other means such as fracking which destroys the planet irreparably, I have made the angles of these pipelines similar to that of a fracking pipeline used by ‘BP’. Notice that the pipelines lead up the to top of the structure which is connected to a crown, this is to show the power that comes with destroying the planet and more so people want to get there, this is why iv made all the male characters look towards the crown to show their true intentions. I was struggling for a while on how I was going to draw the male characters holding the BP logo, at first I was thinking of world leaders, politicians, CEO’s of the damaging corporations such as ‘BP’, the sad part there was too many to choose from, I realized that the drawing shouldn’t be relative the times of now, it should be something that can be relative to the past, present and future. So I looked at images of ancient depictions of Demons in the ancient Aztec culture and tried to carry that same shape and form to the faces. The other debate i had for ages was how they should be clothed, gold suits, fur robes, giant pimp chain with a huge dollar sign dangling down, everything seemed to link to one demographic or another and to be frank if your drawing a bunch of people having sex with the planet, you kinda need to think carefully who those people are. You can dehumanise someone alot just by removing their skin, it almost makes them appear like a primitive being not yet evolved. I felt by making the male characters skinless it would show how DE human their intentions are towards the planet and how they’re profiting greatly from fucking the planet of which we live.


'MICROSPHERES'

Whilst i was doing my usual rummaging in the local jumble shop i came across a nice little microscope for the fair price of £20 which has come in very handy for a university project im working on with my flatmate Emile Toledo, seeing as we are looking into human reproduction and cell structure, if youd like to have a looksies you can check it out @ www.insidevitro.com. So after i spent rather along time finding anything round my house and garden to put underneath it and being flabbergasted at everything i was seeing. It started to remind me of the short film: 'The Powers of Ten,' which points out the resemblance between the cells furthest inside our body and the stars and galaxies furthest out in space. It started to make me think about how when you look at things on a microscopic level it feels as if your peering into a tiny little world of which has its own perception on just how big the world is to them. 

So i began looking at all the tiny little worlds within an object and in these series of photos i will attempt to capture the vast spectrum of different worlds within an individual object. Below is the first object i have explored, try and guess what it is, but if your brains about to explode don't worry the answer is below ; )











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- ALL OF THESE WORLDS ARE MICROSCOPIC VIEWS OF A WATERCOLOUR SET -

'THE PINEAL PARADISE'

This is a drawing iv been working on for my university project on Hallucinogens. Its called 'The Pineal Paradise' because the idea for this was based around the research i have been doing on the Pineal gland which is located inside our brain. The Pineal gland is a biological component of which has allot of interest surrounding it due to the the baffling nature of its purpose, in many cultures it is seen as our third eye because of the location it has inside our brain, being situated directly behind and in-between our two eyes. The Egyptians for example depicted the Pineal gland in allot of their artwork and pyramid walls, and they seemed to hold a great deal of importance for the gland. Which becomes even more fascinating when there is allot of evidence to support the theory that the Pineal gland produces DMT, DMT being one of the strongest hallucinogens on the planet. Even now people report that whilst experiencing a DMT trip they encounter entities or God like creatures with different heads on them, which is incredibly similar to what was documented by the Egyptians. 

This drawing is my depiction of the 'tree of thought' and how it grew within our mind and our species before hitting the 'Pineal' glad and expanding out to give us a better perspective of the world around us. I was inspired by Graham Hancock and his research on what scientists describe as being; "The greatest riddle in human history" - How we went from such primitive beings to civilisations that had art, religion, language, a vast understanding of astronomy and ingenuity. This drawing will be in my upcoming book later this year and will be  used in the next poster design for my solo show (where the book will be launched). I want to screen print this using gold paint on 250 GSM dark grey cotton paper.







'OCULAR HYPERTENSION' EXHIBITION

This is a flyer for my upcoming solo show which will be around March/April 2014. This is the first flyer which i have made in order to get the name of the exhibition out there to float about peoples heads. I plan on making a series of different flyers and posters using the drawings I'm currently working on for my new book on hallucinogens, which will be launched at the exhibition. As i create each different flyer / poster throughout the coming months i will drip feed the information regarding the event so that people gradually absorb the details. The exhibition will contain all of the drawings I've created over the last 4 years since moving to London, alongside the launch of my new book i will also be launching my new website, t-shirts, comics and other goodies. In regards to the poster below I plan on getting these printed via Risograph machine and do a series of silk screen posters. Id like to also say a big thank you to Jack Gooch for the help with the design and type with this poster, much appreciated buddy.






'PARANOID MANDROID' TEE'S

These are some photos of the recent t-shirts i designed for 'Paranoid Mandroid,' They have helped a hell of allot with the funding to get these two designs printed which resulted in a dam sweet t-shirt launch party. 'Paranoid Mandroid' have also financially supported the printing of 100 Obama tee's which will be available around March/April 2014 at my solo exhibition i am currently working on. So keep your eyes peeled folks.















'ALAOMAI' PROJECT

This is a drawing I've been working on the last week which will be in a new book I'm making for my university personal project. I haven't come up with a name of the book yet but iv created another blog called 'ALAOMAI' to document my research throughout this project. Because i'm doing my dissertation on; 'The effects of hallucinogens on creativity and the human mind' i felt that i was learning allot of information i wanted to try and translate through illustrations to make it easier and more enjoyable to read. Not in the sense that i think people are stupid and need to be spoon fed visual diagrams to grasp information. Because I know I'm a lazy sausage most the time when it comes to picking up books to learn things, I know theres probably allot of people like me who would be more inclined to pick up a book with a more easily digestible visual content. If you'd like to learn more about the idea of this book I've included more details below with the link to the site.





(GREEK) "TO WANDER, STRAY, OR ROAM ABOUT"

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The proposal for my project is to create a guide in the taking of hallucinogens. It is not a book promoting the use of such drugs and regardless of whether or not this book is created people will continue to participate in taking hallucinogens as they have for the thousands of years prior to today. This book will be a visual interpretation of the information learned throughout my dissertation research. Books such as ‘THE PSYCHEDELIC EXPERIENCE’ and ‘THE DOORS TO PERCEPTION’ have inspired me through their accounts of psychedelic experiences and advice about how to take them responsibly and prepare mentally. I want to use the information learned in these books and reinterpret them through illustrative diagrams, and a more basic condensed literal explanation on the history and scientific discoveries that have revolved around hallucinogens.

The theories I want to try and explore is that of the historical significance hallucinogens have played and the facts surrounding the subject. Famous writers such as ‘Aldous Huxley’, ‘Timothy Leary’ and ‘Graham Hancock’ have inspired me through their research on Psychedelics and the role they have played in the development of human evolution. Even though many forms of psychotropic substances are prohibited in this country and many other countries around the world, there is no real scientific evidence or factual information to support these laws. Which forces the question . .  . . why? 


If you want to follow the research and development of this project, have a ganders at: www.alaomai.co.uk




'SLOAF SKATE CLUB' SCREEN PRINTS




Started working on some screen print designs for 'Sloaf Skate Club', Which is a skate brand one of my friends Jack Gooch is working on to supply our buddies with new tee's and hoodies. We made around 30 prints on some lovely cottony paper and did some tee's and hoodies. Was really sweet being able to work on this collaboratively with these chaps, really wish i could do it more because it to me is one of the funnest way to create work. With me working on the sloth clinging the basket, Emile toledo on the balloon design and Jack Gooch on the type. 





- 'SLOAF SKATE CLUB' SCREEN PRINT DESIGN  - 
     



      




'PLAYDOH DINOSAURS'



Iv been working in this comic since January, iv always wanted to try and do a drawing on a bigger scale and potentially make some posters to wack up on your wall. However the prospect of tackling an A2 poster sized piece of paper with a 0.05mm pen has always seemed like a mammoth task. Luckily we were set a comic project at uni so was able to work on it since the beginning of this year, kinda ended up getting a little bit too into it and couldn't really get into drawing anything else till it was finished. Without sounding like a giant cheese ball the inspiration behind the storyline was motivated by my own experience with an ex girlfriend and in a weird twisted way allowed me to let go of all the bullshit that went on. Someone said to me its like turning waste into wine, i think that phrase is what im trying to say. Even though i got a D for it at uni im still pretty stoked on finally finishing it and hopefully going to make some prints on it soon so you can put some playdoh dinosaurs up on your wall :) 









'THE SCIENTIFIC TANGENT' ETCHING




EXHIBITED @ 'CREED' ILLUSTRATION EXHIBITION
EDITION OF 20 PRINTED. SOLD OUT


This is an etching i did recently, iv never etched before but well enjoyed the process. kinda makes you feel like a mad scientist scratching into a metal plate and then burning into it with acid. Rolling it through the crazy medieval machine to press the plate into the paper was for me the best bit, couldnt help but think the roller would make good pancakes. 

COMIC SKETCHBOOK









Iv not really been very good at keeping sketchbook, usually i like working on loose bits of paper because they can roam about free and chill,  my hands just dont seem to fit nice an comfily on the ridged edge of a book, important information i know. This sketchbook work is my prep for a comic im wanting to start called 'Playdoh Dinosaurs'. 

'FLUTTER BALANCE'





I recently saw a collection of steel plate engravings of a selection of butterflies, they were printed around 1850 and after doing a bit of maths in my brain calculator it dawned on me how old they actually were. I had a lot more appreciation over how effective imagery is for people to wrap their head around things, even more so than words. You can see how even today people are trying to dissect and interpret markings people have made in the past,  the oldest recorded cave art dates back over 40,800 years ago in El Castillo and people are still scratching their heads over what they mean. obviously now the spectrum of artistic expression has evolved further than hand splats on a wall but it still begs the question that in the future, will people look at the artwork from our time and be able to understand it? Just like how the markings on the wall have withered away as time ticks by, so will all the work of which builds up our current artistic culture. And when you consider the ratio to art thats in the virtual world, with the millions of virtual photographs we all have on our electrically dependant operating machines to real tangible art that you can hold in your hands which is kinda like a fat kid on a see-saw, its rather weighed to one end. I wanted to try and draw something in a language that people in this moment in time will struggle to dissect and understand and if in the future giant wormlike alien robots happen to come across our planet and decide to annihilate earth, and just so happen to come across this charred drawing after scouring earths remains for bits and bobs, i hope they give their worm heads a bloody good scratch! 

Will be making screen prints of this soon, the triangle in the centre will be printed in a gypsy chain like gold, Will put the shop link up when they're printed and you can use it to cover than bogey stain on your wall.

'THE FORGOTTEN CREATURE'







This is for a drawing i did which stemmed from a university project based on a trip to the 'Natural History Museum' in Oxford. Recently iv become much more interested in the balance of life, and after a friend showed me the  painting; 'The School of Anthens' by Rapheal i have been rather side tracked. Usually i try not to get fixated on other artist's work for too long, mainly due to the subconscious absorption your brain ends up doing. I feel like when creating anything visual you will inevitably end up replicating something you've already seen, the only difference is the machine of which its processed through - making me feel similar to a computer printer. However 'The School of Anthens' by Rapheal is something i feel i can have a long ganders at, because even if i committed every second of my life to drawing, I'd still not be able to create something as incredible as that, and you can take that to the BANK! 


'APOCALYPSE'







This is a drawing i did for 'Paperweight' zine that people on my university course are putting together, you can pick yourself up a copy at 'Handmade & Bound 2012'. The theme of this months zine was the 'Apocalypse'. I spent a lot of time and hours researching about the apocalypse and well..... i think after looking at all the facts and documented events iv figured out that a giant skull astroid being driving into the planet by lucifer himself is the  earths most credible threat. , which to be honest.... frankly gets me right peeved off that the snibblers in parliament aren't focusing more of their attention on defending the earth from this beast. Get prepared folks, stock up on packs of seeds, weapons and lipstick, they will come in handy when the apocalypse rolls about. 


GRASSGRASS - 'KNOWBODY KNOWS ITS YOURS'





PHOTO BY DALIA KRANAUSKAITE / MODELLING BY ELAINE TAM


Usually considering the demographic of people that buzz around Canary Wharf, I'm used to dealing with mmm how shall i put it.... wannabe Alan Sugar business hounds on cocaine....after drinking 8 red bulls... all sharing a bag of sugar...mixed with coke, the bland diluted kind. However this one evening when at work, at a lovely small framing shop in the hive of the money bee's nest i had the refreshing pleasure of meeting Elaine Tam (above), Co-Founder of 'GRASSGRASS' and got chit chatting about what she doing with her art directing brand and bla bla blob blabber i was lucky enough to be able to get involved with their vision. As time has clicked by the past months iv been able to enjoy Elaine and her friends company and the intraspective creative bubble they allow me to bridge into.
'GRASSGRASS' first asked me to do a flyer design, the brief for it being the kind that makes you immediately excited: "you've got creative freedom with it." mmmm yummy words for an illustration. Elaine was kind enough to do a review on my work (click link below) and beautifully model one of the t-shirts iv done with 'PARANOID MANDROID'. Very excited to be working with them and will look forward to many more times eating salty jamaican banana bread and smoking show and tell evenings. 





120MM LONDON PHOTOS


I took a rather long hiatus from drawing over the summer, mainly due to the overload of work into my brain machine during the end of the university term. Bought a new Rolliecord B5 camera from 1952 and fell into a facisnation bubble of using medium format photography, finding more enjoyment in looking into a square viewfinder than getting dizzy from staring to hard at the paper in ponder mode. If you want to look at the whole set have a ganders here: 




CANARY WHARF - LONDON - UK

WESTFERRY - LONDON - UK

2 X EXPOSURE - OLD KENT ROAD + CANARY WHARF - UK

BARBICAN - LONDON - UK