Category: Studio Cat

Tiny Treasures XV

11/30/2020

detail, Gwenhwyfar
9.5" x 4.75" figurative sculpture
stone clay, mixed-media. 2020

Long before she appeared as a Queen, in the Arthurian legends, Gwenhwyfar, Guinevere, Ginevra, or even Jennifer was revered by the Celts, as a Goddess. Her roles as assorted as the variations on her name, she has served as guardian of the passage between worlds, and guide of souls who travel from this world to the next. She has been Goddess of fertility and of the earth, with strong parallels to Persephone. She has been a Goddess of sovereignty and authority; even today, there are those who summon Her assistance, for answers and direction, especially in times of a need for leadership. I could not help but be struck by the significance of that, as I was creating this work in 2020.

Gwenhwyfar is also referred to as the ‘Virginal’ Goddess, though today we often mistake that meaning; ‘virginal’ in this case translates as “complete, in and of herself.” As a queen, Gwenhwyfar is the eternal feminine principle of strength and peace in the universe: She is powerful and influential without requiring a pairing or a partner --in other words, she doesn’t need a man. But he needs her: In the older stories, it was Gwenwhyfar who gave the legendary King of Camelot his right to rule, simply because they were together. Ancient Celtic tradition says that for a man to be King, he must be paired with the Goddess: Her role was to mix the King’s energy with the earth’s energy, in harmony. Arthur pursued her, then, not for love, but because without her he could not be King. In fact, in the Welsh Mabinogion called Culhwch and Olwen (circa 1100) she is listed among the weapons of another world, which Arthur received as a gift, suggesting her divine origin and reinforcing her power and sovereignty.

That’s a far cry from some of the more modern takes on Guinevere, depicted primarily in many of today’s stories as a secondary character --as the wife of a king-- or reduced to a plot device --as the love interest of a knight. Gwenhwyfar isn’t here to play scenery, or serve as anyone’s plot device, and she’s definitely not here to smile for you.

If you would like to add this work to your collection, please visit my page with
Cactus Gallery, online!

Two tiny works accompany this sculpture in this year's Tiny Treasures XV with Cactus Gallery; Culhwch (green) and Olwen (lavender) are each 3"x3" and can be found on my Cactus Gallery page

Gwenhwyfar's staff 9” Requires two CR2032 batteries, please keep batteries away from pets and children, as they could be dangerous if swallowed. This is my first attempt at wiring battery operated lighting; Gwenhwyfar’s staff is idiosyncratic, lighting up when it pleases her, or not. Battery pack is hidden beneath the skirt and attaches to the base with a rare earth magnet.

Studio Cat photobombs the portfolio shoot.

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Helplessly Hoping

1/6/2020

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My first finished work of 2020! Commissioned by a collector of my chickens, I have titled this work 'Helplessly Hoping' for the song by Crosby, Stills, and Nash.

Sometimes I experience something concrete, and I want to express how that makes me feel through lyrics or poetry. Other times, like this time; I experience something lyrical, and I want to express it in concrete terms, like sculpture or paint:

"Helplessly hoping, her harlequin hovers nearby, awaiting a word
Gasping at glimpses of gentle true spirit, he runs, wishing he could fly
Only to trip, at the sound of goodby."

Helplessly Hoping
2.75"H x 4"L x 2.75"W mixed-media assemblage
2020, commissioned

"Love isn't lying, it's loose, in a lady who lingers, saying she is lost
And choking, on hello

They are one person
They are two alone
They are three, together
They are for each other."

A few photos of the work in-progress: I've had to peer over the tops of my glasses more and more often lately, to do fine details work. This time, for the first time, I just took them off while I worked. I've been wearing glasses full-time since the second grade so I find my aging vision rather amusing; being near-sighted for most of my life, I am now both near- and far-sighted. There is a metaphor in there, somewhere, I'm sure of it.

If you want to commission a work from me, reach out! Find me at [email protected] or find me on facebook messenger, facebook.com/jenraven

Work was managed by our newest Studio Cat. Welcome to the Raven's Nest, Zephyr!

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RavinFANatic

8/31/2019

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It has been a long while, since I've done any puppet construction, so I was happy to break out the fleece, felt, and ping-pong balls. I do love building creatures, and I enjoyed bringing this one to life.

This project was supervised by Studio Cat.

RavinFANatic has been created for Jenneration Wrecks, currently with Lilac City Roller Derby, in Spokane, WA.

Taking this show on the road: Ravin's airport adventures, on their trip to Spokane!

We had a great week in Washington; I haven't seen Jenna in person, in over two decades. It was incredible to get to know her again.

Left, me and Jenna, Edwards AFB, 1993. Right, Jenna and me, Spokane, 2019.

Jenna is a fellow thespian, so of course we had a blast. Here we are in front of the Montvale Hotel, downtown Spokane:

Stay tuned for more exciting adventures with Ravin!

Just for fun: A few of my favorite past puppet constructions . . .

Wiley and the Hairy Man 2007
Magic Book Puppet
Children's Theatre Production, CSU Bakersfield, CA.

The Frog, The Dragon, and The Dark Wizard 2007
Dragon Puppet
The Spotlight Theatre, Bakersfield, CA.

The Frog, The Dragon, and The Dark Wizard 2007
Wise Owl Puppet
The Spotlight Theatre, Bakersfield, CA.

Alice In Wonderland 2016
Baby-to-Pig transforming puppet.
Bakersfield Community Theatre, Bakersfield, CA.

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'CATS' Online Exhibit, with Cactus Gallery

12/1/2018

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'The smallest feline is a masterpiece."
~Leonardo da Vinci

Flashback to 2006: This acrylic painting, titled 'Merry Meet' was created using line work from a crayon sketch of our first cat, Wednesday.

Above: 'Merry Meet' acrylic on canvas 2006
Below: Photo of Wednesday, 2006, and crayon sketch I caught of her, that same day

Wednesday was a faithful Studio Cat for almost two decades. When we lost her, I clipped the original line work from my old sketch book and pinned it up with a photo of her, in the studio. It was the first thing I thought of when we were asked to created 'Cats' themed works for the upcoming 'CATS' online art show, with Cactus Gallery.

I decided to honor Wednesday with a new work, based on that original sketch:

I still can't listen to Lisa Loeb's 'Waiting for Wednesday' without good memories of our first Studio Cat. I borrowed the song title for this painting, a 4x4" acrylic on 1 .5" artist wrapped canvas.

Also for 'CATS' with Cactus: 'Rawr!' is another 4x4", and an expression of my ambitions for the year ahead. To quote the incomparable Judy Chicago, "Art can educate, inspire, empower people to act." I intend to be consciously doing just that, with more of my work, in 2019. I have a dozen new projects in my queue to this effect, including paintings, sculptures, and collaborative works in concepts photography, with some of my favorite fellow artists.

It's going to be busy year at the raven's nest. Stay tuned!

Sister small works. One looking to the past; one looking to the future.

These works are available for purchase through Cactus Gallery.
Contact Sandra Mastroianni at [email protected] for collector preview.

'CATS' online art show, coming soon to Cactus Gallery. Exhibit opens Friday January 18th at 5pm. Visit cactusgalleryla.com/ or find Cactus Gallery on Facebook.

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Blue Monday

6/5/2016

Another bee has landed, just in time for 'Symphony of Wings'
group arts exhibit, with Cactus Gallery, Los Angeles.
Featured on beautiful.bizarre.net

'Blue Monday' 2016
Mixed-Media flying sculpture 15x10x10"

'Symphony of Wings' runs June 11 through July 2, 2016

'Blue Monday' in-progress, supervised by Studio Cat.

Custom hanging base measures 7x9x23"
This work can fly from a ceiling hook, curtain rod,
wall bracket, or provided sculpture base.
Decorative chain is removable.

Included in this project; my first attempt at layering airbrush colors over faux-fur.

View 'Blue Monday' at cactusgalleryla.com, or at Pinterest.
See more of my bee artworks here and here
Read more about 'Symphony of 'Wings' at Beautiful Bizarre
Portfolio photographs of my work by Todd Powers

Beastly Beings

5/8/2016

This month, I exhibit with 'Beastly Beings' group show at Cactus Gallery, Los Angeles!

In keeping with my recent trend of bee-themed works, I've created a Beastly Bee:

'A Fluid Phenomenon'
2016 mixed media 16x10, 11h"

'Beastly Beings' opens May 14 and runs through June 4, 2016
Cactus Gallery 3001 N. Coolidge Avenue Los Angeles

For this exhibit, participating artists were challenged to focus on "the powerful yet beautiful connectedness of animals, the outside world, and the harsh realities that are the core of human nature." Around that time, I happened to be reading David Whyte, and also some Anaïs Nin; both have written excellent insights into the "struggle between one's longing to be whole, and the acceptance of one's self as a fluid phenomenon" (David Whyte). Such ongoing conflicts, and their resolutions, are definitely a harsh reality concerning my own human nature.

This Bee, herself, was very much a fluid phenomenon. I am no stranger to creature construction, but this was my first experience using a thermoplastic called worbla. I had

I am a series of moods
and sensations.
~Anaïs Nin

been meaning to learn worbla for some time, and this was the perfect opportunity; I wanted Bee to 'fly' and so needed her to be light as well as strong.

Learning a new material on a deadline can be challenging, in more ways than one;
I was in for a considerable learning experience, and I got to spend some quality time with certain other 'harsh realities' of my own human nature, in the process. The irony!

After much trial and error, and several burnt fingers, Bee finally came to life. She is a mixed-media work including worbla, faux fur, Lutrador paper-fabric, acrylic matte medium, gesso, paint, tulle, embroidery floss, and multiple gauges of wire.

'A Fluid Phenomenon' shown with her included
hanging-sculpture base, which measures 9.5x13, 23h"

Working details on this piece: Display chain is removable and adjustable. Hanging ring is hinged, for removal/replacement. Bee can fly from this base, or may be displayed from a wall bracket, ceiling hook, or curtain rod.

View 'A Fluid Phenomenon' on Pinterest or at Cactus Gallery.
Photos by Todd Powers.

Photobombs courtesy of Studio Cat.

UPDATE! Bee has sold, and now has a home with the
Buena Vista Branch Library in Burbank, CA. Yay! Thank you, CR!

Epaulement and Avant

12/29/2014

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More photos from our 'Pas de Berlin' collaboration project, including the creation of Berlin's custom choker, cuff, and 'wings' which followed her through all three looks:

'Epaulement' set, 'Pas de Berlin' series 2014
model Berlin * photographer Todd Powers * MUAH Ande Castaneda
costumes, properties, accessories Jen Raven * concept direction provided by Jen Raven

Creating the choker and cuff accessories for Berlin's costumes:

'Avant' set, 'Pas de Berlin' series 2014
model Berlin * photographer Todd Powers * MUAH Ande Castaneda
costumes, properties, accessories Jen Raven * concept direction provided by Jen Raven

We shot all three of these looks, on two different locations, in one day ~in truth, it was a very long day. To compliment the costume changes, MUA Ande Castaneda also created beautiful, unique concept makeups for each of the three separate looks:

As always, I had plenty of assistance from the Studio Cats:

Follow the links to see more photos from our 2014 'Pas de Berlin' collaboration:
'Danseuse' set
'Joyeux' set
'Coda' set
Behind the Scenes, 'Pas de Berlin'
About the Artists: 'Pas de Berlin'

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Evolution of a dress

12/13/2014

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'Danseuse' set, 'Pas de Berlin' series 2014
model Berlin * photographer Todd Powers * MUAH Ande Castaneda
armor by Todd Powers * dress and shoes Jen Raven * concept direction provided by Jen Raven

Preparation for the 'Danseuse' set of our 'Pas de Berlin' series began several months in advance of the shoot itself. One of my greater concerns was safety: I wanted Berlin to pose en pointe for at least part of this set, which was to be shot outdoors --not an easy task, on its own. To avoid possible injury to Berlin, we decided to lighten the weight of the dress, and shorten the hems (of all seven skirts) by seven or eight inches. It killed me, the thought of cutting up such a lovely dress!

Model Berlin tries the dress with the pointe shoes for the first time. We all agree; the dress is too long and heavy for pointe work, especially outdoors, on uneven ground. The hems must be sheared.

Flashback: Todd and I discovered this dress at a local Goodwill in 2007, and it's been a useful addition to the costume closet ever since --from the Kern River to the cover of Bakotopia Magazine, this dress has been there, done that.

photos by Todd Powers
models Jen Raven, Devin Riane, Jaden Snow

I was loath to cut up such a pretty dress, and wanted to pull a few more great shoots out of it, before getting out the scissors. We asked model Lucy Cruz to do a final shoot with Todd, and I also asked Ande Castaneda to get a shoot in, with model Berlin.

Kern River Shoot
photographer Todd Powers
model Lucy Cruz

After Lucy and Todd were done with the Kern River shoot, the dress was beyond filthy. We gave it a hot shower, then soaked it in the tub with boiling water, laundry detergent, and oxy-clean. After repeated rinses, we wrangled the soaking dress onto a custom Berlin-shaped dress form, to dry. We had created the custom form a few weeks prior:

For our purposes, we made some changes to the recommendations given in this Threads tutorial. We used crumpled newsprint instead of poly-fill, for example. And we fitted a length of PVC pipe in the center, before closing it up at the base.

After the dress dried on the form, it was sparkly-white and fit Berlin's waist like a glove. One more shoot with the pretty dress, as-is, before the alterations:

Thank you, Ande!
Chaise Lounge Shoot
Photographer and MUAH Ande Castaneda
Model Berlin

A lot of work went into the alterations. Close to ten inches came off the hems (all seven hems), and even more came out of the front left side. I airbrushed the dress using fabric paints, and sewed nearly a dozen silk flowers just above the cut. We decided to paint the pointe shoes white, so that they would show up better on camera. After some experimenting with different paints on an older pair, I decided on Wolfe FX body paint in white; it performed the best out of all the paints I had to hand.

Day of shoot: Todd and Berlin nailed it. Our months of preparation totally paid off, and I was doing a happy dance behind the scenes.

'Danseuse' set, 'Pas de Berlin' series 2014
model Berlin * photographer Todd Powers * MUAH Ande Castaneda
armor by Todd Powers * dress and shoes Jen Raven * concept direction provided by Jen Raven

Behind-the-Scenes video of model Berlin, directed and produced by Ande Castaneda

Just before the opening for 'Pas de Berlin' at the TES Gallery, Todd further altered the dress and armor, to fit Lucy Cruz, who modeled the costume at the reception. He added black fabric paint to the dress, and new armor fittings.

Pas de Berlin Reception Shoot
Photographer Todd Powers
Model Lucy Cruz
Armor by Todd Powers

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Evolution of a skirt

11/28/2014

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Leading up to our shoot in Cambria, I had been working on this skirt, on and off, for over a year. And what a fantastic end result! With the right model, MUA, and photographer, a year of piecing and sewing is made well worth the effort.

'Joyeux' set, 'Pas de Berlin' Series 2014
model Berlin * photographer Todd Powers * MUAH Ande Castaneda
scale mail Todd Powers * skirt Jen Raven * concept direction provided by Jen Raven

But long before the construction of this skirt began, the fabric itself was being weathered for me by an unsuspecting army of models; the yardage for both underskirt and over-skirt have provided background,

property, and costume elements for dozens of Todd's photo shoots over the last seven years. This yardage has been through every kind of shoot, from studio to location; this fabric has been dragged through the dirt, drowned in the Kern River, wrapped around models, tacked against two-by-fours, and hung from the rafters.

I often prefer that my costume fabrics be properly worn and weathered before I begin construction; I like the way they drape, and move, after they've experienced the world a bit and have developed some character of their own. There are ways to speed up the weathering process in the shop or studio, but given how much shooting Todd does, it's easier for me to toss my yardage into his props bins, and let the Todd and the models take it from there.

After removing areas that were a bit over-worn, or torn, and cutting out the largest pieces for the two main sections of the over skirt: The smaller and connecting portions of the over skirt were pieced together using scraps culled from the remaining lace yardage. Over sixty different bits of lace were pieced together, to create the entire over skirt, which also has ribbon channels sewn into the front and back, so that it may be ruched higher for a different look. The three-tiered tail addition to the skirt, which is detachable, required an additional two dozen pieces of lace yardage for it's overlay. All of the trim was sewn on by hand. A black cotton underskirt, beneath the blue polyester skirt, provides stability and comfort for the entire garment --three skirts in all.

Of course, Studio Cat had her part to play, in this costume's construction:

I set out to create an elaborate costume piece that would adjust, to fit many different sizes; the side laces can be drawn tight or let out, and the box pleats in back can easily be let out or taken in; the waist in the cotton underskirt is quilted, partly due to the piecing of the lace yardage on top; this waist is strong, and holds basting stitches easily, so there is no damage to the outer skirts. Also, for the purposes of this shoot, the hem of the skirt was raised a full six inches --again, easily done thanks to the cotton underskirt, and no damage done to the delicate, weathered polyester. This skirt stood up to a romp in the ocean and the climb of a massive boulder, on location:

BTS: 'Pas de Berlin ' team on location in Cambria, Ca 2014
photographer Todd Powers * model Berlin * MUAH Ande Castaneda
scale mail Todd Powers * skirt and accessories Jen Raven
concept direction provided by Jen Raven

'Joyeux' set edits, 'Pas de Berlin' series 2014. photos and editing by Todd Powers

Want more? Full collection of BTS photos from 'Pas de Berlin' here!
Read more about this year-long project here and here!

Todd creating the scale mail top for our 'Joyeux' set

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Costume armor collaboration

6/23/2014

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Over the last six months, Todd has been teaching himself the art of crafting costume armor pieces out of foam. He's starting to get pretty good at it, and he's just received his first commission request.

I am collaborating with Todd on this project; we discussed what our client requested, and I drafted a master pattern for the arm guards, which I then copied onto a square of canvas, to create a sturdy template.

Todd will use the template to cut and mold foam pieces for the arm guards; he will do the majority of the work on them, from here.

Progress photos, drafting the pattern:

Todd is nearly finished with the arm guards. His progress:

The arm-guards are nearly finished.

It's time for me to step in again, and help complete the guards. Studio Cat is on hand, to supervise.

Before I stitch the pleather trim together to form straps, I'm sure to wipe a bit of silicone spray over the top of the trim, so that the pleather doesn't catch on the presser foot and wreck the tensions --and break my machine. I learned that lesson the hard way, a few years back!

After the pleather becomes straps, I sew on the buckles, then we sew and epoxy the straps to the guards. We add grommets to the straps, Todd pops in the LED lights, and Studio Cat gives her final approval. The project is complete and the client is ready for Labyrinth Masquerade!

More progress photos:

Rawr! Client Claire Rock is ready for the Labyrinth Masquerade.

Follow Todd on Facebook, to see more costume armor and other projects.

Follow my Facebook page, to see more of Studio Cat.

pay attention to me! sized on Make A Gif

make animated gifs like this at MakeAGif

"I'm so much cuter than that costume armor. Pay attention to ME."

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Please keep off the grass

6/22/2014

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'Please Keep Off The Grass' is my tongue-in-cheek response to the ongoing debates concerning marijuana and its legalization.

This work is 14x11" acrylic on artist-wrapped canvas. It has wire hanging hardware on back, and is available for purchase.

Below: Work in-progress shots of 'Please Keep Off The Grass' from completed line work to finished painting.

'Please Keep Off The Grass' 2014
14x11" acrylic on artist-wrapped canvas
available

Portfolio Photography by Todd Powers

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'PAIN' Group Exhibit

6/22/2014

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dropping my work at the P.O. in April

My first Los Angeles exhibit -and I'm so excited! This is a mail-in exhibit, with participants sending in work from around the world --Asia, Europe, South America, as well as all over the USA and Canada.

'PAIN' group exhibit, curated by Ted Meyer, is hosted by The Gallery at the LRC, the David Geffen School of Medicine, UCLA. In the slide show; my shown works are #90 and #91.

In April, I had postcards created through my PIXELS page, of a few paintings that fit this theme, and I also printed two photos from my first concept shoot as director, which also fit the theme. Below, a slideshow of how I prepared a few of my works for mailing, and another from the day of the exhibit opening:

I also created some new work to wear, for the opening reception. "We get by with a little help from our friends" seemed appropriate, given the overall theme of the exhibit.

"PAIN"runs May 7 through August 30th, 2014, at the David Geffen School of Medicine, UCLA.

'PAIN' group exhibit was also covered by U Magazine, UCLA.

For more information on this exhibit, please visit The Gallery at the LRC.

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Caught in a river of crinoline skirts

8/13/2013

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My first Red Carpet at Costume College!

How did I wind up in this line?!

After five years of watching, this year I jumped in, though not voluntarily: Every year we go down early to catch a good spot, take photos and see the costume parade. This year, I had planned a costume, but didn't finish it in time.

Studio Cat, 'helping' me with my costume, which, partly thanks to all her help, was unfinished in time for CoCo.

I decided to bring my Dia de los Muertos outfit instead, for the night of the Red Carpet, but I was definitely not planning on walking; I just wanted to watch.

Because painting my face took longer than I had planned, we were late to arrive, and it was crowded. We were trying to make our way to the end, where we could catch the best shots; there was a bottleneck at a narrow part of the hall, and somehow I got stuck in the line --definitely not on purpose-- and then I couldn't get out; I was surrounded on all sides by a fast-moving river of crinoline skirts, poufy sleeves, and fantastic wigs.

I was caught between THIS:

And THIS:

I realized that, if I wanted to make a run for it, I'd have to push past someone's beautiful costume and possibly smudge it with my face paint. I was trapped. And where was Todd? He'd escaped ... and he was laughing his ass off, at me. Cameras were snapping everywhere and people were asking me questions about my paint and I realized with horror that I was caught, and in line with some of the most amazing costumes in the room --and I'm wearing a nine dollar dress from Ross.

Coming out of the bottleneck in the hall and realizing, with horror, that I am in the line.

As soon as I could escape, I did. I doubled back to a safe corner where I wouldn't have to worry about getting paint on anyone, and fortunately ran into a few friends, who laughed at my discomfiture, and one of them told me that nobody could see me blushing, because I was wearing paint. Good point.

With Patty at the Red Carpet; her costume is divine!

This experience was especially intimidating to me, because it was the best Red Carpet I've ever seen at CoCo ... or anywhere else, for that matter. I must not have been the only one who thought so, because not long after CoCo was over, one of our more well-known members, Jennifer Rosbrugh, posted this comment on facebook:

"With all the chatter about Costume College & the great weekend we just had, I want to point out that this event is for EVERYONE -beginner & experienced alike. Seems CoCo is producing more & more fabulous hall costumes that can be quite intimidating even for us who've been around the block for years. This was not always the case. The event is for education and sharing, not trying to one-up another costumer. So as you make plans to come in 2014, remember you are very welcome -no matter what your skill level. More info: http://costumecollege.net/ ."

I really appreciated Jennifer's posting that. The parade of awesome is inspiring, but can also be a bit daunting. It's nice to be reminded that we all have to begin somewhere.

Todd and I at our first Costume College, 2007.

In spite of my feeling flustered, it was still a fantastic night:

Caught by Predators in the lobby!

Black and White ... and Red all over.

Hola, amigos!

And then, there was THIS . . .

**head explodes from too much awesome**

Because I made us late, we didn't get photos of all the costumes this year. Fortunately, CoCo has a great Flickr album posted, from that night:
http://www.flickr.com/groups/costumecollege/

There are plenty of other photo collections online as well:

http://historicalsewing.com/costume-college-2013-review

https://www.facebook.com/media/set/?set=a.10151838632082034.1073741826.81722877033&

http://glittersweatshop.typepad.com/sassy_feet_blog/2013/08/a-celebration-of-costumers.html

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Dandelion

5/16/2013

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Last month's JNT print, 'April Showers.' Photo by Todd Powers

Todd has been working with model Jin n' Tonic on a series of monthly print releases, and they asked me to collaborate on 'May Flowers.' Lisa Klassen-Barnes agreed to bring her skills to the table, and we had a concept meeting in April.

Jin and I agreed that It would have been easy to slap a few roses on her and be done with it; but we wanted something more meaningful.

Dandelion, we discovered, is a significant bloom for both of us, and worthy of a labor-intensive project.

Learning to capture Dandelion. Thank you, Lisa!

Dandelion is an outsider of sorts; a lovely wild flower, wrongly named a weed. Jin and I both appreciate Dandelion as an irreverent, tenacious little survivor --she flies on the wind and blooms wherever she lands; no shame, no apologies.

On the flip side; the Dandelion is tough to capture, visually. She's complicated ... One more reason to like her. I am still new to body painting, especially in color, and I had only ten days to research, sketch, plan . . . and practice, on anyone who would sit still (thank you, Lisa)!

Lisa created a uniquely Dandelion hairstyle.

The day of the shoot arrived, and I was nervous. The group had great energy, though, making it impossible to stay tense.

Lisa created something uniquely wild and beautiful with Jin's hair; And I was able to let myself get lost in the paint. The practice paid off, as I finished painting Jin sooner than I'd anticipated.

To complete her look, Todd air-brushed some blue-green into Jin's hair, and she was ready to go.

Jin, Todd, and Lisa had all been scouting potential locations, in the ten days I was learning Dandelion, so no time was wasted during the shoot, either.

Our collective efforts on this project have really paid off. The finished photos are amazing (see below)!

This has been a terrific collaboration, and I'm grateful to have been a part of it. This is definitely my favorite arts-mischief so far, in 2013!

(above and nsfw) behind the scenes video created by Jin n' Tonic!
(below) slide-show of Jin's four-hour transformation into the Dandelion:

JNT Print "May Flowers" for May 2013!