The Birch
Without a doubt this is the best 4 minutes and 30 seconds of my week and it's only Tuesday. There's elements of Blair Witch and Pan's Labyrinth with a modern folklore Jordskott vibe in this excellent short from horror directors Ben Franklin & Anthony Melton. The Birch is a twisted slice of fantasy horror produced in partnership with Crypt TV.
A bullied schoolboy takes drastic measures against his tormenter, summoning an ancient being in the woods using a spellbound book passed down through the generations of his family. A gruesome revenge tale that paints a monstrous evil as a loyal, yet potentially unstable protector, this is the latest work from the team at Bloody Cuts.
Ancient tomes, ancient woodland spirits, vengeance and a satisfyingly gory conclusion. It's amazing what you can convey in 310 seconds, enjoy!
The Cabinet of Curiosities Challenge Part 1
Well over a year ago a very special client sent me a huge parcel. Inside the mystery package was a large wooden doll's wardrobe box. The uninspiring red stained box from around the 1960s then sat in the studio staring back at me for months like a blank canvas. After months of batting e-mails back and forth many great ideas were hatched but I still couldn't get past the sheer size and plain facade and so it remained in the studio gathering dust while a very understanding and patient client waited...
And waited...
There comes a time as an artist when the subconscious mind whirs away in the background and comes up with a solution to the creative block you've been trying to figure out. It then pushes the ideas back into your conscious mind and the blank canvas starts to take shape. For me, the penny dropped at this year's Doomsday when Andy Cooper and Nik Taylor did their lecture on how they created a cabinet of curiosities attraction in 3 weeks. If they could successfully turn something like that around in a matter of weeks surely I could take this box that has haunted me for so long and finally do something with it!
The huge wardrobe box in its original state
The most distracting thing about the box was the horrible red finish, it felt like a creative fog bank that I couldn't see past. I proceeded to sand the lot off in a satisfying cloud of sawdust. I then blasted the bare wood with a blow torch to highlight the grain, applied a few coats of wood stain and then set fire to the whole thing. The box finally took on a new lease of life and my creative juices finally began to flow.
One of the criteria for the box was that prior to the performance it had to be chained and locked to give the impression that something dangerous was safely contained within. The chain and padlock would then unlock and fall with a loud bang as if opened by unseen hands all done with little or no intervention from the performer.
Simon Drake produces a very nice self opening padlock but the method would not work with this box as it needed to completely fall off with a loud thud. The only other method I knew was developed by Roni Schachnaey and used an ungimmicked lock. I decided to go with a modified version of Roni's haunted lock but I would need to experiment with making the chain also break and fall.
After several hours tinkering I nailed it and the once normal antique padlock finally became 'haunted'. The lock clicked open and hit the studio table with a loud crash followed by a tangle of rusty chain. I put a big fat tick on the client's wish list and readied myself for the next task.
With the exterior almost complete I opened up the wardrobe and looked at the huge expanse of empty space. This was by far the largest prop I'd ever tackled. Like most huge tasks, the best way to approach them is to break them down into smaller manageable parts. The wardrobe consists of four sections so over the next few blog posts I'll be covering each section individually until I finally arrive at a complete portable Cabinet of Curiosities.
The client's 'want' list includes (in his own words) -
A portable bookshelf for the Doppelgängers. It would need some sort of buckling or removable strap to hold the books in place on the shelf
For the two drawers underneath, I was thinking that the top one would just remain a functional drawer, but maybe the bottom drawer could be home to your Ghost in the Machine?
I like the clothes hanger bar and was only thinking of using it for hanging pendulums and perhaps the Ceseral Spirit bell on a string for a performance option. If you can think of something better for it - or a reason to get rid of it - I'm listening.
A display section with little pouches with instruments and alike. I would also love to have several rows of your miniature phrenology heads along the back. I think those are brilliant.
All the backings of the case need some sort of base decor. Velvet? Satin? Flocked wallpaper?
I love that there is a mirror in this box, with a shelf in front of it. I wish there was room to do some sort of two-way mirror effect, but there probably isn't. The frame should be a bit more decorative -- perhaps an oval frame over the existing mirror would set the mood.
The drawer under that shelf, I was thinking, could be a velvet, padded drawer for transporting whatever 'delicate item' was required for that performance (haunted key, artifacts etc). I also have one other idea, for one of your fantaxidermy creations, but I'll add that in it's own section at the bottom. Under the drawer? I don't know.
I woke up one night and realized that I would like you to create a very special mummified fairy... a nightmare. It would be incredibly cool if he had "caught one" and could display it. I just picture one of your fairy pieces, but squatting on his haunches, like the nightmare from Henry Fuseli. Maybe it's captured and dried out in an antique glass lantern.
This was something that could go in that padded drawer, carefully removed for display on the table or on the shelf in front of the mirror.
Stay tuned and see how this develops!
'The Devil Made Me Do It', rediscovering the toy more dangerous than the Ouija Board
I discovered this truly bizarre 'toy' by sheer coincidence, or fate you might say. When you're in my line of business you get to meet some wonderfully eccentric people and a recent FeeJee Mermaid commission led me to a client who had one of the strangest collections I'd ever seen. I delivered the mermaid personally to a location near Nottingham as they don't travel well, especially when dropped a dozen times by a disgruntled courier. The client was over the moon with the new addition to his menagerie and we started to discuss other pieces of my work such as The Swami Spirit Altar. I explained that the piece was inspired by the 'Zoltar' fortune telling machines that pepper the esplanades of many seaside towns and that I loved the aesthetics of these quirky amusements.
He then disappeared to make a cup of coffee and returned a few minuted later with two mugs of scalding hot beverages and an old box tucked under his arm. “Here, you can have that”, he said and thrust me the coffee and the box. When I looked inside I was confronted by a plastic demonic face grinning back at me nestled on top of a pile of cogs, dusty springs and dead spiders. “I bet you've never seen one of these before”, he exclaimed to which I replied a resounding “No!”. He sat back in his chair, lit his skull meerschaum pipe and started to recount a tale that not only amazed but also perplexed me. “If you don't believe me, read it for yourself”, he said and pointed at the battered box. Amongst the chipped devil-red Bakelite and flame emblazoned rusty metal was a hand written note of what the mysterious contraption used to be.
'The Devil Made Me Do It', was a 'toy' manufactured by the obscure US Silver Shamrock Toy Co. in 1951. Fans of John Carpenter may recognise the company name as the manufacturer featured in Halloween III: Season of the Witch. In the movie Silver Shamrock Novelties was a mask and novelties company that had a very evil agenda so it was fitting that he may have named it after the original 1951 company. 'The Devil Made Me Do It' was the only item ever produced by Silver Shamrock and the production run was limited to an estimated 40 units. Colman Joyce, the company proprietor was a Baptist fanatic and although 'The Devil Made Me Do It' was made with the good intention of teaching children the evils of dealing with the devil, his venture backfired. After the events I am about to discuss almost all of the 'The Devil Made Me Do It' toys were destroyed and Joyce closed the factory and vanished never to be seen or heard from again.
The concept of the toy was simple and was meant to serve as a moral lesson demonstrating that if you leave your mind open to evil thoughts, the Devil can make you do things beyond your control. The world's first and last possession toy and definitely not something you'd find perched on the shelves in Toys-R-Us. The original machine came with a deck of cards which contained images of sins being committed such as theft, murder, blasphemy, hatred and all of the things you'd expect to find in a child's game created by a religious fruitcake. The child would mix the cards face down and select three at random, placing them in front of the Devil. Taking the Devil's red right hand the child would then move the hand left, right or centre so that it pointed at one of the three chosen cards. Once a final card had been selected the Devil's eyes would eerily light up and he would reveal a ticket naming the chosen card before it was even turned over. The child would then turn over their randomly selected card and it would match the ticket every time! Thus proving that the Devil could make them theoretically commit the sin on the card without them even knowing if they ever veered from the righteous path.
The folk on the bible belt loved the 'toy' as its demonic facade scared the hell out of the kids! Joyce traveled from parish to parish giving demonstrations of 'The Devil Made Me Do It' at Sunday Schools all over the deep south. And as you can imagine, the orders came rolling in. Nobody seemed to ask or be bothered how it worked, they just saw it as a tool to keep the kids on the straight and narrow. The kids also saw it as a challenge and tried to outsmart the Devil, but whatever card they selected the Devil already knew which one they had picked because obviously, the Devil made them do it!
After a year on the road touting his satanic toy to the masses things took a turn for the worse. On the 6th June 1952 in the small town of Prospect Hill a few miles east of Greensboro, North Carolina a young man named Bobby Kelly walked into his local Sunday school with a loaded revolver and gunned down 5 of his friends. As the rest of the class hid under tables to take cover he walked up to the blackboard and scrawled 'The Devil Made Me Do It' in chalk before pointing the gun at his head and firing the sixth bullet. The words on the blackboard struck a disturbing significance with the town as Joyce had only been there months before letting the Sunday school kids play with his 'toy'. Others also saw the date of the murder, the 6th June and that six bullets had been fired as not a coincidence but a sign that the Devil had indeed made Bobby Kelly kill his friends in cold blood. Other rumors circulated that when Bobby had a go on Joyce's toy he had picked the 'Murder' card thus confirming that this had been the catalyst behind the multiple homicide.
Colman Joyce became a hunted man and he was on the most wanted list in three states. Every parish that had purchased a copy of 'The Devil Made Me Do It' performed a blessing and burning of the strange device until nearly all traces of the toy were destroyed. Neither the law nor the church ever caught up with Joyce although it is thought he made it back to his factory, emptied the safe and then vanished. Joyce was never seen again and to this day he is still held responsible for the Prospect Hill murders. Some even believe he actually was the Devil using his toy of terror to infiltrate the church and corrupt it from the inside.
The account you have just read was compiled from the notes of Reverend Morrison who had traveled to the US in the mid 60s as part of an exchange program. He bought the battered remains of what is believed to be the last of Joyce's toys in existence back to the UK. In his notes he comments that the toy had been discovered under the floorboards of a storm damaged church in Wallins Creek while it was being rebuilt. Morrison had been sent to the area to help rebuild the church and provide support to the community, some of which had been made homeless by the storm. Intrigued by the box of broken parts Morrison decided to delve into their devilish past and soon discovered that Joyce's toy was still fresh in the minds of some fearful locals. What remains of 'The Devil Made Me Do It' were discovered by my client at a house clearance in Mansfield UK, the home town of Reverend Morrison. I've no doubt that he bought the toy home where it remaining in storage until his death at the ripe old age of 96.
And so I sit here writing this blog post with the grinning red Bakelite head staring at me wondering if all of this could be possible? A device that can predict something you've chosen before you even know what you've chosen? Does it predict or does it actually influence your choice and if so how does it influence the user? As a designer of illusions I have no idea how it works, but neither has anyone else apart from Colman Joyce who took the secret to his grave.
Regardless, I feel compelled to rebuild and restore this last copy of 'The Devil Made Me Do It' to its former glory and maybe I can finally solve the mystery myself. Every time I look at that head on my studio desk I can almost hear it begging to built once again but unfortunately not all of the parts appear to be there and I have no reference material to work from regarding what it originally looked like. The box contains the following parts -
a red Bakelite head
a black Bakelite cloaked body
a red Bakelite hand and pointing mechanism
6 sin cards – these are individually numbered as 12, 32, 17, 5, 6 and 38 so I assume there must have originally been more than 38 cards
a wooden enclosure that the cloaked body would have been mounted on. This still has some traces of stickered artwork showing the Silver Shamrock logo and some pretty cool looking hotrod style flames around the base
a power cord, probably to power the lights for the eyes although no bulb is present
the rest of the components appear to be an electronic/clockwork mix
Luckily my wife's Uncle in Germany repairs clocks so I'll be shipping the mechanical parts to him for an inspection and hopefully some idea of how they originally worked. To date nothing actually reveals how the prediction/influence mechanism works or if indeed there is one which also leaves open the possibility of it working supernaturally like the Ouija Board. It's a restoration project from hell with a pretty horrific past so it only seems fitting I attempt to resurrect the 'toy' even if it only acts as a demonic conversation piece in my collection.
Has the Devil made me do it? Probably, but Joyce's demonic toy deserves a second chance.
I'll be posting the rebuilt 'The Devil Made Me Do It' on the blog soon so stay tuned!
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My work goes on tour!
I've been aware of Guillermo del Toro's 'At Home with Monsters' exhibition since the news was announced and I blogged about it a few months back.. Due to the vastness of his collection it never even crossed my mind that some of my work that resides in Bleak House would be included.
Last week I received an e-mail from a curatorial assistant at the Los Angeles County Museum of Art (LACMA) along with a photograph of the Ectometron I made for Guillermo a number of years ago. To my utter befuddlement he told me that my work was part of the exhibition and that he wanted the caption information for the display piece! To be part of the exhibition and to be selected as an influential piece from such a huge collection is both an honour and privilege, it's almost beyond belief.
The exhibition is accompanied by a fully illustrated catalogue published by Insight Editions. The 144 page volume is edited by Britt Salvesen, Jim Shedden, and Matthew Welch with contributions by Guillermo del Toro, Keith McDonald, Roger Clark, and Paul Koudounaris. The hardcover catalogue is $29.95 and is available at the LACMA Store and Art Catalogues. It's not available just yet but should be around the 31st July when the exhibition starts.
Following its presentation at LACMA, the exhibition will travel to its co-organizing institutions: the Minneapolis Institute of Art (February 26 – May 21, 2017) and the Art Gallery of Ontario (September 30,2017–January 7,2018).
Here's everything you need to know about the exhibition...
(Los Angeles—April 26, 2016) The Los Angeles County Museum of Art (LACMA) is pleased to announce Guillermo del Toro: At Home with Monsters (July 31–November 27, 2016), the filmmaker’s first museum retrospective. The exhibition explores del Toro’s creative process by bringing together elements from his films, objects from his vast personal collections, drawings from his notebooks, and approximately 60 objects from LACMA’s permanent collection. The diverse range of media—including sculpture, paintings, prints, photography, costumes, ancient artifacts, books, maquettes, and film—totals approximately 500 objects and reflects the broad scope of del Toro’s inspirations.
“To find beauty in the profane. To elevate the banal. To be moved by genre. These things are vital for my storytelling,” said del Toro. “This exhibition presents a small fraction of the things that have moved me, inspired me, and consoled me as I transit through life. It’s a devotional sampling of the enormous love that is required to create, maintain, and love monsters in our lives.”
“By bringing del Toro’s notebooks, collections, and film art into museum galleries, we acknowledge the curatorial aspects of his approach to filmmaking,” says Britt Salvesen, curator and department head of the Wallis Annenberg Photography Department and the Prints and Drawings department at LACMA. “On one level, he carefully constructs and stages his films in the manner of an exhibition. On another level, he fills their plots with commentaries about the social, psychological, and spiritual power of objects. In this retrospective, as in his extraordinary filmography, del Toro demonstrates the energizing effects of cross-pollination.”
Michael Govan, LACMA’s CEO and Wallis Annenberg Director, says, “This retrospective is a wonderful example of Art+Film at LACMA. Del Toro encourages us to ignore our traditional art-historical narratives and hierarchies of high and low culture, just as he blends and reinvents conventional genres in his films. With his ability to collapse time and space, history and fiction, nature and fantasy, he taps the latent potential at the core of our institutional mission.”
Exhibition Organization
Guillermo del Toro is organized into eight thematic sections. The exhibition begins with Childhood and Innocence, exploring the central role children play in many of del Toro’s films. Often, these children can perceive alternate realities and give expression to unfiltered emotions in ways that adults cannot. Del Toro does not insulate his young protagonists from fear, abandonment, harm, or even death. At some level, del Toro’s films endlessly revisit his own childhood, which he felt was marred by a strict Catholic upbringing and bullying classmates but redeemed by books, movies, and horror comics. He began drawing at a very young age. To this day, del Toro maintains his early habit of keeping a notebook at hand to record ideas, phrases, lists, and images. Resources for his films, these journals are also essential to his evolution as an artist.
Victoriana, the next gallery, references the Romantic, Victorian, and Edwardian ages, as well as latter-day interpretations of the Victorian era. Charles Dickens, the quintessential Victorian writer, inspired the name of del Toro’s personal residence, Bleak House, a curated space from which many objects in the exhibition are borrowed. Dickens’s blend of realism and fantasy, fascination with the city, sense of humor, and predilection for taxonomy, multifarious character types, and intricate plot twists resonate in del Toro’s films. This gallery also demonstrates del Toro’s interest in the Victorian relationship to science, in which humans attempted to exert dominion over nature through meticulous categorization. As suggested by his extensive collection of insect specimens, images, and trinkets, del Toro has inherited a fascination with such creatures, although the insects in his films tend to break free of human control in spectacular ways.
Visitors will subsequently experience a version of Del Toro’s Rain Room (not that Rain Room), a favorite spot in Bleak House in which del Toro has installed a false window and special effects to simulate a perpetual thunderstorm.
The next section explores del Toro’s interest in Magic, Alchemy, and the Occult. His films are full of puzzles, talismanic devices, secret keys, and quests for forbidden knowledge. Many of del Toro’s characters are scientists, contemporary successors to the monks and alchemists who explored the boundaries between the holy and unholy. He cites the influence of H.P. Lovecraft, the idiosyncratic American writer whose work is considered foundational for the genres of horror and science fiction. Lovecraft’s vivid evocations of madness, transformation, and monstrosity continue to be a major source of inspiration; for the last decade, del Toro has been attempting to adapt Lovecraft’s novella At the Mountains of Madness (1936) for the screen.
Movies, Comics, Pop Culture delves into del Toro’s obsession with cinema, from B movies and horror films to directors Alfred Hitchcock and Luis Buñuel. Del Toro’s voracious appetite for film is matched by his enthusiasm for comic books and his admiration for a wide range of illustrators such as Moebius (Jean Giraud), Frank Frazetta, and Richard Corben. He has directed several comic-book adaptions, working closely with Mike Mignola on two films based on his Hellboy series. Always, del Toro refuses to abide by the traditional hierarchies between high and low culture.
Frankenstein and Horror reveals del Toro’s lifelong love affair with the tale of Dr. Frankenstein and his monster. He first absorbed the story as a child, via James Whale’s 1931 film, impressive in its Expressionist-inspired visual beauty. As a teenager, he read Mary Wollstonecraft Shelley’s novel Frankenstein; or, The Modern Prometheus (1818), which emphasizes the monster’s essential fragility and vulnerability. The story became a touchstone for the young del Toro, who identified powerfully with the creature’s outsider status. The filmmaker now finds in Frankenstein an analogy to his directorial approach. Like the monster, his films are amalgams of used, discarded, and diverse source materials, given new life and purpose.
Del Toro’s fascination with monsters of all types is showcased in Freaks and Monsters. He sees some monsters as tragic: beautiful and heroic in their vulnerability and individuality, they mirror the hypocrisies of society and bring to light corrosive standards of perfection. Though he identifies with the tragic type of monster, del Toro is also adept at creating truly terrifying ones. He begins by thinking of a monster as a character, not simply an assembly of parts. It must be visually convincing from all angles, both in motion and at rest. In his notebooks, he constantly records ideas for distinguishing physical features that may come to fruition only years later. In addition to drawing the initial concepts, he is closely involved in fabrication—he entered the movie industry in Mexico as a special-effects artist—and has often expressed his preference for practical effects as opposed to computer-generated imagery.
The final section is Death and the Afterlife. Growing up in Guadalajara, Mexico, in the late 1960s and 1970s, del Toro had a number of disturbing confrontations with death, seeing corpses in the street, in a morgue, and in the catacombs beneath the church. His strict Catholic grandmother instilled in him the notion of original sin and even submitted him to exorcisms in a futile attempt to eradicate his love of monsters and fantasy. The pursuit of immortality—promised in Catholic doctrine as the reward for following the church’s teachings—is often seen in his work as a misguided, arrogant desire, destined to bring about the downfall of those caught up in it. Del Toro’s films often include characters acting entirely out of self-interest alongside others who are forced to make sacrifices. His flawed or damaged characters frequently find purpose in community: they take responsibility for their own survival and that of the individuals and environments around them.
About LACMA
Since its inception in 1965, the Los Angeles County Museum of Art (LACMA) has been devoted to collecting works of art that span both history and geography, in addition to representing Los Angeles's uniquely diverse population. Today LACMA is the largest art museum in the western United States, with a collection that includes over 130,000 objects dating from antiquity to the present, encompassing the geographic world and nearly the entire history of art. Among the museum’s strengths are its holdings of Asian art; Latin American art, ranging from masterpieces from the Ancient Americas to works by leading modern and contemporary artists; and Islamic art, of which LACMA hosts one of the most significant collections in the world. A museum of international stature as well as a vital part of Southern California, LACMA shares its vast collections through exhibitions, public programs, and research facilities that attract over one million visitors annually, in addition to serving millions through digital initiatives such as online collections, scholarly catalogues, and interactive engagement. LACMA is located in Hancock Park, 30 acres situated at the center of Los Angeles, which also contains the La Brea Tar Pits and Museum and the forthcoming Academy Museum of Motion Pictures. Situated halfway between the ocean and downtown, LACMA is at the heart of Los Angeles. Location and Contact: 5905 Wilshire Boulevard (at Fairfax Avenue), Los Angeles, CA, 90036 | 323 857-6000 |
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Ann: the haunted doll webcast
For those waiting on news of Dolly Darko MkII here's something to give you a creepy doll fix. Ann: The Haunted Doll as you will soon read has all the typical tropes of a routine we bizarrists have been conjuring up for years. The mental asylum, the caretaker, the doll, the death of a young girl – I could've written this myself, but I didn't! Do think it's true or just a publicity stunt to boost viewing numbers of The Haunted Collector on Destination America? I'll leave that choice up to you...
People often think of ghosts haunting buildings or people, but haunted objects have fascinated GHOST HUNTERS for ages. Now, the network that brought you EXORCISM: LIVE! is giving ANN: THE HAUNTED DOLL her own live webcast. Destination America is devoted to telling the stories of the unknown, from alien encounters, to the quest for Bigfoot, and now, Ann. DestinationAmerica.com has partnered with THE LINEUP - a hot new digital destination for fans of true crime, horror, the mysterious, and the paranormal - to broadcast ANN: THE HAUNTED DOLL to the masses, 24/7. Check the live stream any time in the next two weeks at DestinationAmerica.com or THE LINEUP to check if Ann moves, blinks, cries, or does her signature move, waves.
Ann is currently living in The Lineup's New York offices under constant surveillance via web cam, and the office has already reported strange occurrences since Ann's arrival, such as hearing faint cries and experiencing technical difficulties with the feed. After two weeks, it will be time for Ann to move on to a new, loving family. Anyone interested in giving Ann a proper home can enter to win by stating why they would make the best caretaker for ANN: THE HAUNTED DOLL.
So who is Ann? The original Ann was a 13-year-old girl treated for tuberculosis at Waverly Hills Sanatorium in the early 1900s. One of Ann's caretakers a very devoted and attached woman named Lois. When the children succumbed to their illnesses, it was believed that the spirits followed Lois home, hoping she would continue to care for them. Lois began her doll collection to help house the unfortunate souls, and while she has since passed, she kept a detailed journal about all of her dolls. Lois claims that Ann was terrified of the dark and that her spirit, who lives on in the doll, still cries out in the middle of the night. Paranormal investigators called in to examine Ann have reported a severe drop in temperature and strange odors in her presence, and there have been reports of a tear running down Ann's cheek, as well as waving motions in her right arm.
No one is more fascinated by haunted objects than John Zaffis, a paranormal investigator and demonologist who has specialized in this type of haunting for nearly four decades, and works to remove any unwanted ghostly objects from peoples' homes. His research is the focus on HAUNTED COLLECTOR, currently in network premieres on Destination America on Tuesdays at 10/9c. In HAUNTED COLLECTOR, John and his paranormal team travel to help various people in need by identifying and removing any trigger objects that may the source of unwanted activity. Through the years, he has amassed thousands of possessed objects that he keeps in his bizarre museum, where visitors report feeling an evil presence upon entering the building.
OBSERVATION LOG
Pre-Live Cam
We unboxed Ann, who was wrapped tightly in bubble wrap, without incident. (Watch the video.)
Over the next couple days, we worked around Ann, setting up the camera feed in a large storage closet, where she’s currently living. During that time, a few strange things happened.
• Two coworkers, whose desks are against the wall that separates the main office space from Ann’s room, heard a faint whining noise. One person even asked the whole room to be silent because she was positive she heard a child crying. No one else heard this noise.
• Two different coworkers set up an EMF sensor near Ann while they were working in her vicinity. The meter was silent the whole time. Then one of them asked her a direct question: “Hello, Ann. Welcome to our office. Do you like your new home?” Twenty seconds later, the detector’s light started flashing and wouldn’t stop. We haven’t seen it light up since.
• The day after the live feed was finally established, a coworker arrived at the office and noticed the feed had stopped at 8:27 p.m. the previous night. He went into Ann’s room and saw the magnetic power cord that attached to the laptop had been physically disconnected. No one was in the office at that time.
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Guillermo del Toro's Bleak House Exhibition
The highlight of my career without a doubt is not only completing a series of private commissions for Guillermo del Toro but delivering them to Bleak House and getting a personal tour of his entire collection as well as Bleak House 2.
From July part of his collection will be featured at the Los Angeles County Museum of Art (LACMA). Although I have no idea if my work will be part of the 500 selected pieces you can see Dolly Darko and Crookes' Residual Ectometron in his book 'The Cabinet of Curiosities'.
Though the house serves as inspiration and a point of reference for del Toro, his wife and daughters want no part of it. They don’t live in Bleak House or Bleak House 2, which serves strictly as a work space. But there’s certainly an audience for his beloved collection. The exhibit will live at LACMA between July and November. After that, it will head to Minneapolis, Toronto, Mexico City, Barcelona, Paris, and New York.