Dan Baines

Fairy Rings and Monstrous Things

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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.


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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Doomsday VII Review


As I entered through the castle gate the courtyard seemed eerily quiet. The horse drawn coach that had just taken me over the treacherous moors galloped into the distance while my shadow grew fainter as the sun slowly set. Sneaton Castle sat high upon the cliffs of Whitby overlooking the icy North Sea and the vampire infested fishing town below. It would soon be dark and the once busy streets quickly became deserted. Something gave me the impression that I also needed to follow suit and find a safe sanctuary before darkness fell

I had been summoned here by telegram some weeks earlier. The mysterious note, written in a strange ink that I could only assume was a fetid concoction of fish oil and blood, informed me that an annual gathering was about to take place. Once a year, on a given day when the stars align, a door shall open and strange adepts from remote corners of the globe will gather to share dark secrets and partake in forbidden rituals. Today was that day.

Although my invitation gave a date and location there was nobody at the castle gate to greet my arrival. My coach driver thought it unusual that I had been invited here as he proclaimed that, “The old Sneaton place had been empty for years. Nobody in the village dare go up after dark, what with all the screaming and strange lights an' all.” I shrugged off his superstitious clap-trap and apprehensively started to explore further.

In the center of the courtyard stood an old gypsy caravan, the doors wide open as if someone had been unloading its contents.  On the sides, painted in a quirky carnival font were the words 'Dr. Diablo' and the figure of a man with a unnerving grin.  I took an inquisitive look inside to see various instruments of magic.  The smell of warm latex and talcum powder hung in the air like a perverted fog.  Swords and torture devices hung from the leopard skin lined walls, from this alone I knew that the mysterious owner must be from Liverpool.  With no sign of the deviant owner I continued my search.    

The castle towers loomed over me like watchful stone giants as I ventured up a cobbled lane flanked by empty buildings. Then I smelt it. A faint scent of burning wood and the chatter of voices. Red embers floated in the humid night air and I followed the sound and scent like a bloodhound on the hunt. I came to the end of the row of small buildings and I cautiously peered around the corner. I could see fifty or more figures silhouetted against a large fire pit. The cackle of insane laughter mixed with the crackle of the burning logs became louder and my head started to swim as an intoxicating rhythm began to pound in my ears. It was then I saw the leader of this disturbing 'fire ritual'. A short stout man with a sweaty complexion and nipple tassels jeered at the crowd as they chanted the words, “Mind Wraith! Mind Wraith!” repeatedly until the strange dwarven whipster walked slowly through the flames, unscathed by the hellish furnace.

I was so transfixed by the hypnotic spectacle I had not heard the approach of someone or something from behind. Suddenly, a heavy hand slammed on to my shoulder and I spun on my heel to confront a tall chiselled man who spoke with a German accent. “Velcome to Doomsday! You're just in time for ze burning!” As he manically laughed I started to feel myself sweat as a cloud of overwhelming humidity descended on me. What was this strange magick? My legs gave way beneath me and my vision began to blur whilst the world around me started to slowly fade.

As my eyes finally closed, in the distance I heard the German voice once again,“Voodini! Oskar! Come give me a hand! I've found a sacrifice for ze altar!”...

For the past two years I have been the event organiser of Doomsday, the annual gathering of bizarre magicians, story tellers and adepts of the alternative arts. Originally conceived by Roni Shachnaey seven years ago, Doomsday is the best convention of its type in Europe. Every year people from all over the world make the pilgrimage to Whitby for a weekend like no other. What other magic convention can claim to be hosted in the home of Dracula AND in a castle?

Doomsday has started to see a dramatic increase in attendees proving that our shadowy corner of the art is alive and more popular than ever before. It was wonderful to see familiar faces and new blood on the scene as well as meeting the rabble of regulars. Although it is promoted as a convention it is and always has been more of a family gathering. The newcomers were welcomed with open bat-winged arms and I am sure they will return year after year.

Quite a few attendees arrived in Whitby on the Thursday so that they could explore the town and take in all of the Gothic charm. The walk up to the abbey is a must and for a measly £3 you can experience stellar attractions such as The Dracula Experience, so bad it's good! For our overseas visitors there is plenty to see and do in the days prior to Doomsday so you can even make holiday of it and most do.

In a bid to save my liver from a heavy first night of socialising I headed south to Scarborough to see Roni Shachnaey. Unfortunately Roni was unable to attend Doomsday due to health issues so Alex Wallace and I decided to take Doomsday to him. Over a wonderful meal cooked by Laraine I was enlightened about the dark origins of Doomsday and how it is the estranged lovechild of another gathering that is ironically not as immortal as the name suggests.

This year we kicked off with a new event. On a small patch of land in the castle grounds two tons of wood was tossed into a pit and set alight for the Doomsday Fire Walk! Iain Jay and his industrious team of circus performers created the most memorable start to Doomsday to date. I must admit that virtually everyone was rather apprehensive at the idea of walking through a 10 foot pit of fire but it only took one volunteer to go for it and nearly everyone followed. Rather like lemmings I suppose! As the majority of us are destined to go to hell it was a nice preview of what's to come and I made two trips across the burning pit with nothing more than sooty feet and a huge grin.

We then returned to the castle for the first lecture of the weekend. Never before has there been a more suitable lecture for Doomsday. Matteo Borrini, Forensic Anthropologist and star of the National Geographic documentary series gave his personal account of the 'Plague Vampire Exorcism'. My personal highlight of the weekend was meeting Matteo who's knowledge and persona encapsulates what nearly every bizarre performer strives to be. He is a truly unique person and an asset to the community.

Doomsday then officially opened with Dr. Diablo's Carnival Macabre presented by the funniest chap I know, Michael Diamond. From a personal perspective Doomsday would not be the event it is today without Michael and his team, the charming Katie Trickett and Bendy Bendini. Nothing sets the scene more than some good old sideshow acts to amaze and disturb the punters. Human Blockhead, The Radium Girl and Bendy pushing an unhealthy amount of needles into his face; now that's entertainment!

The Doomsday ethos is certainly work hard and play hard with most of the crowd finally heading to the bar to 'catch up' until the early hours of Saturday morning. It was going to be a long day and what better way to prepare yourself than stocking up on pizza and ten pints of Hobgoblin ale? Of course, not everyone drinks alcohol and the convent next door supplied holy water on tap. I like to think it was this that gave me the 'dicky tummy' and not the Lobster Tikka Masala I had eaten a few days previous. We are denizens of darkness after all!

What better way to start Saturday morning than with a session designed to get everyone up on their feet, whooping and hollering. I knew Saturday morning would be tough for some of the Friday night party animals so I added Ian Harvey Stone as the first lecture to get the blood moving. Ian's lecture 'Finding your voice in the magical landscape' was a workshop on how to vocally present yourself on stage professionally and in the 90 minutes that followed I learnt lots. Although I'm no performer I still lecture regularly and the areas that Ian covered were worth their weight in gold. Ian served his slice of how to command the stage with energy, humour and lots of audience participation making an unforgettable and valuable start to the day.

World record breaking strongman Stuart Burrell then took to the stage to give a whole new meaning to the phrase 'he couldn't punch his way out of a wet paper bag' by ripping out of ca hained and padlocked chainmail vest. He also demonstrated ripping a tennis ball in half and breaking free from cable tied wrists. There was even a bit of real blood much to the crowds delight.

Roger Curzon then recalled the tale of Uncle Albert's Box and the dark contents concealed within. Delivered with Roger's much loved deadpan northern charm it was Doomsday's first magic performance and a satisfying one it was too. Roger is a Doomsday regular who I remember performing years ago so it was wonderful to see him back doing what he does best.

Setting up a complete cabinet of curiosities exhibition for one of the UK's largest horror conventions in 3 weeks is a challenge right? Well Andy Cooper,  Nik Taylor and Tristan Stothard managed to do just that AND make money from it AND make it so popular they are also doing it again this year. Andy and Nik gave a light hearted account of how they created some intriguing exhibits to shock and disturb the punters. A possessed Mr.Punch, a mysterious Oracle and Winston, a terrible example of taxidermy all made an appearance and gave us all a motivational kick of what can be achieved with lots of enthusiasm and very little time.  Unfortunately Tristan was unable to attend Doomsday this year but I'm hoping he'll bring is Psychic Pain to Whitby next year.

A swift but hearty lunch provided the Doomsday crowd with some much needed energy although a double helping of dessert left me with a post-lunch sugar crash big enough to down an elephant. Dealers dealt while arcane knowledge was whispered and shared amongst the adepts before Luke Jermay took to the stage.

To watch Luke lecture or perform is a captivating experience. His knowledge and confidence of character pushes you down into you seat and commands your attention for the entirety of the lecture. As I mention previously, I'm not a performer although every time I see Luke it makes me want to pick up a deck of cards and at least have a go. And in the past I have to much success, that's if you consider baffling your Gran and elderly Aunt successful. Other Doomsday members though who do perform will have taken huge amounts of inspiration, methods and ideas away with them. Luke even shared some routines that he'd never revealed before especially for the Doomsday crowd. It's my birthday next week and a Marksman Deck is on my list for sure!

The great thing about my good friend Oskar is that in the UK nobody has a clue who he is. Yet, back in Sweden he is the star of the TV show 'Mysteria'. Only in Sweden can you get away with a kid's TV show where a group of wizards run around Stockholm trying to catch an accidentally summoned demon with the aid of random children. They also conduct a séance with a group of 8 years olds as well as invoke the ghost of a witch. Good, clean family TV. Oskar and Robert Dahlstom, also a star of 'Mysteria', gave translated excerpts of the series and demonstrated some of the amazing props Oskar created specifically for the show.

The final act of the afternoon was Doomsday veteran Tracy Wise. Every storytelling magician should look at Tracy's act and take note as her ability to captivate the audience and spin a good yarn is impeccable. 'Nursery Crimes' presented the dark origins of some of our favourite childhood nursery rhymes while intertwining magic and music to create an unforgettable performance. Those attending Doomsday South in November will see more of what this very clever and beguiling lady can do.

The 2 hour dinner break gave the crowd a chance to head into Whitby to sample what the local fishermen had dragged ashore, served with chips and lager. The typical gloom of a British seaside town gave way to the unusual spectacle of sunshine and everyone came back fully charged for an evening of entertainment.

The Hex Factor was born out of numerous requests from magicians wanting to perform at Doomsday. Rather than stick with the usual gala show format I thought it would be more interesting to create a whole new event that would see performers competing head to head for a hideous prize. And so the Hex Factor was born and the first 8 contestants stepped up before a foaming crowd and a trio of steely judges.

The standard of the Hex Factor performances proved that those who don't normally perform for a large crowd actually should! Ewan Callison gave the evening an edgy start by talking to 'dummy', his small ventriloquist doll while performing a eerie dolls house séance. For Poe fans, Kevin Lynch's fast paced tale of numbers and messages from beyond the grave had the audience scratching their heads. Jim Critchlow not only created a great performance but also spawned a demonic mascot for Doomsday, the mighty Wucifer. The horrific helium filled satanic symbol hovered over the stage for the duration of the evening. The last slot before the interval was a touching performance from newcomer Luke Robson who's spirit slate routine about a dearly departed friend simultaneously touched and entertained.

After 20 minutes of liquid refreshment we kicked off with Matteo Borrini once again with a tale of savage Liverpudlian lycanthropy. Representing Belgium was Wino Caestecker whose performance would eventually win The Hex Factor by a considerable amount. Emotional and devilishly devious, Wino played the audience like a pro to the point where I thought he was going to have a nervous breakdown live on stage. But of course it was part of the act, or was it? Either way Wino scooped the first prize and highly deserved it was to. Adam Daniel followed with my personal Hex Factor highlight as he produced the old Victorian board game classic 'Guess Whom'. A clever, humble performance delivered with a Derbyshire drawl which reminded me of home well, the rough parts anyway! Finally Les Brown performed his Russian Roulette with BB guns routine. We all uncomfortably watched as Les fired pistols into his mouth, eyes and head, empty ones at least. He successful dodged the last bullet and poor Pauline missed the life insurance payout once again.

The Hex Factor is here to stay and entries for 2017 are already being booked. It's about time that our dark corner of the magic world had its own competition and Doomsday is the place to come if you want to win the newly coveted award.

The dates for Doomsday VIII are already set and tickets will go on sale shortly. Put a big fat cross in your diary and make sure the weekend of 19th - 21st May 2017 is free. Don't be one of the crowd who always comment on how they wished they could've been there, just do it! As always, the venue is limited on size so tickets will be limited and this year we were almost at maximum capacity so book early to avoid disappointment.

And for those unable to wait another year there is always Doomsday South in November. Set in the gothic surroundings of Simon Drake's House of Magic this will be another event not to be missed. There is more emphasis on occult & paranormal subjects than just magic so expect a diverse crowd and an excellent opportunity to network with all walks of life from the world of alternative arts.  Confirmed lectures and acts for the first ever Doomsday by Gaslight are Reece Shearsmith, quarter of the award-winning comedy team The League of Gentlemen and star of Inside No.9, David Farrant will be giving his account of the Highgate Vampire incident, Scott Wood from the South East London Folklore Society will discuss urban tales of the London Underground, Matteo Borrini returns to give his Plague Vampire Exorcism lecture so be sure to bring a strong stomach!  Tracy Wise who is not only an accomplished magician and forensic scientist but also an expert on OOPArt (out-of-place artifacts) will present a lecture regarding ancient objects found in a very unusual or seemingly impossible contexts.  Luke Jermay will also grace the House of Magic stage with feats of mystifying mentalism and finally film director David Chaudoir will be presenting a private screening of his short 'Bad Acid', the dark tale of a washed up cabaret hypnotist who gets what he wished for, but not in the way that he wanted. 

The weekend ticket includes lunch and a private Jack the Ripper walk around Whitechapel on the Friday night before the event.  For those arriving early myself and Freddie Valentine will also take you on a personal tour of some of London's darkest and mysterious locations followed by the obligatory social at the Ten Bells and Dirty Dicks.  If that wasn't enough to tempt you there will also be a prize draw to win a copy of Dolly Darko MkII so if you win you may need to book another seat on the train, she likes to sit alone...

Doomsday awaits those who dare, but be aware; no one who attends remains unchanged!

She's Alive!!!

Here's the long awaited Dolly Darko update you've all been waiting for. I know that I said that this would be Dolly Darko MkII week, however I totally forgot about the bank holiday and that we had family visiting. This means my usual studio time has been spent entertaining the troops, although even given the limited time I have made great leaps forward in the design process.

Dolly's new cracked ceramic finish still retains the nasty pallor of the original but gives it a new look that I think is an improvement. The previous painting method could not be used as it would melt the 3D printed doll parts, this method also produced inconsistent finishes. Once painted there's no way of telling she's a 3D printed model, in fact she feels a cross between delicate porcelain and traditional paper mache.  The original Dolly weighed a ton, this new one is a fifth of the weight. In true Wurzel Gummidge fashion the heads are also swappable allowing users to tailor performances and it also gives me the opportunity to exploit a marketing opening and produce a collection of heads!

Without giving too much away technically the chips I use inside Dolly can be programmed very easily, by simply plugging in a USB cable you can define -

  • The angle the head turns

  • The delay from pressing the button to the head turning.

  • The time it waits looking left or right before returning to centre

  • The speed in which her head turns and much more

I'm also working on making her arms raise as is she is begging to be picked up. Space inside the doll is limited but theoretically the triggers that make dolly move can be either manual, remote control or by sensor .i.e movement or light. The programmable chips also mean that future updates, new features and custom performance programs can be installed by the user with ease.

The floating version of Dolly Darko will be a separate product. The prototype at this stage can lift her head, stand, walk and then float seemingly unassisted. Some clients have contacted me worried that this turns bizarre performance into some form of strange puppetry. I have reassured them that the story that accompanies Dolly Darko MkII gives a certain validity and reason for the 'puppet show' whilst still maintaining a visually disturbing yet entertaining performance.

Those attending Doomsday VII in Whitby in two weeks will hopefully be able to see Dolly Darko MkII on display. You never know, she may even look at you and wave...

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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.


Guys & Dolls Part 3 - Head like a Hole

After some tinkering in MeshMixer the first Dolly Darko head 3D print was faultless. As the print is completely hollow the print time was less than an hour which opens the possibility of printing a full doll in a single day.

The print is also extremely light with the fully painted head weighing in at only 24 grams which means a complete doll should weigh around 200 grams fully clothed. For people worried about the weight and feel of the doll, you'd be surprised it was made of plastic as the material once painted feels more like traditional paper mache. In no way does it feel or look like it was made using cutting edge technology.

The paint finish on the head is slightly over the top but I wanted to see how battered and nasty I could make her. A more toned down, cared for antique look will also be available to the more faint hearted.

The printer is currently churning out the torso so a full doll might feature in next weeks blog.

Guys & Dolls Part 2 – Dolly Darko goes digital

Dolly Darko has come a long way since I discovered her dusty body in a Parisian antique shop over a decade ago.  She's been entombed in silicone and cracked and dropped so many times the original bisque doll is a sorry sight. The moulds used to create the forty or so Dolly Darko dolls are also on their last legs and have begun to fall apart.

In an attempt to immortalise Dolly in the digital realm I have started the task of 3D scanning all of the parts. Not only will this allow me to reproduce Dolly once again without the need of casting and moulding equipment but I will also be able to digitally restore any damage thus making her perfect once again. At some point in the past her right thigh was totally destroyed however, through 3D scanning I've been able to scan the left thigh and mirror it via the software editor to make a brand new right thigh.

Once all of the components are scanned and saved I can print Dolly in any size and colour but more importantly, I can print her with a hollow torso and head. This gives me the opportunity to install servos and other gadgetry that will make Dolly even scarier than her resin counterpart. It will also make her 80% lighter than the original which introduces the possibility of puppetry. A doll version of Losander's floating table anyone? By implementing this amazing new technology it is all possible, although the journey to get this far has been one hell of a steep learning curve!

As well as capturing Dolly Darko digitally I have also started to capture all of my other existing antique doll and vent doll heads for future projects. Even if one should become lost or damaged I'm only a few hours of printing away from a new one. It's a facility that will become invaluable in the studio and I'll never have to endure my collectibles to the rigours of silicone and latex ever again. As strange as it sounds, the ability to scan and reproduce any object leaves you with an almost god like feeling!

Next time I will compare a few test prints with the original parts of Dolly Darko in terms of detail and weight. It finally looks like Dolly Darko MkII could be a chilling reality, only this time she'll be much scarier than before...


The FeeJee Mermaid Sideshow Barker Box

After exhibiting the FeeJee Mermaid at numerous events over the past few years you can imagine that I became tired of explaining what she was, where she came from etc, so I had an idea...

I found an antique church collection box and installed some mp3 electrikery to create the 'Automated Sideshow Barker'.  Just insert an old English penny and an informative tale ensues!

Here are a few additional images of completed Feejee Mermaids.  Anyone familiar with my Mummifed Fairy Workshop kit I funded via Kickstarter a few years back may be interested to know that a Feejee Mermaid project is also in the pipeline so watch this space.

FeeJee Mermaid in 5 Days, Prop Build Project Day 5

Well here it is, day five and what a journey! The mermaid dried perfectly overnight and all that was required this morning was a quick coat of varnish on the claws and a final dry brush to the face. Part of being an artist is knowing when to stop and deadlines make that decision for you (which is why I like them!)

As my mind ticked over in bed last night it occurred to me that to the uninitiated most won’t have a clue what the mermaid is. This usually happens at events where I exhibit my fairies, I have to answer the same question multiple times - “what is it?”, “is it real?” etc…

To pre-empt those questions I thought that with the remaining time I would create a small display and ‘dress’ the prop with artefacts and interesting items that tell a story to the observer.

In addition to the newspaper clipping and faux ivory mermaids I added yesterday I also added a few aged sailor’s personal items such as a maritime compass and sundial and a bosun’s call. I framed a small photo of a Victorian chap standing next to another FeeJee Mermaid and finally added some aged signage to the plinth and an upturned antique tray I had lying around.

Underneath the tray I added an mp3 player and speaker which plays eerie carnival music for added atmosphere.

The whole ensemble creates an eye-catching exhibit worthy of any travelling sideshow and I’m over the moon with the results.

Over the past 5 days I have tried some new ideas, some worked and others didn’t but that is the essence of prop making – experimentation and developing existing methods.

I hope you’ve enjoyed following the blog over the past week. If you have a go yourself please drop me a line and let me know how you’re getting on, I’d be very interested in having a look at your work.

FeeJee Mermaid in 5 Days, Prop Build Project Day 4

Time certainly flies when you’re working to a deadline! I was worried last night that I wouldn’t have enough drying time to complete by Friday however, I awoke to glorious sunshine and a baking hot day in tropical Kent! Perfect weather for today’s antics!

My silicone fish scale texturizer has set and everything on the mermaid from yesterday was dry and ready for the next stage.

I mixed a batch of Herculite plaster and some brown powder colour pigment, thicker than you would use for casting. This was about the same consistency as Angel Delight (if you’ve ever eaten that muck!).

 I then painted the entire mermaid in a thin layer working it into the rubberized tights skin.

This was then left to dry.

The next stage involved mixing another batch of Herculite, thicker this time. It was the consistency of wet clay so it could be picked up and spread over the mermaid’s body by hand.

Working from the head to the tale, covered small sections at a time, I smoothed the plaster and then textured the surface with a damp piece of crepe bandage to create a goosebumped skin effect.

To texture the tale I used the silicone pad I cast yesterday. The silicone was lightly pressed on to the plaster. It needs to be noted that the texture left behind is not an exact impression of the silicone scales. It creates a much rougher pattern but with a slight element of regularity. The true effect will not be seen until the final stage.

Once the entire mermaid had been coated and textured it was left to dry in the morning sun.

Now to turn our ghostly white mermaid into a mummified relic of the sea! I use two types of Dirty Down Special Effects Dye for this stage – Ash Blonde and Rust.

The Mermaid was given a coat of Ash Blonde. The plaster is very ‘thirsty’ and soaks the dye up very quickly. I gave her 2 coats and then left her to dry for 10 minutes.

I then gave the mermaid a coat of Rust. The same technique is used here that I used to create the baking parchment fins. Spraying the body at varying distances to create lighty covered areas and spots of saturation. I would spray areas like the eyes & mouth as close as possible to create darker pigmentation and lighter, further away sprays for the underbelly. You’re effectively shading with the spray can.

The spines were coated exactly the same way and the tips were wiped with a damp cloth to create the gradation of colour.

The tail and fins were then attached with liquid latex and rapidly dried with a heat gun. The latex was then also given a coat of Dirty Down to blend it in.

Ear fins and a dorsal fin were also attached.

The mermaid was then given some fresh air and sunshine for a further hour to dry.

The fins and spines were sprayed with Windsor & Newton gloss canvas varnish. This, when applied to the baking parchment on both sides makes it translucent and also enhances the colour.

Additional coats of Dirty Down and varnish were applied until the right look was achieved.

To create a taxidermy fish semi glossy finish to the tale I lightly brushed the tail with polyurethane gloss varnish. Using the same principle as dry brushing to only deposit varnish on the raised textured sections. The varnish makes the plaster & dye turn almost black and finally reveals a fish scale type pattern.

Once all of the messy stuff was over with I removed the protective cover from the base and aged the bright red baize with more Rust dye.

I had a couple of faux ivory resin mermaids in the studio I made a couple of years ago for another project. I decided to also mount these on the base and added a reproduction newspaper clipping featuring the exhibition of a FeeJee Mermaid.

Right, that’s enough for today. I’ll let everything dry and I’ll come back with a fresh eye tomorrow and apply the finishing touches for a final photo shoot.

FeeJee Mermaid in 5 Days, Prop Build Project Day 3

We’re almost at the halfway mark and it’s time to finally give our mermaid some character by adding the skin and creating a face.

A matt black acrylic undercoat was applied to the whole mermaid.

To add some 'skin' to the bones I used a pair of tights.

I cut one leg off and then removed the foot section. The foot section was used for the head while the remaining tube section of the leg was used for the body.

The tights were then stretched over the skeleton and tail and secured with elastic bands, these sections will be removed and cut away later. The whole mermaid was then given another coat of liquid latex, this will secure the ‘skin’ to the bones and tighten slightly to reveal the bone structure underneath.

To accelerate the drying process a number of hot air blowers where arranged around the mermaid.

I then wanted to create a fish scale texturizer for the final skin layer. I rolled a piece of polymer clay and created a fish scale pattern with a sculpting tool.

I then covered the clay with a thick layer of plaster and once this was dry I covered the plaster in another layer of plaster coated crepe bandage to create a hard shell.

Once the plaster was dry I removed the polymer master and poured a thin layer of silicone rubber into the plaster mould. This will give me a flexible scale texturizer that I will use over the whole tail section during the next stage.

Once the latex skin was dry I could apply the spines and work on the face by applying teeth and modelling the eyes.

Using a scalpel I cut slits for the eyes, nose and mouth and rolled back the rubberised tights to create lips and eyelids.

The teeth were created by taking real fossilized shark’s teeth and splitting them with pliers to make sharp shards.

To insert the teeth I simply lifted the lips and placed the teeth behind the skin with a dab of superglue to secure.

The spines were positioned with a hot glue gun and then coated around the base with latex to strengthen the join.

I’ve left the mermaid to dry over night as tomorrow I will apply the material that will give the mummified effect.

FeeJee Mermaid in 5 Days, Prop Build Project Day 1

This 5 day tutorial was originally released on the blog of one of my previous business ventures 'Pyewackette and Pecke'.  It was a dark cousin of Etsy, a site dedicated to hunting down the best alternative artists and collectors and providing them with a platform to showcase their dark talents and products.  The project folded due to high demand for my own personal work so rather than spread myself too thinly I decided to focus my creative efforts here. 

I have received a huge amount of e-mails requesting the tutorial to be republished so here it is.  Enjoy me hearties arrrgh!

Unlike other artists I know, I work best under pressure and within time constraints however, I’ve not left this project to the last minute by choice. It’s been so busy here at Pyewackett HQ that I’ve merely lost track of the hours, days and weeks and possibly even the year! Anyway, next Saturday is the Alternative Market in Derby hosted by Curiouser & Curiouser and I was planning a nice big centre piece for my display, namely a FeeJee Mermaid. One thing has led to another and as you may have guessed I’ve not even started so I had an idea...

Over the next few days I will be posting a daily blog on the build of the mermaid. It needs to be complete and ready to ship to Derby on Friday so it’s going to be tight! I’ve made many bizarre props and creatures over the years but never a FeeJee Mermaid so I will be pulling together a whole host of building methods, techniques and idea I’ve never realised to hopefully create something worth displaying this coming Saturday.

Not enough people in the prop building community share their ideas which is a shame. Some people guard their techniques like Smaug sat on his hoard of Dwarven gold. If we don’t share then our precious methods die with us. As Adam Savage mentioned at MakerFaire 2014 – no secrets!

In his own wise words -

"nobody is going to take your technique and then steal your ideas, nobody has a monopoly on being you and if you think that your technique is what makes you interesting you’re being ridiculous, so share your techniques! When you share an idea, somebody may come back to you with a better way of doing it and you’re going to learn something from them and develop your own techniques even further."

So, I’m going to cover what I do right here. If you want to try it for yourself and go for it, if you know a better way of doing something let me know! Either way sharing, experimenting and learning is what prop building is all about, so through my blogs and workshops I hope to promote that way of thinking.

Right, let’s get to it…

Here's what I've achieved at the end of day 1.  We'll then look at what I did to get this far and any challenges faced....

I wanted my mermaid to be true to the original size which is about half a metre in length, I also had to consider mounting options at I did not have a display case or dome in stock.

The mermaid is built around an 18” medical skeleton model, a resin cast of a human infant skull and tail made from armature wire, tin foil and air dry clay.


In the past I have had to source real magpie or crow feet to obtain claws for fingers. Thankfully I can now just 3D print a bird’s foot, claws n’all without harming a single creature. I use the Up Plus 2 printer and using black ABS filament I printed 4 sets of Osprey feet. To get the shiny claw finish I brushed each foot with pure acetone. This also smooths out any imperfections and bumps let over from the printing process.

Each printed toe and claw was then snipped and attached to a wire hand armature. As mentioned before, I like to make the skeletons of the creatures I make fully poseable so that I can mess with the dynamic posing before any other materials are applied.

The hand shape was filled out with white Milliput and the original skeleton hand was replaced with the new larger clawed mermaid hand.


As I discovered from my mummified fairy hoax, then best way to replicate a corpse if to use a realistic skeleton to drape you skin over. Don’t bother making your own, just an ‘off the shelf’ school biology model will do. You just need to make it poseable. I just deconstruct the skeleton, removing all screws etc and rearticulate it with armature wire and tape. To bend the spine into position I just heat it with a heat gun, bend to the desired position and then immerse in cold water to set it.

The signature feature on a FeeJee Mermaid is the oversized freaky head. I removed the standard skull from the skeleton and cast an infant skull in resin. I then modelled a nose and closed eyes with Milliput. The ears will go on later.

After a lower jaw section was cast and attached, the head was then screwed to the articulated skeleton.  The upper torso is now starting to take shape and the over sized head and hands already give the FeeJee mermaid that signature look.


I’ve never tackled a fish tail before (excuse the pun) so this was new territory for me. To gauge the desired length I cut a large piece or armature wire, twisted one end around the pelvis of the skeleton and then cut to what looked like the right length for a mermaid’s tail.

With the remaining Milliput left over from the hands and face I rolled a number of spines that I will use later to model a dorsal fin.

A rough tail shape was then modeled with tin foil wrapped around the wire.  Tin foil was also packed into the rib cage cavity and and abdominal area to give additional strength and to act as a key for later applications of modeling material to grip to.


At this stage I needed a base. This would allow me to handle the mermaid safely, dynamically pose the skeleton and allow it to dry without any contact with surfaces which may crumple or alter the position.

The studio is full of remnants of old projects and bits that I keep in hope they may come in handy one day. I had a nice large and heavy diorama base from an aborted Golden Demon Awards project so I roughed it up on the belt sander and gave it a quick dusting with 2-part crackle paint.  A red velvet baize was then fitted.

To mount the mermaid I took an antique wooden candle stick and dismantled it. I then drilled a hole in the plinth and screwed the candle stick to it.

A steel rod was fitted into the rib cage of the mermaid and a hole was drilled into the top of the candle stick allowing the mermaid to be mounted securely but also removable.

Tail Part 2

Once the mermaid was securely mounted I could continue modelling the tail. This was done with air dry clay, not everyone’s favourite material but it allows me to sculpt what I want quickly. It does crack when it dries however, I will cover what I do to get around this on Wednesday when it will hopefully be dry.

I continued the vertebrae from the upper torso and down the fish tail and added some rough texture. Most of this will be covered over the next few days with layers of latex and plaster so a neat finish is not important.

As you can see from the image above, the base has been wrapped and taped to protect over the coming days.

The main aim of today was to complete the foundations of the mermaid figure and get it mounted.  I'm hoping the clay will dry by Wednesday morning at the latest although I have bought the mermaid into the house in the hope of speeding up the drying process.  Depending on how she does over night will dictate what I cover tomorrow!

© Dan Baines 2016