From the Editor’s Desk 5

From the Editor’s Desk

Winter 2005

Dear Reader,

Welcome to the Winter 2004-05 edition of the Journal of Mythic Arts. This time, we’re looking at myth and magic in performance arts, exploring the folklore of the theater, the art of the mask, the children’s play Peter Pan, and more. For those of you with access to fast Internet connections, we even have a short film to show you.

Drama has its roots in the earliest myths and religious rites of humankind—in the ritual impersonation of gods, spirits, ancestors, and animals, as well as in the chanted perfomances of epic poetry. In The Golden Bough, folklorist Sir James Frazer located the seeds of drama in the ancient practice of “sympathic magic,” through which mortals sought to aid and influence the gods or the forces responsible for the turning of the seasons, the fertility of the land, the abundance of game, the weather, and so forth. “The ceremonies which they observed for this purpose,” wrote Frazer, “were in substance a dramatic representation of the natural processes which they wished to facilitate; for it is a familiar tenet of magic that you can produce any desired effect by merely imitating it.”

The earliest record we have of a dramatic production comes from an Egyptian stone tablet dated 2000 BC. It describes a Passion Play enacting the death of Osiris, god of light, at the hands of Set, god of darkness, and the subsequent resurrection of Osiris through the efforts of the goddess Isis. In Hindu myth, we’re told that drama was invented in the Silver Age, soon after the five senses were created for the delight of gods and mortals. Indra approached the Creator, Brahma, on behalf of the other gods and said, “O Brahma, we wish to feast our wonderful new eyes and ears on a dramatic spectacle. Won’t you please create a merry play for our enjoyment?” Brahma sat in contemplation on the matter—and out of the substance of his thoughts was born the Nвtya Veda, the Veda of the Theater.

The origins of drama in the west is a disputed issue, but scholars generally trace it back to ancient Greece—in particular, to the dances and dithyrambic Chorus of festivals dedicated to Dionysis, god of wine and fertility. The mystery rites of Dionysis probably consisted of two basic types: solemn sacrificial processions, viewed as an early form of Tragedy, and wild, lewd bacchanalian revels, related to Comedy. In the 6th century BC, the poet/singer Thespis created a new dramatic form in which he play–acted the role of a single character, in dialogue with a backing Chorus. Called Tragedy, this art soon spread from Athens across the whole of Greece as Thespis’s innovations were imitated and further developed. The origin of the Chorus, writes L.M. Watts (in Attic and Elizabethan Tragedy), “is absolutely lost in mystery, and can only be guessed at. It’s dithyrambic rapture and rhapsody, with the mystic dance weaving its captivating dreamy mazes around the Thymele, were a survival of religious symbolisms. Its sacred origin preserved for it its place until the end—was, in very truth, the real secret of its continued existence and popularity. Chorus rejoiced in the triumph of good; it wailed aloud its grief, and sympathised with the woe of the puppets of the gods. It entered deeply into the interest of their fortunes and misfortunes, yet it stood apart, outside of triumph and failure. It was the ideal spectator, the soul being purged, as Aristotle expressed it, by Pity and Fear, flinging its song and its cry among the passions and the pain of others. It was the ‘Vox Humana’ amid the storm and thunder of the gods.”

As we follow the history of western drama from Greece to Rome, onward through Christian Mystery and Miracle plays, through strolling players and the commedia dell’arte, to the dramatic arts as they developed in the hands of Marlowe, Shakespeare, Corneille, Racine, etc., the mytho–religious aspects of drama become less and less integral. Yet myth’s humble cousin, folklore, continued to play a lively role in drama through the centuries—not only in the dramatized folk pageants found all across the western world (Jack-in-the-Green dramas, Mummers, Wrenboys, Carnaval revels, etc.), but also in magical works created for the theater stage. In 17th century England, Shakespeare’s A Midsummer Night’s Dream, Ben Jonson’s Oberon, and Henry Purcell’s The Fairy Queen were all rooted in the still–living oral tradition of British fairy lore; while on the Continent, a vogue for fairy tales (as adult entertainment) arose from publications of the salon writers of France, resulting in magical productions for the stage involving lavish costumes, elegantly wittystories, and elaborate special effects. In the 18th century, the Italian writer Carlo Gozzi combined motifs drawn from French and Italian fairy tales, fables, myths, The Arabian Nights, and the commedia dell’arte to create a series of much–loved magical plays including King Stag, The Blue Monster, The Serpent Woman, The Green Bird, and Turandot. In the 19th century, the German Romantics mined folklore for gems of story to turn into marvellous productions that ranged from the satiric to the tragic, such as Ludwig Tieck’s archly political Puss–in–Boots, Friedrich de la Motte Fouquй’s sorrowful Undine, and popular stage versions of the magical tales of E.T.A. Hoffman. The Swedish romantic P.D.A. Atterbom produced his great mythic play The Isle of the Blessed; while in Hungary, Mihбly Vцrцsmarty made effective use of folklore in his famous play Csongor йs Tьnde. At the dawn of the 20th century, Celtic Revival writers such as Willam Bulter Yeats and Lord Dunsany brought Celtic myth, folklore, and fairy tales to the Irish stage.

As the 20th century progressed, and fairy tales were increasingly pushed into the nursery, the best magical plays were often those created expressly for children—the most famous being J.M. Barrie’s fabulously subversive Peter Pan. The traditional English Christmas pantomime was an area where magical tales remained popular—but myth and folklore was far less in evidence in productions aimed at adults. During the latter part of the 20th century, however, magical works for older audiences began to make a strong reappearance, alongside a rising general interest in all things mythic and fantastic. In productions ranging from Stephen Sondheim’s Into the Woods and Julie Taymor’s groundbreaking version of Carlo Gozzi’s King Stag to contemporary theatrical adaptations of Wicked, His Dark Materials,and The Firework–Maker’s Daughter, the themes of folklore and fantasy have been re–worked by modern writers and directors into wonder tales for our time. Today, there are theater companies (such as Ziggurat) specifically devoted to presenting works with mythic/folkloric significance—including those whose productions blur the lines between theater children’s and adult theater (such as Horse + Bamboo and Faustwork), or the lines between theater and participatory spectacle (such as Bread and Puppets and Heart of the Beast).

The participatory quality of the latter companies is of particular interest to fans of folklore and myth—for participatory drama has an ancient, venerable heritage in folk pageants such as Soltice ceremonies, Day of the Dead festivities, and winter Carnaval. (For an interesting look at the folk drama of Ireland, for example, click here.) In traditional folk pageants, a culture’s oldest stories (often containing the vestiges of pre–Christian myths and rituals) were meant to be physically experienced, not just passively observed from a theater seat. Folk pageants and dramas had, at their heart, the purpose of affirming and renewing a community—sometimes, in proper Trickster fashion, by turning the everyday rules of the community upside–down. Winter Carneval in the villages of Spain, for instance, marks a time (writes Alan Weisman) “when, for a few moments each year, the people reign. Power is concentrated in the masks thundering by, borne by the sons of the village itself, lashing the crowd ever harder. Priest and politician alike must hide or be pummeled with insult and ridicule; the world is turned upside–down and shaken until the established order cracks loose. Anything is possible, everything is allowed: Humans transform themselves into animals; males become females; peons strut like kings. Social station is scorned, decorum is debunked, blasphemy goes unblamed. In neighboringvillages, normally sober citizens drench each other with buckets of water; in Laza, they sling rags soaked in mud until everyone is reduced to muck. Bags appear containing ashes, flour, and—most prized of all—fertilizer crawling with red and black ants. A frenzy erupts; the air fills with stinging, fragrant grime, coating everyone with the earth’s sheer essence. Men and women throw each other to the ground and roll in the street. With any luck, the heavens will be shocked and the new season jarred awake. Then, once again, day can steal hours back from the night, vegetation will arouse from hibernation, spring will heave aside winter, and what was dead can live again.” In North America, we find this Trickster–ish, community–building spirit in a variety of American Indian dances, as well as in the oldest traditions of Mardi Gras in New Orleans, in the May Day festivals of Minneapolis, and in the extraordinary Burning Man festival held each year in the Nevada desert. “The anthropologist Victor Turner,” writes theater scholar Kristen McDermott, “links the ‘per’ of experience, experiment, and performance to Indo–European root meaning ‘to attempt, venture, risk,’ and suggests the key root is the Greek perao, which he translates as ‘perilous passage’ or ‘rite of passage.'”

A number of fiction writers have explored the magical, anarchic, and/or rites–of–passage aspects of drama in their novels and stories, foremost among them Angela Carter in Nights at the Circus and Midori Snyder in The Innamorati (inspired by the commedia dell’arte). The plays of Shakespeare (and Marlowe) are at the root of Pamela Dean’s Tam Lin, Marina Warner’s Indigo, Lisa Goldstein’s Strange Devices of the Sun and Moon, Terry Pratchett’s Wyrd Sisters, Poul Anderson’sA Midsummer Tempest, Tad William’s Caliban’s Hour, and Sarah Hoyt’s trilogy: Ill Met By Moonlight, All Night Awake, and Any Man So Daring. In Young Adult fiction, Susan Cooper’s time travel novel King of Shadows is a beautifully written tale that takes a young actor back to the streets of London in Shakespeare’s time. In addition, I recommend seeking out Sandman #19: A Midsummer Night’s Dream and Sandman #75: The Tempest, two remarkable adult comics by British writer Neil Gaiman.

At the cinema, myth and folklore has been reworked in a variety of fascinating ways in films such Jean Cocteau’s Beauty and the Beast, Marcel Camus’ Black Orpheus, Ingmar Bergman’s The Seventh Seal, Masaki Kobayashi’s Kwaidan, Robin Hardy’s The Wicker Man, Masahiro Shinoda’s Demon Pond, Jim Henson’s Labyrinth, Neil Jordan’s The Company of Wolves, Mike Newell’s Into the West, Alfonso Afrau’s Like Water for Chocolate, Ronny Yu Yan–Tai’s The Bride With White Hair, John Sayles’ The Secret of Roan Inish, Jim Jarmusch’s Dead Man, Caro & Jeunet’s The City of Lost Children, Hayao Miyazaki’s Princess Mononoke and Spirited Away, Carlos Diegues’ Orfeu, The Coen Brothers’ O Brother Where Art Thou?, Lasse Hallstrцm’s Chocolat, Tim Burton’s Edward Scissorhands and Big Fish, Niki Caro’s Whale Rider, Zhang Yimou’s Hero and House of Flying Daggers, Shyamalan’s The Village…and, of course, J.R.R. Tolkien’s Lord of the Rings saga as dramatized by Peter Jackson, under which lies Norse, Ango–Saxon, Icelandic and Celtic myth.

Please let us know your favorite magical dramas (in theatrical, cinematic, literary or any other form) by adding your recommendations to the Mythic Drama forum on the Endicott Bulletin Board. Mythic drama takes us to the heart of Story, leading us from one world to another. The journey into magical realms might be delightful or arduous, enchanting or terrifying—but at its best, drama brings us back to the modern world again changed and challenged.

In this Issue

In our Reading Room this month, Kristen McDermott examines folklore and superstitions about the theater, including the history of the famous Curse of the Scottish Play. The centennary of Peter Pan prompted me to take another look at this much–loved children’s play, and at the tragic story of Sir James Barrie, who brough Peter to life. Our fiction offering is a brand new work by Minneapolis writer Barth Andersen — an evocative, mysterious piece that conjures visions of the ancient ritual dramas described by Sir James Frazer in the quote at the start of this letter. In the Gallery we feature the work of contemporary artists on the theme of “mythic, folkloric, and magical masks”—with mask–inspired paintings, drawings, and sculpture as well as masks intended for performance. In the Coffeehouse you’ll find poems inspired by Shakespeare and Peter Pan, as well as a “changeling” poem in honor of Peter Pan (who is related to Scottish “changeling” tales), and a poem about Persephone to mark the dark days of winter. Articles related to this month’s theme that you might like to look up in our Archives: Winter Fool, Summer Queen (on folklore in Shakespeare) by Kristen McDermott, Into the Labyrinth (on writing, masks, and the commedia dell’arte) by Midori Snyder, and The Sacred and Profane of Spanish Carnaval by Alan Weisman.

With this issue we’ve added a new section to the Journal called Crossroads for cross–genre, cross–media arts. The new section is edited by Midori Snyder who explains: “The idea for the Crossroads came from two sources: the collision of ancient traditions and contemporary culture, and that celebratory place in Irish songs where lovers meet, where pipers play to a spontaneous gathering, and where creativity flourishes, nourished by the town and the woods. The Crossroads will offer articles about the fusion of ancient traditions and modern popular culture, from the stage to cyberspace, from the shaman to the ethnobotonist, from Icarus to to modern arial dancers’ gravity defying flights. The Crossroads celebrates our own irrepressible compulsion to rediscover the wealth of myth in new ways and new voices.”

Contributor’s Notes for the writers, artists, and dramatists whose work appears in this issue can be found at the bottom of this page.

Endicott Studio News

Art Auction: On February 12th, 2005, Angi Sullins and Silas Toball, the good fairies at Duirwaigh Gallery, are sponsoring an online Benefit Art Auction in support of Endicott, with art for sale donated by Thomas Canty, Alan Lee, Brian & Wendy Froud, Charles Vess, Kinuko Y. Craft, Christophe Vacher, Marc Fishman, Matt Stewart, myself, and many others. It’s an opportunity to buy some very beautiful work, while also supporting Endicott. We’ll post more information as we have it on the Endicott Bulletin Board, and also on the Duirwaigh Gallery site. In the meantime, please mark your calendars—and we’d appreciate any help that you can give us in spreading the news.

Our thanks: The existence of the Journal of Mythic Arts depends entirely on the support of the mythic arts community. Many thanks to all of you who have made donations and bought prints through the Friends of Endicott page, with a special thanks to our Endicott Angels—including the generous anonymous Angel who funded a large portion of this Winter issue. An angel indeed! Please don’t forget that when you purchase books from Amazon.com through the links on this site (or enter Amazon.com through the link on our homepage to make any other kind of purchase), a portion of the money you spend is kicked back to the Endicott children’s charities.

Forthcoming Events: If you live in or near New York City, I’ll be reading at the KGB Fantastic Fiction Series on January 19, 2004, along with Ysabeau Wilce. That’s at the KGB Bar, 85 East 4th Street, at 7 p.m. If any of you make it to the reading, please come up and say hi. The 26th International Conference on the Fantastic in the Arts will be held in Ft. Lauderdale, Florida from March 16 to 20, 2005. The theme this year is “Blurring the Boundaries: Transrealism and Other Movements,” which will include discussion of Slipstream Fiction, the New Weird, New Wave Fabulism, and Interstitial Fiction. Endicott’s Delia Sherman, Ellen Kushner, and Helen Pilinovsky will be in attendence. We’re also likely to host some fiction Readings at Endicott West this spring, which we’ll advertise in the same manner. Other events can be found on the Endicott Bulletin Board, regularly updated.

New Books: You’ll find some terrific books listed in our Winter Recommended Books pages (in the Scuttlebutt section of this site), along with the previous offerings in Autumn Recommended Books. We’ve listed the latest publications by Endicott contributors there, as well as many other works of fiction, nonfiction, poetry, and art that we think you may enjoy. In addition, Nalo Hopkinson is offering her latest story on–line as a Christmas gift to the reading community. It’s a lovely tale called “A Young Candy Daughter,” and you can find it here.

I’m afraid I have to end this letter on a very sad note, to acknowledge the recent death of Trina Schart Hyman, the beloved illustrator of wonderful children’s books such as Sleeping Beauty, Snow White, Little Red Riding Hood, The Serpent Slayer and Other Stories of Strong Women, A Child’s Christmas in Wales, and so many others. Trina, who’d been battling cancer, passed away on November 19th. I urge you to continue to buy her books to give to young readers of your acquaintance. Though we’ve lost Trina herself, there’s much we can do to keep her unique spirit alive by passing her beautiful, magical work on to the generations behind us.

Wishing you and your families a healthy and creative new year,

Cheers,

Contributor’s Notes, Winter 2004-05

Barth Anderson is the newest member of the Endicott Studio group. He has a novel forthcoming from Bantam Books, and his short stories have appeared in Asimov’s, Polyphony, Mojo Conjure Stories and many other venues. His work has received several Honorable Mention distinctions in The Year’s Best Fantasy & Horror volumes, and his recent story “Lark Till Dawn, Princess” was honored with a Spectrum Award for Short Fiction. His fiction can be found online at Strange Horizons, Fortean Bureau, and Lone Star Stories. Barth lives in Minneapolis with his wife and son. For more information about his work, please visit his web site.

Brian Froud is undoubtedly the best–known “fairy painter” in the world today, with an international following for his best–selling books and films. He studied graphic arts and worked as a commercial illustrator before exploring a deeper interest in mythic themes with the publication of Faeries, co–created with Alan Lee, in 1978. He is the mad genius behind the Jim Henson films The Dark Crystal and Labyrinth, and books such as Lady Cottington’s Pressed Fairy Book, Lady Cottington’s Fairy Album, Good Faeries/Bad Faeries, The Runes of Elfland, and many others. His most recent book is Goblins!, a hilarious treatise on goblinkind created in collaboration with Ari Berk. Brian lives in Devon, England with his wife, artist and writer Wendy Froud. To learn more about his paintings, books, and films, visit the World of Froud web site.

Wendy Froud was born and raised in Detroit, where both of her parents were artists and educators. She studied art and music at Interlochen, then became a puppet–maker and sculptor for the Jim Henson studios in London and New York. She created such beloved film characters as Yoda for the Star Wars movies, and the Gelflings for The Dark Crystal, as well as various creatures for Labyrinth and puppets for the Muppets television program. Her “doll art” has been exhibited in galleries and museums around the world, and is featured in three children’s books: A Midsummer Night’s Faery Tale, The Winter Child, and The Faeries of Spring Cottage. Her poetry has been published in Sirens, an anthology of mytho–erotic fantasy; she contributed to the text of Lady Cottington’s Pressed Fairy Album; and she’s currently at work on various writing projects. Wendy is married to artist Brian Froud; their son Toby is a film student in London. To learn more about her work, please visit the World of Froud web site.

Faye George is the author of two chapbooks: Only the Words and Naming the Place: The Weymouth Poems, and of two collections: A Wound on Stone and Back Roads. Her poems have appeared in The Paris Review, Poetry, Yankee, and Audubon’s Sanctuary, among other journals and anthologies, and she is represented in Poetry magazine’s 90th year retrospective, The Poetry Anthology, 1912-2002. A native of Weymouth, Massachusetts, Faye has lived in Connecticut, Rhode Island, New Hampshire, Virginia, and now makes her home in Bridgewater, Massachusetts. She has received the Arizona Poetry Society’s Memorial Award, the New England Poetry Club’s Gretchen Warren Award and Erika Mumford Prize, among other honors. For more information about her work, please visit the Poetry Daily web site.

Theodora Goss is a writer and scholar working on her Ph.D. at Boston University, focusing on the Victorian Gothic. Her fiction and poetry has appeared in Lady Churchill’s Rosebud Wristlet, Polyphony, Realms of Fantasy, Strange Horizons, The Year’s Best Fantasy & Horror, and other publications. Her new chapbook, The Rose in Twelve Petels and Other Stories (Small Beer Press, 2004) is recommended to fans of mythic and fairy tale literature; and her enchanting story “Sleeping With Bears” can be read on–line here. Theodora is also the editor of Poems of the Macabre and Fantastic, an online anthology of poetry from the middle ages to the modern era. Born in Hungary, Theodora now lives with her husband and daughter in Boston, Massachusetts. For more information about her work, please visit her web site.

Oliver Hunter provided the art that adorns the Young Adult Fiction page of our “Previous Book Recommendations” section. Oliver is an arts student at Narrabundah College in Australia, where he works in graphite, watercolor, clay, plaster, fimo and other media. He has exhibited at The National Portrait Gallery’s Headspace event for three years running, and in the Canberra Youth Theatre’s ZAPT! He is now looking to organise a solo show in Canberra. Oliver’s art has been featured in a calendar for the Department of Education, and e–published on the ‘Word Candy’ site through the ACT Writer’s Centre and Photoaccess. He is fascinated by invisible realms, otherworldly denizens and the magic of the everyday. To learn more about his work, please visit his Muse Hill mythic arts web site.

Stephen Legawiec, the son of composer/violinist Walter Legawiec, found his creativity influenced by his family’s artistic background. He received his BFA in Design and Illustration from Washington University in St. Louis, did post-graduate work at Cornell and Rutgers Universities, and studied with the American Mime Theatre in New York City. He was co-founder of the White River Theatre Festival in Vermont, and founder of the Invisible Theatre Project, an ensemble theater exploring the origins of theatre using ritual as a dramatic form. He has researched myth and world theater in Europe, Asia, and Africa, and is a member of the International School of Theatre Anthropology, under the direction of Eugenio Barba, which studies the nature of performance through culture. In 1996, he founded the Ziggurat Theatre Ensemble in Los Angeles, where he continues to explore the relevance of myth and ritual to a contemporary audience. Stephen is also the author of 26 full-length plays, including the award-winning Acquitania and Red Thread. For more information about his work, please visit the Ziggurat web site.

Vincent Marcone is the creator of the deliciously gothic My Pet Skeleton web site, and a member of the rock band Johnny Hollow. He hails from Canada, where he studied at Waterloo University and received a degree in Graphic Design from Conestoga College. Vincent’s work marries modern technology with older media such as intaglio print-making. He cites Tim Burton, Jim Henson, Dr Seuss, Maurice Sendak, David Mckean, Cynthia Von Buhler, Anita Kuntz, Mark Ryden, Albrecht Duer, and Leonardo DaVinci as his artistic influences. “My inspirations are planted directly from my dreams,” he says. “The moment I awake from the depths of my sleep, everything is clear. I can recall every colour, every texture and every detail. But in the next waking moment, that entire world is forgotten, with only fragments of that vision left for my minds eye to ponder. My images are born from that residue. They are inspired by those rare little bits that I haven’t forgotten.” To see more of his work, visit the two web sites listed above, and the Vincent Marcone page on the Dark Arts web site.

Kristen McDermott holds a Ph.D. in English from the University of California, Los Angeles, and received her B.A in English and Drama from Furman University, South Carolina. She taught Renaissance Literature and Shakespeare for several years at Spelman College in Atlanta, and is now an Assistant Professor of English Literature at Central Michigan University, specializing in Early Modern English Studies (particularly Drama and Theater History) and Shakespeare. She has published articles on Shakespeare and Ben Jonson, and has edited a collection of Ben Jonson’s court masques, forthcoming from Manchester University Press. Her work on folklore and the theater has also appeared in Realms of Fantasy magazine. Kristen lives in Michigan with her husband, writer and mythologist Ari Berk, and their young son Robin. For more information on Kristen’s work, please visit her web site.

Ione Rucquoi studied at Goldsmith College in London, and has worked in a variety of media. The photograph featured on the opening page of this issue of Endicott’s Mythic Arts Journal comes from a wonderful series of dramatic, playful, and provocative self-portraits which Ione exhibited in London. Currently she lives in Devon, England, where she specializes in creating hand-painted couture fabrics, often working in collaboration with her mother, a noted botanical artist. Ione’s imagery includes orchids, carnivorous plants, aquatic reefs, tropical forests with exotic birds and insects. Among recent works are an engagement dress showing Fatsia Japonica, Venus fly traps, Bamboo orchids, flies and snakes, and a stormy grey cocktail dress with vivid red poppies and strutting cockerels. For more information on Ione’s creations, please visit her web site

Charles Vess is an internationally acclaimed book illustrator and comic artist. He received a degree in Fine Art from Virginia Commonwealth University, then worked in New York City for many years, illustrating for National Lampoon, Heavy Metal, Readers Digest and other magazines, as well as producing hundreds of pages of comic book art for Marvel and DC. His illustrated books include A Midsummer Night’s Dream by William Shakespeare, Stardust by Neil Gaiman, A Circle of Cats by Charles de Lint, Peter and Wendy by J.M. Barrie, The Green Man and The Faery Reel anthologies, and, most recently, The Book of Ballads. He has been honored with two Eisner Comic Industry Awards and two World Fantasy Awards. Charles and his wife, Karen Shaffer, co-publishers of Green Man Press, live and work among the green hills of southwestern Virginia. To see more of Charles’ art, please visit the Green Man Press web site.

Mark Wagner provided the art that adorns the index page of our new Crossroads section. Mark works in a variety of forms from traditional painting to digital mediums, creating imagery rooted in global mythology, visionary storytelling, the healing arts, and the world of nature. He grew up in Pennsylvania and studied art at Kutztown State University (Pennsylvania), Pratt Institute (New York), and John F. Kennedy University (California), receiving his Masters Degree from the latter in 1996. He exhibits his paintings in the U.S. and abroad; he is also an illustrator, teacher, arts activist, and has worked on a variety of films including Dreamkeeper, Taking the Wheel, Terminator 3, The Book of Stars, and The Face. Mark lives in the Bay Area of California with his wife, writer Laurie Wagner, and their two daughters. To see more of his work, please visit the Hearts and Bones Studio web site.

Click here for additional Contributors Notes on the artists participating in the Mythic Masks exhibition, including Vinilla Burnham, Phil Clark, Beckie Kravetz, Katy Marchant, and Nancy Warren.