I'm not the Immortal Artist. You are

Immortal Artist is dedicated to exploring all aspects of art and creativity. We create new and innovative techniques which other artists can use to strengthen their own work.

We work hard to show every aspect of creativity and to promote artists from around the globe. We strive to take creativity to its highest level and to support even the most radical forms of art.

This blog uses the Living Blog concept, an idea created by Grey Cross

Grey Cross Studios/Immortal Artist Operations

New Orleans

Email: greyacross@aol.com

Friday, August 16, 2019

Labyrinth Project Creators Journal - Diana Whiley

Author: Diana Whiley
Adelaide, South Australia


I have just finished reading my latest copy of the magazine “Heavy Music Artwork.” 

I started reading the magazine a few years ago, first hooked by the artwork then by the artists’ creative processes.  

Many of the artists are also members of the band and the songwriters. The way they translate their ideas and values into the visual, reflect the mood and content of the music is both enlightening and empowering. 

Their philosophy on life is an intriguing mix of thoughts on rituals and myths, religion and big themes like the state of the world, the Universe and our place within it.

In many cultures animals have been used in ancient ritual and ceremony. Totems and shaman spirit walking to name but a few. A way of infusing the attributes of the animals into our body, linking us with the primeval. It can be a twice edged sword. 

I thought about that and how it pertained to my life. The part music has played in it and converged. 

A Piano Solo 

Fingers traced the polished octave of ivory ghosts, 
the hot winds of the dark heart connecting to my childhood 
where I drifted across red hills to the ancient call to water; 
river reeds a dangerous slither against skin. 
Above, white corellas danced the blue sky layers into night 
And the intimate grotto of constellations; 
Music of the spheres reaching past injustice and cruelty 
To immortalize majestic, lost spirits. 

In the Heavy Music Artwork magazine, the duo, “ Mothmeister”  make their own tribute to animals through taxidermy and ritual. They create surreal photographic images with these animals and paired with individuals who are masked. Despite the suggested anonymity, the portraits are intimate and posed very theatrically and with intensity.  

I’ve felt that same sense of intimacy at the theatre seated twenty feet from Shakespeare’s Hamlet as it unfolded. The body language as much as the voice of the actors stayed with me long afterward. Potent. And like being a part of, and listening to the bards and performers in the time of travelling shows. 

I shared that experience when I learnt contemporary dance. 

With body and mind I sought to interpret the meaning behind the choreographer’s story. Inevitably included my own point of view – which was also The Point. 

A duality that can cause tension.  Like a metaphor.       

Arms pivot to the gilt edge 
Of a finely wrought blade slicing through air
 Make music of their own  
Fly in their own sky, arc and extend toe to toe,
Vibration moving from the floor 
In waves up through my poised backbone
A delineation; life or death.  

Tension often causes conflict. An essential ingredient when novel writing. 

The inner conflict of the characters being as important as conflicts brought about by outside influences. 

I write up detailed backgrounds for each character. Won’t always use all of it, but it’s there and I can mix up what happens to them. Bring out their fears; push them into situations contrary to what they’ve experienced or have hidden. 

In books I’m reading I want to see into the characters mind. To move with them as they evolve. How they cope.  How they are challenged and wait for their philosophy on life to be revealed. 

Absorb and appreciate their differences. 

Note:  Heavy Music Artwork   #10 Vol 3   April 2019.  

Thursday, August 15, 2019

The Abstraction of Humanity Art Series (Session #2)

The Abstraction of Humanity series is an exploration of humanities interaction with art. This conceptual art project is conducted in sessions involving body painting, abstract art and graffiti balanced. This is session #2. 

All art is the creation of Grey Cross Studios unless otherwise designated as the work of one of our collaborative artists.

The following links will take you to other areas of the project and its working notes.

The Abstraction of Humanity Series - Working Notes 

The Abstraction of Humanity Art Series (Session #1)

The Abstraction of Humanity (Collaborative Artist)

Process Photos - The Abstraction of Humanity (Session #1)

Session #1 - Model: M. White
New Orleans, Louisiana 

Saturday, August 10, 2019

The Abstraction of Humanity (Collaborative Artist)

We often invite guest artists to the studio when we are doing large projects like the Abstraction of Humanity series. Its amazing to see how others interpret what they are seeing. 

Here is a different view of Session #1 as seen through the eyes of XXXZombieBoyXXX. Click his photo above to view more of his visionary work.

To view other areas of the Abstraction of Humanity Series, click any of the following links:

The Abstraction of Humanity Series - Working Notes

The Abstraction of Humanity Art Series (Session #1)

Friday, August 9, 2019

Labyrinth Project Creators Journal - Jerry Randolph Gilmer

Poet: Jerry Randolph Gilmer
New Orleans, Louisiana USA



Why do these things bother with me? 
These notions.
It’s not as if I ever intended to gather their attention.
I rather enjoy being the shadow in a room. 
I can, do, and have enjoyed interacting with others, but always with my hand on the “eject” button. With very few exceptions, I’ve not had any sort of interaction, social, ephemeral, or otherwise that I could not immolate at whim.
I can be scary like that.
Not interesting scary. 
I'm interesting in the "Hell were you Thinking?!" way at best.
Not even sort of acceptable scary. 
Like a vampire.
Or a member of the clergy.
No, I'm just flat out frightening when I feel the urge. 
I’ve yet to meet a person I cannot unnerve.
This is not a thing I pride myself on. 
Quite the opposite at times. 
It simply is. 
I can also be entertaining, gregarious, and charming. 
Up, and to a point. 
Once I hit said point I swiftly, even surgically excuse myself. It’s not that I’m entirely anti-social, I just genuinely find people exhausting.
Not bewildering, mind.
I'm clever as fuck.
I figured That riddle before I puzzled out walking.

As for the aforementioned “notions”... That’s a different animal entirely. I mean that more literally than you might suspect. I’ve been writing for years. I really couldn’t tell you why, except to say that I must. The damnable words, and their ludicrous urges won’t leave me be. 
Simple as that.
But their timing?
The most significant of life events can be bludgeoning me about the head and shoulders screaming for a reaction, any reaction, and I might as well be made of alabaster. Yet in that very same moment I’ll find myself transfixed by a fleck of pollen sitting on a window sill. In that moment, that torrential downpour of reality, I am quietly, busily scripting away about pollen. 
Poets are...?
I have come to understand this is abnormal. (Epileptic, likely Asperger's, that kinda whatnot...)Just as I have come to understand that categorizing anything as “abnormal” is pointless. Or, more succinctly: Just because I know I’m crazy doesn’t mean I give a damn about it. If others find labeling a comfort, who am I to cast aspersions? I’m only in charge of me, and as I’m dismal at it, I really don’t pay much attention to the perceived inadequacies of others. I’ll note them. But mostly in a scientific manner. Much like an entomologist notes the actions of an anthill.
Only with less stick pins.

And now for something likely irrelevant:

The Abstraction of Humanity Series - Working Notes (Updated 08-15-19)


At the request of several of my artistic colleagues, I've decided to post my working notes for the summer body painting series here as we proceed through the series. With that in mind, I'll update the page each time I add new notes to it. Please feel free to comment or place questions at the bottom of the page.


For those who have not either participated or seen photos of previous sessions, I'll give you a bit of background. 

When a body painter works, their focus is traditionally only on the painting in front of them. Some painters create abstract body art, others create elaborate creatures, or designs upon the human form. 

For me the process is a lot more complex. The painting of the body is only one step in a long process. 

I can break down that process into four stages. 

Wednesday, August 7, 2019

The Abstraction of Humanity Art Series (Session #1)

The Abstraction of Humanity series is an exploration of humanities interaction with art. This conceptual art project is conducted in sessions involving body painting, abstract art and graffiti balanced. This is session #1. 

All art is the creation of Grey Cross Studios unless otherwise designated as the work of one of our collaborative artists.

The following links will take you to other areas of the project and its working notes.

The Abstraction of Humanity Series - Working Notes 

The Abstraction of Humanity Art Series (Session #1)

The Abstraction of Humanity (Collaborative Artist)

Process Photos - The Abstraction of Humanity (Session #1)

Session #1 - Model: Debanair
New Orleans, Louisiana 

Monday, August 5, 2019

Pain, Struggle & Surrealism - Conceptual Art Project (NEW WORK ADDED 08-05-19)

Last year I did some experimental work on converting screen captures of the California wild fires to surrealist art. My goal was to show the pain of the event, while at the same time casting it into the realm of surrealism.

I watched countless live feeds of the fires, having in some cases to distance myself from what I was seeing. I was not just watching from afar. I was trying to place myself in the shoes of those watching their homes destroyed by the flames. After several dozen decent screen captures, I set to work with just a single image to experiment with the concept of pain and surrealism.

After I was through, I set the experiment aside to consider its impact as an art form and also its impact upon me the artist. Was it something worth pursuing? Was it too painful for myself? Was it too painful for those intimately involved in the events? Was I walking on ground that was too treacherous to be on?

Then I thought about Van Gogh. Settings aside his genius as a painter and his craziness as a man. He was able to capture the anguish of men and women and cast that anguish into a surreal beauty. "The Potato Eaters" done in 1885 showed peasants around a rickety table, sharing a meager meal of potatoes and tea. It is strikingly real yet surreal. He did not fear showing the pain and struggle of those around him.

Then I considered another artist. Picasso. Picasso. In 1937 Picasso created one of his greatest works "Guernica". In his amazingly complex and unusual style, he portrayed the bombing of Guernica, Spain during the Spanish Civil War. But he did so in the surreal style that he was so well known for. But the pain is still there. The anguish still remains.

There are many more examples of this need to cast the atrocities of man into surrealism that allows us to see the pain, while stepping back from it.

So with that thought in mind, I decided to begin a new series "Pain, Struggle & Surrealism", using the tools of today's media saturated art world to tell the tales of today's anguish.

The wild fires were experiments. They've taught me a lot. Now I watch the world. 

Friday, August 2, 2019

Process Photos - The Abstraction of Humanity (Session #1)

Here are some process photographs of the first session in the project. 

Thanks to XXX Zombieboy XXX for this set of photos. Click the link on his name to view his portfolio.

For complete information see the working notes at: 

Wednesday, July 31, 2019

Tell us About Your Art

A Special Invitation To All Artists and Creatives

Immortal Artist is an open forum for all artists and creatives. We want to give creatives a platform for their work, their ideas and their creative voice. This is not a conventional portfolio, but a more personal way to interact with people. We want to give you a chance to show your work and tell us about it. We want to know the inner mind of the artist and their creations.

There is no cost and no obligation. Anything you share can be removed at your request at any time. There is no requirement that any item must be for sale. You can show new or old work. You can share your music, writing, short stories, art, sculpture, or anything else that is considered a creative product that derived from your mind. 

immortalartist.com receives 30,000+ visitors a month. We are always growing and always interested in your ideas and creativity.

If you would like to be involved, or have an idea for something innovative to add to this website, let us know at: 


Monday, July 29, 2019

The Work of Photographer Nicklaus Ransom (New Work Added 07-29-19)


Part of the "Wrapped in Plastic" set I did several months ago. He wanted to make it ugly, so we made it ugly.

Wednesday, July 24, 2019

Labyrinth Project Creators Journal - Marko Alabaster

Artist Marko Alabaster 
Nantwich, Cheshire, United Kingdom
Visual Artist

Journal Entry 07-24-19

Ways of seeing your life has always been something I’ve been criticized for.  

“Why did you do that”?  

“Your wrong”! 

“You will never learn”! “It’s ok, but…”.

There was a time recently when I stopped my decades of self evaluation, and looked at (not the criticism) the critic.  

There were several people that praised what I did as an artist, but the feeling their sentiments were a bit shallow, didn’t really grab my attention.  The fear of failure was a hook to me, thrown by a small group that had many things to say, that were negative.  

My initial thoughts were that these people had become demons, when in reality they were the ones that made me strive for the answers and ultimately success.  Where was I going as an artist?  Who was I as a person?  Would my goals be clouded by delusions of grandeur, whereby my passion for painting would become complacent, lazy, neglected.  

Constructive criticism is important, but the “demons” wanted to undermine me, for their own means.  

It became clear when my latest works were referred to as dark.  Compliment?  Maybe.  

The last few months for me have been very difficult as I lost my Mother, and had to move due to family commitments.  Alcohol and an obsessive character became my enemies.  

If there was a time to fail it would be now.  Lost, frightened, uncertain future!  True friends supported me, but one thing is pulling me through this unbalanced stage of my life.  It’s the last painting I did, which to be honest is a work in progress as I put my art on hold.  This artwork is part of my journal as its, ways of seeing.

“Waterfall of Skulls”

As the twilight is taken by the night, the cascading, cleansing waterfall, takes all that has drained life.  Leading it to its inevitable doom.

Monday, July 22, 2019

This is the True Nature of Evolutionary Art (UPDATED)

The rules are broken, as well as the art. 

The first instinct of an artist when their art suffers damage is to fix it. In Evolutionary Art, the opposite applies. In the photo above you see a piece from the Evolutionary art series called Dr Grimm's Freak Circus and Petting Zoo". The original piece standing 7 feet high was created for a show six months ago. When the show was complete, the piece came back to the studio and became a permanent piece of art in the outdoor art space. 

Until now, its pretty much stayed as it was originally created. Then the lower torso of the skeleton fell off. Evolutionary Art teaches us that the art can take on other forms as it degrades, thus "evolving the art" to a new form. 

If you look at it, the piece just became much more interesting because the lower torso is laying there. The art just became something totally new. 

Friday, July 19, 2019

The Digital Graffiti Project - Conceptual Art

Several years ago I developed a series of art called "The Politics and Power of Street Art". It explored using graffiti as a form of art activism. During that time I developed a set of skills that allowed me to digitally manipulate images so as to make the viewer think they were looking at street art. In reality the images were all created by me, in the studio.

Starting with photo work I'd taken of a basic wall, I would add the components which put together the message I was trying to impart within the street art. I dubbed the conceptual idea "Digital Graffiti"

As time went by I refined the process but brought the series to a close because I was honestly just tiring of politics and needed a break. 

During the intervening years, I worked off and on with the concept and continued to refine it and use some of the ideas in other art series. But I've always wanted to go back and explore it as a pure art form without the necessity of political messages. 

So I am beginning the Digital Graffiti Project to better explore the conceptual idea and continue to refine my skills. The piece below is the first in this series. As is the case with most of my conceptual art, I wait for the inspiration to strike. Which means I'll add new art as inspiration calls to me. But if you'd like to discuss the concept, please feel free to post below. 

Tuesday, July 16, 2019

The Artist and the Hidden Enigma

People like minutia. They like tiny details that they are not sure others catch. The more simplistic something is the easier it can be forgotten. Detail is something that make some movies and video games so successful. Its not just great effects but great attention to details and settings. The minutia.

Sunday, July 14, 2019

Pornographic Surrealism - Conceptual Art Project

Can low end pornography become high end surreal art? This page is for conceptual art created in  "Pornographic Surrealism" series.

Its an interesting concept. Pornography in any form is about as real and gritty as it gets. It has the ability to offend and turn us on at the same time while never losing that base of reality, regardless of how surreal the sex being performed may be. It is grounded in our dreams and our nightmares. Yet translates to a reality that most fear and desire. It is grounded in emotions that we cannot even name.

This is not about human nudity. This is about taboo acts only seen in the privacy of our minds. Its not meant to be art because that would be a reminder to us of the things that we both loath and covet within ourselves. To place it upon the wall of a museum would be the ultimate travesty. An invasion of our private fantasies.