AWE: Concerning my art, respectively the name of it, the following is worth saying: it derives from the conshee (cu sídh) of gaelic folclore, which means “the hounds of the sídhe”. By the way, between both is no similarity besides the fact that both of them are inhabitants of the Otherworld (maybe the legendary Tír nan’Og), which always becomes visible in arts and crafts and each kind of creativity beyond merely practical necessities and obligations.

Therefore, they are akin, but only concerning the special kind of reality they both exemplify.

The beings I show are well known to us all, I suppose: they are large and powerful, warm-blooded, and somewhat smelly: a little bit of fur, sweat, suet, soil, horn, rotten wood, blood and semen. That means, rather fine. But how I came to the idea of depicting some large beasts in a mating or sexual context, is merely speculative; I guess I find the subject nice, aesthetic, even somewhat arousing.

I came to the name “cu sídh” while I was doing some research for an essay on the ancient (or original) conception of Cynicism. One of the basic principles means that the unbridled power of beings can neither judged as positive nor as negative, but as given by nature; and therefore worth being appreciated. But to make sure, this does not mean that I want to proclaim a religious or ideological dogma, on the contrary.

to appreciate means also to create

Mas Purwanto: What is, in your opinion, the message of your art, or which impression should be transmitted?

AWE: I recommend: get aware of the vigorous, yet elegant power of rough and heavy paws, the scent of hot vaporous breath out of deep dark throats, the elastic hardness of heavy strained muscles, the soft note of musk on a felted fur over leathery, yet smooth skin: out of a sufficient distance, to make sure!

I do not demonstrate this level of reflection, neither this kind of autonomy of the picture (how could I?), but can only suggest you to bring them to mind (I admit: I tried it either way; maybe I will successful at some time). In my opinion, appreciation and “creative mediation” play a key role in understanding things and their connection toward us and, therefore, provide a chance to become an indispensable part of the whole.

Believe me; it was not easy to find the key!

Mas Purwanto: OK, I see, but don’t you think you will be classified as “bestial artist” or zoophilic artist, respectively your art will be judged as pornographic or even bestial art?

AWE: Surely there will be such comments, surely I will be categorized by some as a kind of fetishist. You cannot be so touchy, when you produce art of either kind, if you have some back spine. I want to show, so to say, the ... preciousness of living flesh.

Have a closer look: the filigreed wrinkles around vivid (?) eyes, peeling flakes of dead material on rock-hard, imposing horns or antlers, wet-gleaming spotty gum above and below large patinated fangs, the smooth rounding between them; wispy shadowy manes. Maybe these are the truly valuable things, more imposing than any crown-insignia? They can push forward the acceptance of the fact that our material existence makes some sense; a task which cannot be mastered merely with clumsy words.

I always hold on the concept of a soul-companionship (one of the better ideas that came to us long ago).

what is essential

Mas Purwanto: Had you any restrictions or scruples on displaying such scenes? Sure, today there are many kinds of art scenes, including gothic art and pagan art, and the internet is full of bestial or bestiality art. But - either way?

AWE: I have to admit that it was not easy to overcome some reluctance giving an insight in this spiritual matrix of flesh via bringing it to paper. In fact it was torn in a lusty and meanwhile agonizing way on this level of sensual conceivable things. The rhythms of the painter had to be rather those of a chronicler; less of a merely artist; the pictures shall bring the true consistence of material reality to mind, which is more than only attracting the eye (which is not more than a valve).

What concerns “bestiality”, this is something totally different: commerce-oriented stuff, low-level pornography you can get in some countries, without any artistic meaning, mostly rough and slimy, and boring.

For me, it is important (given is a positive attitude of the viewer!) to create pictures with a seizable quality. Extreme realism is detrimental in this respect, putting the focus on technical features and motive. It is desirable “to look through the picture”, while being also aware of the sense of touch. In this way, the picture can re-create itself always again.

It became obvious for me that I had to get rid of the luxury of decadent egocentrism, and that I had to cut those pictures, or visions, out of my inner myself; to make this “parallel-inferno of flesh” real and accessible to daylight, and to show a way to calm this eternal inner hunger for real life. The all-behind idea is: find the real name of all things, their consistence and properties to overcome them, if desirable or necessary.

This should be considered as a definitively positive perception of life!

Besides: leave me alone with the bullshit of a chronic depressive world-sight and/or sexist fetishism, James!

philosophy, or: manifest of a musk-scent-art

Mas Purwanto: If there is some kind of philosophy behind your pictures, could you dress it into words?

AWE: Yes, I think so. Let me name it as follows: As soon as the desire for physical reality is not subjected (e. g. via consolation on an across-life) or overfed in a crude and destructive way (“I am, for I am consuming”), there will be a necessity for a materialized, transmittable transposition of an ideal (in the shape of art), which at least should have the potential of an ideology.

For my art, the ideal comprises: you get aware of the massive, musk-clouded consistence of those spirits, which make the fundamental reality of existence touchable in a positive attitude.

To look and to seize, to hear and to imagine: these shall intermingle in an amorphous mixture of inner perceptions and feelings and become an inconceivable source of power, in a kind of spiritual hedonism, on which surface the banalities of everyday can float easily.

I want to express a lively, insolent, unbridled liberty, unmolested from taboos, on the “stage of life”, on which all participants are sitting in the same boat. As long as free will is decisive for all minds, there cannot be some persuaded or invented consequences, based on feelings of incorrectness.

For the spectator, it has to be learned, and far from a consciously or unconsciously pervaded (?) glorification of the “aesthetics of flesh”, to cope with scenes, in which (and in the appreciation and transposition of which) the enchantment from the richness of physical existence must play the most important part. The point of view - not only in a parallel world, but also out of one - is decisive for the standpoint, and this enchantment should be the base of sensuality.

Maybe this will lead to a completely fresh, unworn perception, and attitude toward life, which can literally be felt with each pore, which can make life incredibly rich and full of splendour.

This shall be my intention and my mission.

Mas Purwanto: Thank you very much.

AWE: You are welcome!