Illustrations for In Wonder and Warpaint (written by Robert E. Livingood)
When I read In Wonder and Warpaint, I knew immediately that the drawings needed to be as innocent, raw, and insightful as The Kid was. They had to be just as rich and colorful too. The large illustrations at the beginning of each chapter act as a totem for the story that follows. They are a messy pile of memories fading in and out of recollection, and the sum of the parts creates something more; setting the tone and creating a feeling for what's to come. None of the illustrations are perfect, but all are edgy like a young punk kid from Detroit in the early 80s would be.
"I'm standing on a chair looking out the window as ice crystals fall from heaven. A figure obscured by snow and hardwood trees appears, walking toward the big house sheltering me. She stands out against the backdrop of brown, green, gray, and white like a pirate ship sailing across the desert or a Red Fox trotting over snowy tundra. For a second I believe her shape is alternating between human and wild animal, but in reality it's my mother."
~Robert E. Livingood, In Wonder and Warpaint, page 17
To hear the soundtrack that goes with the text: soundcloud.com/thesugarbear/in-wonder-and-warpaint-mix-1
Stephanie Kellett first started working with Robert E. Livingood in 2013, when they produced their first collaboration, a book of illustrated short stories titled A Crack to Let the Light In. Since then, the creative duo have created interactive installations, videos, and many one-night art events together. Their work is heart felt and evocative, and conveys the feeling of this time we humans find ourselves in, where the world is simultaneously collapsing and being reborn. Their latest collaborative project is a multi-media art installation based off of a six week deep wilderness journey on the Chilcotin Plateau in British Columbia.