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I usually like to load my blogs with visual references, but to tell the truth, the story I am telling on this page is more about philosophical, political and spiritual references than visual ones. However, there is one major influence, or series of influences I can trace through for you here.
One of the things that has kept me interested in Mara as a project is somewhat hard to explain. I often have an idea, so I go seeking reference for that idea, or some film or comic that has the mood of that idea, and what I find rarely hits the mark, rarely sates the needs of my eyes as a viewer, of my mind as a reader. I then realize that the ONLY way what I want to see and feel is going to be seen or felt is if I make it. In other words, dare I say it, I feel that Mara is truly and genuinely unique. There’s nothing else quite like it.
All that said, one obvious influence, perhaps even swipe, was from the movie “Light Years,” which contained an understated eroticism, but also was where I got the idea for a civilization of mutants that had been created by the power structure of the above-ground world. That whole concept really got stuck in my imagination and I began to riff on all the possibilities this contained for Mara’s world. In truth, in the original Mara, done a long long time ago, those mutants played a lesser role, but now they have become a driving force and in a way her guardians, guides, and often victimizers. For me I find the seeds of my ideas in the corners of other works, very often I respond most to a character, concept or aside than I do the major thrust of the story being told, and I think, “More could be done with that.”
In the end, though I was influenced by the mutants in “Light Years,” my mutants serve a different purpose and come from a different perspective, but to be fair to me, my mutants are not merely different in narrative purpose, but in that they are mostly composed of Frankensteinian pieces parts of animals and humans, thus separating them one degree further from “Light Years.”
In a sense my mutants are no more influenced by “Light Years” than by “Frankenstein,” and just as notably, by “Island Of Lost Souls,” MGM’s 1932 adaption of “The Island Of Dr. Moreau,” which is a “must see.” No less influential than the mutants was the concept of “The Panther Woman,” who has influenced not only Mara, but my own inner self.
No less influential than “Island Of Lost Souls” was the 1977 film version of “Island Of Dr. Moreau,” in which, again, the animal-human mutants are very obviously seen, but what might not be immediately obvious is that here again, as in “Island Of Lost Souls” we see a return to my favorite fairy tale influences, “Beauty and the Beast,” as well as “Cinderella,” in that both contain barefoot beauties surrounded by beasts, filth and squalor. That contrast for me is as fascinating as that of the mix of pain and pleasure in sadomasochism.
So I think you can see that even something as simple as a “swipe,” once analyzed becomes far more complex. I have not merely “swiped” the ideas I loved from “Light Years,” that was merely the spark of inspiration, then came in other influences like “Frankenstein,” and “Island Of Lost Souls,” and “Island Of Dr. Moreau,” and it all mixed together with my own observations about how politicians use religion, and enslave God to serve their own perverted needs. In other words, once I get past the self-effacing notion that I have “swiped” something I begin to see the domino effect of numerous other influences just as important as the initial inspiration, then that all gets filtered through me, my life, and my output as an artist to become something that, in the end, bears very little resemblance to “Light Years” or any original source of inspiration. In a sense, all art is collage, we gather influences, ideas, passions, cut a bit from here, paste a bit from there, move things around, and create our own worlds from the ones we love. And hopefully in the end our collage looks more like us than it does our influences.
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