This Saturday, I’m taking part in an event celebrating the life and work of Kenneth Grant (1924-2011), one of the most influential English magicians of the 20th Century. Nine of my Alien Botany pieces will be displayed alongside Sean Woodward, Hagen von Tulien, and Dana Fox, in a special viewing, which will begin at 7:30 PM.Read More
Introducing Alien Botany bodywraps in in two muted shades of Venusian mists and distant sunsets. These are the largest Alien Botany scarves to date, measuring a generous 72 X 146 centimetres (28 X 57 inches) and lending themselves to a multitude of options.
Featuring a new pattern of our shipwrecked heroine’s illustrated discoveries – alien-botanical specimens and their interactions with host bodies; some parasitic, others symbiotic.
Cowl, shawl, head-wrap, cravat… Wear them however you please, year-round. Woven from effervescent cotton vera and finished with a fine rolled hem. Printed in microscopic detail and hand-finished in Britannia, 100% sweatshop-free. Both scarves are available in the shop, while supplies last.
For those of you who are new to my blog, my name is Zoetica Ebb and I'm a Moscow-born multimedia artist working in London. I revel in cosmic exploration, imaginary futures and their expression in fashion, and dithering the edges between fantasy and reality. Also, I really like dogs.
I've been drawing since I could hold a pencil, and have been exhibiting since 1999. I committed to my practice fully in 2011, when I began work on AlienBotany, my ongoing concept series. For now, I primarily use hyper-detailed ink drawing and limited-edition fashion designs to bring the Alien Botany universe to Earth. This project is a consequence of a lifetime of experiences and passions, conceived at the intersection of Soviet space obsession, love of the compulsive detail and speculation in antique scientific illustration, and fascination with the beauty and horror of the natural world.
I've lived all over, and I travel a lot. I've been an arts and culture curator, a magazine editor, a filmmaker, a journalist, a blogger, and a photographer, the latter of which I still do from time to time. When I'm not working in my East London studio, I can be found wandering in gardens, sequestered in book forts, and adventuring across the universe.
Until The Future,
Saturday marked the eve of my first London exhibition. Just one day after a mind-zapping blood moon eclipse, eight artists gathered in the winding crypt at St Pancras to share their work in a spectrally atmospheric environment.
In addition to this being my first London show, this was the first time in the years I've been developing Alien Botany, that I've exhibited it as one body of work. The setting couldn't have been better, with centuries-old brick and moulting paint subtly complementing the shades of cream and red in my pieces.
The crypt has a sense of silence, too, that seemed to stick around even when it filled with echoing voices and laughter. Despite the night's electric atmosphere, I felt my work was truly seen.
This was a uniquely gratifying way to present this series visually: within three airy archways in the crypt's central row, which allowed viewers to get close and take time. That feeling of silence let me describe what I've been working on without having to raise my voice too much, or to contend for the listener's focus.
It was a true delight to be able to introduce my work in Europe in this manner, and to be able to have so many stimulating conversations all in one night. My hat's off to The Hellfire Club, who sponsored the event, for bringing everything and everyone together amidst significant cosmic activity - it was an objectively unforgettable evening, as well as a personal milestone for me.
With that, I'm packing a suitcase and setting off on a birthday escapade to the British wilderness for a reset and a much-needed digital detox. A massive thanks to everyone who came to the exhibit!
Until The Future,
The Alien Botany universe has been incubating for quite some time. Though two of its specimens took on new forms and joined you as Alien Botany wearable art, I hesitated to share their functions. Until today.
Let us begin with the cryptic Mimus candentis – a small aquatic parasite. Its armoured seedling settles on underwater rocks, where a metamorphosis takes place. Once the water-roots, egg sack and incubation chamber are formed, the armour is shed and the adolescent Mimus sets off in search of a suitable host, luring her into water with a bioluminescent bell and introducing itself through accessible cavities.
During the ripening stage, the host is unaware of the invasion while the Mimus uses her blood and oxygen to mature. Hundreds of eggs fill the sack, and three are pushed through the fully formed stem up to the incubation chamber. There, a soft pseudoarmour is grafted onto the budding seedlings by a specialised organ, manus laminarmis (1a). The pseudoarmour needs UV rays to solidify, so the bell dissolves to allow for what's to come. Next, the adult Mimus extends its tendrils along the optic nerve to infiltrate the amygdala and the hippocampus, assuming a strong, but not debilitating, influence over the internal drives of the host. With the impulse control centres conquered, the Mimus clamps onto the eye, casting the host’s gaze at the sun while the armour cures.
When the Mimus is ready to spawn, it induces acute thirst in the host, routing her to a body of water, where ripe larva seedlings are released through the ocular cavity. During this time, the host may experience dissociation, hallucinations, and euphoria.
This process repeats until the host’s resources are depleted.
Companion prints of the Mimus candentis specimen and its Interaction Table are available in the shop.
I just picked up the tearsheets from the spring 2016 issue of Auxiliary Magazine, where I talk about the evolution of my Alien Botany multimedia art series and offer a taste of things to come. This feature includes an editorial I art-directed and styled alongside a bit of micro-fiction I wrote to offer a different glimpse of the Alien Botany universe. Explore below!
And the images on their own, so they can receive the individual attention limited page counts cannot offer.