Turbulent, disordered beauty: sensitive to initial conditions, topologically mixed, and approached by periodic orbits with abandon. A dynamical system expressed through scent.
Each bottle of Chaos Theory is truly unique, a fragrant fractal, and an exercise in the joy of chance and uncertainty! Each is a one-of-a-kind, utterly random combination of scents, the composition of which is based on whim, mood and gut instinct. Each bottle is numbered, and each bottle is unique.
Hail Eris! After a long hiatus, Chaos Theory is back!
This year, the aforementioned chaos is expressing itself through decidedly seasonal metaphors associated with gathering the harvest and welcoming the “dark half” of the year. Is it comfort you seek, or incantations whispered through a tear in the Veil? Thanks to the options below, you don’t have to choose — you can have it both ways!
This is an exercise in the joy of chance and uncertainty! Each bottle is a one-of-a-kind, utterly random combination of scents, the composition of which is based on whim, mood and gut instinct.
Most common allergens have been omitted from the experiment. No pennyroyal, no nuts, no cinnamon, no cassia. Regardless, if you have any sensitivities, please do not participate in Chaos Theory. The contents of the oils are not recorded [that’s the whole point!] and we will not be able to answer questions about specific bottles of CT:VIII or guarantee that an allergen is not present in your order.
By purchasing CT:VIII, you agree to absolve Black Phoenix of any responsibility related to an allergic reaction to one of the oils in this series. Please make a responsible choice, and use caution and discretion when ordering. This is intended to be a fun, exciting project.
Each CT:VIII scent has a base inspired by one of our favorite ‘Weenies, in wildly varying proportions:
It was a voluptuous scene, that masquerade. But first let me tell of the rooms in which it was held. There were seven –an imperial suite. In many palaces, however, such suites form a long and straight vista, while the folding doors slide back nearly to the walls on either hand, so that the view of the whole extent is scarcely impeded. Here the case was very different; as might have been expected from the duke’s love of the bizarre. The apartments were so irregularly disposed that the vision embraced but little more than one at a time. There was a sharp turn at every twenty or thirty yards, and at each turn a novel effect. To the right and left, in the middle of each wall, a tall and narrow Gothic window looked out upon a closed corridor which pursued the windings of the suite. These windows were of stained glass whose color varied in accordance with the prevailing hue of the decorations of the chamber into which it opened. That at the eastern extremity was hung, for example, in blue –and vividly blue were its windows. The second chamber was purple in its ornaments and tapestries, and here the panes were purple. The third was green throughout, and so were the casements. The fourth was furnished and lighted with orange — the fifth with white — the sixth with violet. The seventh apartment was closely shrouded in black velvet tapestries that hung all over the ceiling and down the walls, falling in heavy folds upon a carpet of the same material and hue. But in this chamber only, the color of the windows failed to correspond with the decorations. The panes here were scarlet –a deep blood color. Now in no one of the seven apartments was there any lamp or candelabrum, amid the profusion of golden ornaments that lay scattered to and fro or depended from the roof. There was no light of any kind emanating from lamp or candle within the suite of chambers. But in the corridors that followed the suite, there stood, opposite to each window, a heavy tripod, bearing a brazier of fire that protected its rays through the tinted glass and so glaringly illumined the room. And thus were produced a multitude of gaudy and fantastic appearances. But in the western or black chamber the effect of the fire-light that streamed upon the dark hangings through the blood-tinted panes, was ghastly in the extreme, and produced so wild a look upon the countenances of those who entered, that there were few of the company bold enough to set foot within its precincts at all.
FOR IMMEDIATE RELEASE:
ARKHAM’S PICKMAN GALLERY ACQUIRES CURIOUS COLLECTION OF GOAT ART, DEEMED ‘GREATEST OF ALL TIME’
Greatest Of All Time: Portraits of Genus Capra on view at the Pickman Gallery from September 22 to December 28, 2018, Arkham, MA
— On view from September 18 through December 28, 2018 at Pickman Gallery, Arkham, MA, Greatest Of All Time: Portraits of Genus Capra. Greatest Of All Time is guest curated by the Santa Fe Art Institute’s Antonia Vasquez-Thackeray, who also holds a degree in Livestock Science. In this first-of-its-kind exhibition, Mx. Vasquez-Thackeray explores the social co-evolution of humankind and goatkind, a history which stretches back at least 10,000 years. Researchers note that goat remains have been found at archaeological sites in Western Asia including Jericho, Choga Mami, Djeitun, and Çayönü.
Via their innate curiosity and horizontally-pupilled eyes, goats have enjoyed a unique view of human civilization, and our ancestors’ myths and legends have proven us nothing if not fearful of their scrutiny. “Our projections in terms of goat consciousness and goat archetypes have eclipsed anything a goat might tell us about us, or itself,“ Vasquez-Thackeray writes in the introduction to her upcoming MY GOAT, MY INQUISITOR, a salvo against the bias and anthropomorphism that has infected the relations between these two closely interrelated worlds — but which carefully does not disavow the propensity for deceit, diabolism and witchcraft within Caprian mind.
Greatest of All Time consists of works hand-selected to commune with our species’ most recent common ancestor. About this evolutionary MacGuffin, Max Robinson, Ph.D. Molecular Biology and Biotechnology & Evolutionary Genetics, University of Washington, has written: “Millions of years ago, there was some kind of animal that eventually evolved into both goats and humans. It probably had claws rather than hooves or hands. It had a liver, four legs, eyes, and a brain, just like humans and goats still do.”
Unfathomably, a lineage extends directly from that ancestor to this season’s exhibition, which will serve as a family reunion of sorts: several goats from Vasquez-Thackeray’s personal herd will be in residence as docents throughout the duration of the show. (Their reactions to the art as well as to the guests will be recorded via motion-capture and analyzed by individuals from SFAI, MIT, and, by special request, members of Arkham’s Thousand Young Lodge.
Greatest Of All Time: Portraits of Genus Capra promises to feature works by Francisco Goya, J.J. Grandville, Cornelis Saftleven, Johann Christian Reinhart, and Otto Goetze which have never appeared in the same collection before — and by special clause in our arrangement, never will again.
A private, goats-only reception will be held at Pickman Gallery on opening night, September 22, 2018, from midnight until 3am, featuring a special performance by New York drag troupe The Nobodies. RSVP required. Refreshments provided by our perennial sponsors, Sister Shoggoth’s Microbrewery (Home of the original Protoplasmic Bubble Beer), Innsmouth Harbor Fishery, and the Old Arkham Cheese Shoppe.
Greatest Of All Time: Portraits of Genus Capra was made possible by the generous support of Elizabeth Barrial, director of the Black Phoenix Foundation for the Arts, and TJ Barrial, Visual Arts Professor and Department Chair at the Dunwich Academy of Arts, and was organized for the Celephaïs Athenæum by Brian Constantine, Curator of Sculpture for the Clark Ashton Smith Memorial Gallery. Negtotiatios for the re-aquisition of the Goya piece were handled pro bono by Tom Blunt of the NYC/LA firm Blunt Force Management.
About the Pickman Gallery
The Pickman Gallery is the Miskatonic Valley’s premier privately-owned art gallery. Founded in 1923 by interdimensionally renowned portrait artist Richard Upton Pickman, the Gallery offers the Miskatonic Valley community a dynamic roster of stimulating, dread-provoking exhibitions and enriching public programs. Though the Pickman generally focuses on Aestheticism and Decadence, nearly all artistic movements have been represented throughout the years. Exhibitions organized by the Pickman have featured the works of both local and international artists, and have encompassed all of the visual arts, including printmaking, photography, sculpture, video, film, and performance.
Pickman Gallery, 432 Sentinel Street, Arkham, MA 01914 Tel: 978/271-1300, Fax: 978/271-1313
Tuesday, Thursday, Friday: Dusk – 1am Saturday: Dusk – 3am Sunday, Monday, and major astronomical events: Closed