“Time is a Flat Circle”

When Gallery 1988 asked me to make a piece for their “Idiot Box” TV centric art show I instantly new I wanted to tackle true detective. I’ve been an avid fan of the first season since it’s release and always thought of creating something inspired by it’s industrialized swamps.

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I chose to illustrate a skull wrapped in the antler head dress that Errol Childress regularly anointed his victims with. Throughout the creation of the print, I hid many different scenes and references to the show, this reflects the subtlety of the show its self, which encourages viewers to watch closely. The print is meant to reflect the personal prisons that the cult created in peoples minds through their sadistic acts.

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I decided to name this piece “Time is a Flat Circle” to reference the theory that Reggie LeDoux originally imparted onto Rust, as it reflects the cyclical nature of memory, regrets, and time.

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This print is a 4 color 11×17 print with an edition of 50. It is available now through Gallery 1988.

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Check out my process below.

“In Darkness, There Can Be Light”

Getting invited to be a part of the Guillermo Del Toro Tribute Show: In Service of Monsters was an extreme honor. Guillermo Del Toro is a truly visionary and illustrative director, his movies always have an intriguing visual tone and a heavy eye for detail and polish. Choosing between them was extremely hard, but ultimately I ended up picking Pan’s labyrinth which was always a favorite of mine.

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I always enjoyed how the story of Ofelia and her 3 trials were very reminiscent of medieval fables, these combined with the book gifted to Ofelia inspired me to draw influence from old book and illuminated manuscript design. I used this to come to the final idea. A print that through the symbolism of manuscript illustration and the stylings of renaissance era Spanish altars; fully encompassed what made Pan’s Labyrinth so great to me.

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I placed captain Vidal, grasping his handgun, atop gears imprinted with his military rank. This represents how order/time and his perceived militaristic duty to die in battle like his father was fully consuming him. I embodied the spirit of Mercedes and the rebels by showing Mercedes signaling to rebels while surrounded by nature, which reflects their combined want and passion for freedom and the old way of pre-fascist Spain. I placed the toad right beneath her feet representing how close the blight like, cancerous effect of Vidal’s group is at all times. The pale man grasps out from his frame in bottom left, directly below Vidal. This is meant to show how the pale man is a reflection of Vidal, being that they are both violent enforcers of harsh and unjust rules.

Last but not least I chose to represent the Faun and Ofelia’s close relationship through a pose that communicates how the faun acts as an agent of fate, whose trials spring forth from a book, carrying Ofelia to what is not only her fate but also her rebirth as the princess of the underworld.

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This poster is the highest color count I’ve worked with yet ( 6 colors, 1 being Gold Metallic). I wanted to go the extra mile on this one and use metallic ink on the border filigree to further connect the visuals to illuminated manuscripts.

They are a signed and hand number edition of 50 printed on 100# French Duro-Tone Butcher to give it that extra textured feel.
It is available today in person (9/11/15) at Gallery 1988 and online starting tomorrow (9/12/15) on their site http://nineteeneightyeight.com/