Like his elephants which became these Behemoths. While the historical Hannibal actually does appear in GOD’S DEMON, it’s Sargatanas who utilizes certain principles and elements from his life. In many ways there’s a kind of duality in the story I’m trying to tell. Donated to the Rebellion, they proved to be an invaluable military asset to Sargatanas. Equipped with two massive bone-hammers and a heavy chin-blade these greatly enlarged souls are the once-cruel rulers of Asian empires transformed by the Demon Major Yen Wang to suit his needs. Sargatanas before the Behemoths – (from BRUSHFIRE: Illuminations from the Inferno, acrylic on ragboard) – Created primarily as siege weapons, the Behemoths can prove to be potent weapons upon the battlefield as well. The visual idiom that I created in this piece, from the colors to the archi-organic forms to the look of the demons, has found its way into nearly every subsequent Hell painting I’ve done. Once the work-force was finished they were converted into the buildings that now stand at its base.Īs the first painting truly devoted to the Hell project this piece is a touchstone. While most buildings in Dis are composed entirely of soul-bricks, the Wargate was erected around a natural volcanic plug, its outer surfaces smoothed by slave labor that took eons and countless souls to complete. Built to commemorate those lost in the War with Heaven it also serves as the headquarters for Dis’ military. Situated on the edge of a great lake of lava on the outskirts of Dis, the Wargate’s only rival in sheer scale is Beelzebub’s Keep itself. The Wargate – (from Barlowe’s Inferno – acrylic on ragboard) – A massive procession snakes away from the second largest structure in Hell.
#Hell architect characters series#
Much as I did with EXPEDITION, I plan to do a series of wildlife paintings focusing on the fauna of Hell.
What would their evolutionary course be? What new life-forms could we find? While this painting represents a semi-intelligent individual, there must be countless Abyssals that are mere animals. The notion of a pre-existing fauna indigenous to Hell before the demons arrived opens up a whole line of conjecture. This understanding doesn’t inhibit the native creatures one bit if the opportunity arises to waylay a group of demons that might have lost their way in the wild Wastes. Hunted for their skins and their usefulness as war-beasts, many Abyssals evoke an attitude of savage respect from the demons, while, for their part, the more intelligent of the Abyssals keep their distance, understanding the innate superiority of the new-comers. There is, however, an odd mutual respect between them. Sharing the world of Hell, the demons and Abyssals co-exist in an uneasy relationship with both sides preying upon each other. Hell’s First Born – (from Barlowe’s Inferno, acrylic on panel) – A giant Abyssal stands upon a scalding field outside the walls of Adamantinarx. To me the most difficult part of this painting’s concepting was whether or not to add a question mark after the title. This serves both to recharge my batteries and to force me to make more concise statements. After spending months completing very complex, detailed paintings I tend to gravitate towards simpler, more iconic compositions. What else could a being once of Heaven feel than sadness finding itself in such an environment? And what more poignant, precious reminder of its former existence could it possess after its Fall than one of its own charred feathers?Įxecuting Hell paintings can be an exercise in pacing. What Remains – (unpublished – acrylic on Gessoboard) – As much as Hell is a place of unrelenting horror and savagery it is, too, a place of sadness. The Beast has found an architect.” ~ Guillermo Del Toro, director Here every breath burns your insides and light flickers in perpetual agony. Human nightmares rear out of scale in this sulphurous landscape. “Wayne Barlowe’s Inferno is a dangerous book.
This is a unique volume by an extraordinary artist.” ~ Clive Barker, author “Wayne Barlowe conjures the Inferno with Boschian particularity. “Wayne Barlowe’s Inferno is an awesome visual work, taking us into a contorted landscape of the damned which Dante himself could never have imagined.” ~ James Cameron, director
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