Tag Archives: Mark Splatter

Dead Horse Bay: The Glass Graveyard of Brooklyn

Dead Horse Bay: The Glass Graveyard of Brooklyn at Urban Glass, February 1 - April 1, 2017 with work by Mark SplatterSee some of my assemblage/preservation specimen work in this show curated by Allison Meier at Urban Glass, Brooklyn. The show focuses on Dead Horse Bay, a little known New York beach park on Jamaica Bay, where refuse of several decades can be found washing ashore. Among the detritus, horse bones, remnants of the bone rendering plants from the turn of the century give the place its name. The place has been an inspiration to some of my work; I find it’s glass bottles and bones, old toys and everyday objects in various states of tide and weather worn decay fascinating.

Pieces on view by Mark Splatter at Urban Glass, Brooklyn: Pwet specimen and assemblage from Dead Horse BayThe show opened February 1 and remains on view until April 1, 2017. I have three pieces on view, two of them are wet preserved specimens: Seahorse and Irwin, both of which utilize decorative Assemblage in the style of Frederik Ruysch, and another is a Natural History Sculpture using only elements from DHB.


Patches now available via Cvltnation Bizarre

Cat Skull Screen Print Patch by Mark Splatter, now available on CvltNationBizarre.comI have recently expanded my online vending presence to the music webzine http://www.cvltnation.com’s designer marketplace, Cvltnation Bizarre. You can buy a limited selection of my work there as well. It’s proved to be a good move so far, and during the month of May I have reduced prices on patches to $2 (available through Etsy for the regular price of $3. The audience at CvltNation is certainly more directly in touch with the aesthetic I have been cultivating in the images I print. Natural History, Morbid Anatomy and Deathpunk Streetwear. So visit their site and have a look at some of the other vendors they host, many of which make and sell a lot of enviable wares.


Morbid Anatomy Flea Market

Sunday, August 30th is the next Morbid Anatomy Flea Market, where I will be vending my waters. This will be the Summer Market Redux! Since the prior event called for an encore! My sikscreen products like patches, tshirts, totes and postcards will be just one focus. I will also have as usual some wet-specimen preservations, both large, small and even teeny-tiny ones. Some curios, constructed from Dead Horse Bay and other Natural and vintage/antique repurposings and upcycled goods. I will also have a few other vibtage odds and ends to add to the flea market aspect of the day, rather than solely my own crafted goods.

This time however, the Morbid Anatomy Museum will be holding the event for the first time OFFSITE! At the Bell House, where Secret Science Club also held the annual Rogue Taxidermy Contest where in 2013 I walked away with the Belle Of The Ball trophy!) on the other end of the block on 7th Street towards 2nd Avenue. This means more space, more beverages, and more vendors! My next scheduled vending event is in October at the Death Salon taking place at the Mütter Museum, Philadelphia on October 5-6th.collectors-slide-0RVS-slide

Date: Sunday, August 30th
Time: 12pm to 7pm ( Morbid Anatomy Members will be able to enter at 11am; become a member at http://bit.ly/1HuhNVf )
Admission: $1 ( add $4 to go to see our Museum Exhibition )
Location: The Bell House, 149 7th St, Brooklyn, NY 11215 ( A block away fro the Morbid Anatomy Museum )

More information can be found here!

California Deathrock – The Photo Book

 Mark Splatter circa 2003 at a Release the Bats photo session with Amelia G and Forrest Black 
2000-2005 was a particularly relevant time in deathrock culture. I had just moved to California from New Jersey, as the proprietor of Deathrock.com, a webzine that served as a sort of beacon for the dark-minded music aficionado. Part reference guide, part webzine, it was a place where bands like UK Decay, TSOL, and The Mob first got more than just a mention in a collectors’ trade list. I was a young zine publisher who’d taken up web design in its infancy and was eager to share my love for anything remotely Misfits-esque, or even darker, more somber sounds like Southern Death Cult and Kommumity FK.

The New York presence of adherents for such sounds was lacking, apart from a small corps of gloom rockers like Charlie the Slut and Paul Morden, who took me under their wing as an aspiring DJ, and our close friends. When I visited California to meet some of the Los Angeles correspondents I was blown away by the packed floor of a club dedicated to just such sounds at Release The Bats. NYC always stood apart as too homogenous and sophisticated in its tastes to cater to such a niche and outmoded (although beloved) style. It was a no-brainer that the West Coast was where I wanted to be, where deathrock, as many argue, was born. 

Six months later I packed my bags and arrived, a 21-year-old devil lock-wearing deathpunk, and a postage stamp-sized record distributer with a case of music and a pair of DJ headphones. There it was not that it was still going strong, as it was ground zero for a full-on rebirth. New bands were evolving and converging, local bands coming into their own distinct style, Cinema Strange and The Deep Eynde pumped all sorts of energy and fishnet into our veins, and local legends were showing their faces again. Kommumity FK, Dinah Cancer and Gitane Demone resumed their positions as luminaries. Release the Bats was our Mecca, facing west. Bands from all over the globe were sending their energy into it too. Crews from further north and south were getting in touch. First the San Francisco synth-damaged Phantom Limbs with The Vanishing one on top of the other. Frank The Baptist and Diana Death from San Diego.

In that motley crew of deathrockers, gothpunks, dark new wavers, postpunks and horrorpunks were Amelia and Forrest, of Blueblood fame—one of the only established alt-porn names of the day. With their camera savvy and eye for the exotic black-clad, they managed to capture in brilliant gloss the blackest the Sunshine State had to offer, from Los Angeles to San Francisco. Now their work has been collected in this deluxe photo book, California Deathrock.

It reads without words like a yearbook of the era. Looking through the photos brings “ooohs” and “aaahhs” of recognition; the friends, acquaintances, strangers, lovers, and adversaries (if only for their makeup flair or record collections!). Fishing names and memories out of a golden era is just one of the perks of this book. The first of all being the gamut of styles, the theatrics, the glamour, the variety and poetry of appearance that this book represents, a jewel in the collection of anyone who finds beauty in the creativity and expression of the gothic style.
http://californiadeathrock.com for more info:


http://ameliag.com/cadramzn.php to order!



Oddities From A Gowanus Apartment

New York Times - "Oddities From A Gowanus Apartment", Brooklyn Historical Society and City Reliquary present Collector's Night 2014In October 2014, Brooklyn Historical Society and City Reliquary presented Collector’s Night 2014. I was included as one of the Collectors, and the article in the New York Times was titled “Where Cockroach Legs and Snow White Have Something In Common” and a slideshow subtitled “Oddities From A Gowanus Apartment”. A photographer was sent to my apartment in Gowanus/Park Slope and snapped a few of my collection pieces. These photographs are directly from the article photographed by Karsten Moran. You’ll see a collection of antique carving and butcher knives, stereo views, skulls, keys, and wet specimens I have both collected and prepared. Also a pretty good portrait of myself by the very talented photographer who was able to get some great exposures out of glass in a very small environment!


Venus In Wax: Tex And The HorseHeads – ‘Life’s So Cool’

Most recent vinyl score, the second LP from Tex and The Horseheads. Inebriated dirge blues, running in parallel lanes to Gun Club, but with Texacala Jones, a dimunitive pile of lace and fishnet brought to life by a bottle of booze and a can of hairspray. Produced by John Doe of X, the legendary blues punks who spearheaded the sound in a more sublime approach, despite their more unruly but fun counterparts most strongly represented by Gun Club and Tex.
The sound and imagery of this album is definitely more deliberate and falls into cliché by using all the expected props, in both lyrical content and music which you can also gather from the conspicuously constructed album cover. But the wild and soulful vocal contortions of Texacala Jones, Mike Martt’s brilliantly dusty guitar twang, not to mention Texacala’s adorable style, affirm their unique presence in the cowpunk genre.

November’s Monster

November was out of control! I lost some ground. A lot going on, but with some thinking through I’ve managed to hit the reboot and December gets back on track already. The changing season hit me hard, along with a total sunlight deprivation. Solution? Advance to a seasonal habitation. Winters in Athens, Napoli or Los Angeles? Let’s see next year.
Among the setbacks last month was a not too succsefull trip to Los Angeles. I achieved a fashion show, however thanks to Black Lickorish Latex’s last minute help. I also got to work with the great folks at House of Virtue / Antiseptic Designs. Altogether it was a lesson in organization and forethought. Very punk and very DIY!

[Here we are backstage in the dressing room with the two models who had to be swapped out last minute]

I put a lot of work into my own designs in the early part of the month, not too much in the second part, the holidays and personal stuff, not to mention throwing in a ton of extra hours at day job, working with some very nice high tech Japanese printers. But as for my low tech handmade silkscreen prints, last month I finally succeeded in burning some new screens (all attempts in august and September failed) and made some beautiful Metamorphosis Lycanthropy’ prints in gold on black. These constituted the base for s lace and cotton distressed collage kerchief, as of yet unamed:


Still building up to a point of printing and sewing entire small runs so I can offer more pieces for sale and swag (damn had I not heard that term in forever! Whoever thought that term up, must’ve been in porn) for some bands and artists cross-promotion.

Besides initiating this blog and repurposing the marksplatter.com domain from simply my DJ site to this more all inclusive format to tie in my DJing, printing, artwork, film, record and book collection, travels, journaling, photography (one of my favorites has been instagr.am, a photo taking and sharing app exclusive to iPhone)… All my activities from every facet of my output to the world.
As I develop this site more into an organized platform I’ll migrate AWAY from inane and vapid Facebook. I have created pages for both my Screen Print Works and the clothing/apparel line developed alongside it, Creepy Rock & Roll. Go like them on FB. Share them, follow them. And visit the Etsy shop, to have a look at several new patch and earring designs.

Venus In Wax


Sunday evening Record Bin raid. Academy Records Annex, Brooklyn. Four slices of wax in all, including some danceable obscurities and soundtrack ambience. Two of these, Jet Black Berries and ‘Fuck Your Dreams…’ OST I have been lusting after for years. And they were the cheapest of the haul!

‘Fuck Your Dreams, This Is Heaven’, Variuos Artists OST (1990)

‘The Omen II – Damien’ OST, Jerry Goldsmith (1978)

‘Sundown On Venus’, Jet Black Berries (1984)

And just for fun: Dracula (1979, Frank Langella, Laurence Olivier, Donald Pleasance) score from John Williams