The Mulirian Faith is the dominant religion on the cyber-island nation of Mojec. The lead figure is Mira, the cyber-goddess. She was the first to realize the spiritual fulfillment gained by intersecting virtual and physical reality. The pieces where her physical form is absent represent the Voider denomination, who believe she reached her apotheosis when she disappeared into cyberspace. 

A mix of photography, screenprinting, and screenprinting on archival photos. 

Doll, Racing Model from “Bloodborne Kart” - Video Game [Otakon 2022]

Makima from “Chainsaw Man” - Manga [Katsucon 2022]

Dracula x NieR: Automata - Book x Video Game [Halloween 2021]

Ellen Ripley from “Alien” x Crewmate from “Amongus” [Halloween 2020]

Laughing Man from “Ghost in the Shell: Stand Alone Complex” - Anime - [Halloween 2019]

Fragile from “Death Stranding” - PS4 Video Game - [A-Kon 2019]

Strange Resistance Woman from “Nier: Automata” - PS4 Video Game - [Seoul Comic Con 2018]

Sachiel from “Evangelion” - Anime - [Halloween 2017]

Royce from “Transistor” - Video Game - [Rose City Comic Con 2015]

Majora’s Mask from “The Legend of Zelda: Majora’s Mask” - Video Game [Halloween 2015]

I would love to document your work! email jeremycain7@gmail.com to inquire about rates & availability.

For YTB [ http://cargocollective.com/daphnetaranto ]

For Ursula Populoh [ https://www.behance.net/UrsulaPopuloh ]

For Hannah Leighton

For the month of June 2014 I lived in a home that formerly housed Jan Christian Smuts, the man who institutionalized much of the racial segregation that became Apartheid. No one can deny the chains holding the legacy of Smuts to the horrors orchestrated within South Africa. No one, except the current proprietor of 36 Main Road, St. James, Cape Town, South Africa. The current proprietor has seen fit to use Smuts’s face and story to enhance the historical importance of the house. Others, such as local antique shop owners and conspiracy theorists, are certain that Smuts never lived there or perhaps that the house was used as a covert meeting place for the South African government and dubious Iranians.

In the midst of these contradicting narratives was me, a white male art student from America with leopard print pajama pants. The photographs I took serve two purposes: document the uncanny ethereal nature of the home and navigate myself into the maelstrom of stories concerning the home. By donning the ridiculous pajamas, a collared shirt, suit coat, and house slippers I embody the imagined owner of the home. The rooms within the house suggest certain atmospheres, such as the sultry red embroidered wallpaper or the ominously dim banquet room. These are the locations in which the ghosts perform their haunting. As the adverse reports of the house rise and fall, a monstrous ghoul rises from the couch, wearing a heap of white napkins while spouting polished black horns. A doorway becomes a bed and a sleeper, lost in dreams unhinged from reality, blocks the passageway.

 I aim to transmit the psychic miasma latent within the house and how I transformed myself to fit within its walls. The pictures that feature myself are not self-portraits, but constructions of a self, created to slip easily into the inconsistent fables gathering in each corner of the haunted house.

In October of 2014 I visited my home, Dallas, Texas and took my large format 4x5 camera to the State Fair of Texas.

Attending the State Fair is an annual tradition for myself and many other Texans. I am constantly amazed at the sights - every strata of Texas is on view. From the rich Dallas business people with their city-raised kids playing in the Midway to the ranchers who brought in their prize livestock to be judged, the entire Texas population is represented within the exquisite Art Deco Fair Grounds.

This photo essays seeks to capture that unique cultural spectrum of electric carnival to monumental history to earnest ranching.