Imaginary Menagerie: Volume 7 At Arch Enemy Arts

I am beyond excited to be included in Arch Enemy Arts’ group show Imaginary Menagerie: Volume 7, where each artist was invited to create a work of art reimagining a mythical creature or fabled beast.

The focus of my piece for this show is the North German legend of the Nachzehrer (NACH-xera). Following its death and burial, the Nachzehrer is a creature that continues a desire to be closer to the loved ones it left behind. From the grave it projects illness to those it longs for, intending to draw them into death. As surviving family and friends grow increasingly weaker, the Nachzehrer below feeds on its funeral shroud. After all burial cloth is ingested, the Nachzehrer begins to devour its own body. Among the ways to identify the Nachzehrer is the strange detail that it is always holding its thumb in its opposite hand.

The gallery has been extraordinarily supportive of my work and this sculpture. To quote them on their social media:

“REAL TALK: We have seen thousands of artworks come through this gallery over the last 14+ years, and *very* few have stopped us in our tracks like this one did. “The Shroud Eater” by @paulnitscheart took more than 1,000 HOURS to create, with literally *every component* made by Paul, by hand. From sculpting and casting the fetal bones to building the wooden housing and creating the intricate goldwork embroidery, absolutely no computers or 3D printing were involved anywhere in this piece. The level of craftsmanship is so insane it’s hard to wrap your head around, even standing directly in front of it. With full confidence I will say, this is an absolute showstopper and a genuine masterpiece.

Also, at the risk of rambling on so long I lose your attention, you’re still going to need the story behind the piece’s inspiration. Short version? “The Shroud Eater” is based on the North German legend of the Nachzehrer (pronounced NAHK-TSER-UH), a creature whose longing for its loved ones survives death. From its coffin in the grave, it draws them closer through illness while feeding on its funeral shroud, and eventually, its own flesh.
(*whispers*: badass)

We can’t stress enough how impressive this piece is or how honored we are to have it here. Paul drove it all the way from Wisconsin to make its debut in IMAGINARY MENAGERIE VII tomorrow, 10/2 from 5-9pm, and we’re SO excited for you to see it. This one is special. Please, please do yourself a favor and make it a point to see this piece at some point before October is over. Pics don’t do it justice.”

My wife and I had a great time at the opening and had many wonderful conversations and comments from so many in attendance. I also appreciated all the other artists I met from the show and in Philadelphia and really felt I was among like minds.

A huge grateful thank you to Arch Enemy Arts’ Noah and Candice Musher, and Lawren Alice, who first saw my sculptures and invited me to be in this show. I look forward to working with them again.

The exhibition runs from October 2-25, 2026.

Arch Enemy Arts
109 Arch Street
Philadelphia, PA 19106

The Shroud Eater

My new sculpture, The Shroud Eater, was created for my inclusion in Arch Enemy Arts’ group show, Imaginary Menagerie: Volume 7, opening October 2, 2026 in Philadelphia, PA.

Each participating artist selects a mythical creature or beast to interpret for the show. The focus of my sculpture is the North German legend of the Nachzehrer (NACH-xera). Following its death and burial, the Nachzehrer is a creature that continues a desire to be closer to the loved ones it left behind. From the grave it projects illness to those it longs for, intending to draw them into death. As surviving family and friends grow increasingly weaker, the Nachzehrer below feeds on its funeral shroud. After all burial cloth is ingested, the Nachzehrer begins to devour its own body. Among the ways to identify the Nachzehrer is the strange detail that it is always holding its thumb in its opposite hand.

Everything in this sculpture was hand made by me without the use of computers or 3D printing. The embroidery in this piece is specifically known as goldwork. Using metal threads, gold work is traditionally seen in religious vestments. Special thanks to Andrea Sapon and the Madison Area Embroiderers’ Guild, and especially the very talented Natalia Frank for patiently teaching me how to bring my goldwork ideas into reality. I couldn’t have done it without her.

Figure Twenty Three.- The Shroud Eater.
2026. 22.5”h x 13.5”w x 20”d.
Resin, Epoxy clay, Bronze, Mahogany, Gold Leaf, Silk, Goldwork embroidery threads, Acrylic, Stone, Glass, Hardware.

Finished sculpture photography by Bill Lemke.

Dazzling Killmen Centipede Shirt Reprint

My Dazzling Killmen shirt design from 1993 has now been reprinted by Shirt Killer and is available here.

This version has the band logo in red above the drawing, as opposed to the original, which had my purple hand drawn lettering.

Available in pullover hoodie and two kinds of shirts, the image came from new scans of the original pen and ink and scratch board drawing.

Thank you to Shirt Killer and Dazzling Killmen!

Reissue of Dazzling Killmen's Face of Collapse

My first album design from 1992 continues on. Skin Graft Records has released a limited edition of Dazzling Killmen’s Face of Collapse in “Bone Fragment” colored vinyl.

There are two versions available on Skin Graft’s Bandcamp page.

Pictured here is the Ultimate Edition bundle version. From Skin Graft:
This deluxe, new "Bone Fragment" colored vinyl edition has been mastered from Steve Albini's original analog tapes, and comes packaged with a double-sided, collectible "Footlong OBI", an illustrated inner sleeve by artist Paul Nitsche and liner notes by Aaron Burgess, the former editorial director at ALTERNATIVE PRESS.

The Ult-Ed bundle also includes a Glass-Mastered CD with three additional bonus tracks in a Six-Panel DIGIPAK Gatefold Jacket packaged with a commemorative 16-page book packed with comics, artwork and an oral history of the album from Hank Shteamer (senior music editor, ROLLING STONE).

Imaginary Menagerie: Volume 7 at Arch Enemy Arts

With great excitement, I’m honored to announce my inclusion in Arch Enemy Arts’ group show, Imaginary Menagerie: Volume 7. This reoccuring exhibition joins artists in depicting their version of a mythical creature or beast. Within this context, I’ll be exhibiting a new sculpture, my first since 2019. Entitled The Shroud Eater, the subject is based off an early North German legend of the Nachzehrer.

The exhibition runs from October 2-25, 2026, with an opening reception event October 2, 2026 from 5-9.

Many special thanks to co-founder and curator Lawren Alice for having me along.

Arch Enemy Arts
109 Arch Street
Philadelphia, PA 19106

Dazzling Killmen European/UK 2026 Tour Poster

To mark Dazzling Killmen’s first European tour, I’ve been asked to create a poster to mark the occasion. The imagery is a take on historical anatomical illustration and the work I did on Dazzling Killmen’s 1996 Recuerda album. This was the largest pen and ink drawing I’ve done, with drawing board dimensions of 24 x 24 inches.

For the first time, I asked someone else to do the coloring. I met Aislinn Bartholomay through her work with Awildan Distillery and knew from her illustration she would do a great job. I gave her the basic color scheme on how I wanted the colors to look and feel, and she did the rest. Many thanks Aislinn for her skill and artistry. You can see more of her illustration work at Nightshade.

There will be a large full color poster available for purchase at the tour dates.

Dazzling Killmen West Coast 2026 Tour Poster

I’m pleased to share my Dazzling Killmen poster for their upcoming West Coast 2026 tour. The image uses my very first tintype of an original sculpture, The Infant King, with hand drawn pen and ink elements. There will be physical versions of this poster available as the tour gets closer.

The hearts in the lower corners reference the recent quadruple bypass surgery front man Nick Sakes has undergone and widely shared. I wish him and the band all my best on their exciting spring tour.

Please click here to see my Studio Blog about The Infant King tintype session.

Click here to see my Studio Blog about drawing and inking the poster’s borders.

Giclee prints and alternative tintypes of The Infant King tintype are available at my Etsy shop.

Crowned Diprosopus in Ascension Tintype Edition

A portion of my second tintype edition, Crowned Diprosopus in Ascension, is now available at my Etsy store. The sculpture I created for this year’s Dark Days Bright Nights music festival has been lit slightly different from the original, with new flowers framing the faces. My tintype techniques have improved from even a few months ago, and this new edition has a beautiful range of tonality. Like the original, I used my Century No. 2 camera from 1903 with my Dallmeyer 3A lens from 1900.

This edition of 10 are real 8x10 inch tintypes of an original sculpture, made individually by hand, so there are slight variations between the plates. No computers or photo editing were used to create this image. The tintype is permanently sealed in traditional high gloss sandarac varnish.

Each tintype comes with a signed and numbered 5x7 letterpress certificate, designed and illustrated by me. Printed by Nesja Press, the certificate is printed in brown ink on a very thick Sable Gmund Les Naturals 600 weight paper on a letterpress from circa 1890.

To see how the sculpture for this tintype was made, please click HERE.
To see how the letterpress certificate was made, please click HERE.

Full Color and Two Color Versions of Dazzling Killmen's Dissected Bouquet Shirt

The positive reaction to my illustration, Dissected Bouquet, has lead the band to offer two more color variations of the design. In addition to the original grey version, there is now a two color grey and red printing, and a full color printing. Both versions are available in short sleeve shirt, long sleeve shirt, and hooded sweatshirt. All the long sleeve shirts and sweatshirts also feature a new sleeve illustration by me of the Dazzling Killmen’s Reactor logo arranged in life size teeth with medical instruments.

Full color version detail.

Two color version.

The full color line of apparel is sold exclusively through Shirt Killer, as is the one color grey versions.

The two color grey and red apparel versions were printed by Flying Saucer Press and are available at the Dazzling Killmen shows, along with the original one color grey version.

Limited Edition Signed and Numbered Tour Poster

To celebrate the Dazzling Killmen’s long awaited return to the road, I’ve created an 18x24” tour poster for the band. I have signed and numbered an edition of 25 and they are now available at my Etsy shop, PaulNitscheArt. The poster cost is the same as what the band is selling it on tour, plus a little extra for the mailing tube and shipping. For those not able to make a show, this is a good opportunity to still get a poster.

The poster was exquisitely printed by Triple Stamp Press in 3 colors on 100lb paper stock. I couldn’t be happier with how my drawing translated.

A big thank you to the band and those who support their music and my contributions.

Please see my studio blog post for the making of this poster.

Dazzling Killmen Tour Poster and Apparel Illustrations

It’s a real honor to be back again doing artwork for the Dazzling Killmen as they mark their return to touring and possibly making new music. I can now say that I’ve been doing illustration for the band for more than half of my life, and I feel gratitude to the Killmen’s Nick Sakes and Blake Fleming, as well as Mark Fischer and Skin Graft Records for having me along all these years. To mark Dazzling Killmen’s return, I’ve created a tour poster, Dissected Bouquet, that shares some visual language of the illustrations I did for them in the 1990s. The poster is 18x24 inches and printed in 3 colors on grey paper stock by the wonderful Triple Stamp Press in Richmond, VA. The poster will be sold at shows and a limited signed and numbered edition will be available from me at a later date.

Please see my studio blog post for the making of this poster and image.

Image courtesy of Triple Stamp Press

Released with the poster is a line of apparel using the Dissected Bouquet illustration. Printed in light grey, it is available in shirt, long sleeve, and hooded sweatshirt. The apparel will be available at the tour shows and also from Shirt Killer.

Dark Days Bright Nights Music Festival

I’m excited to share my music poster design for the 2025 Dark Days Bright Nights festival in Richmond, VA. A very big thank you to Persistent Vision Records and Yr Screaming Youth for having me along. Currently in the works are an 18x24 three color silk screen poster, apparel, and tote bag.

The image is from my sculpture and tintype Crowned Diprosopus in Ascension, pen and ink ornamentation and original lettering.

Please see my studio blog post for the making of this sculpture and tintype.

Totem I Tintype Edition

To celebrate the release of Pygmy Lush’s TOTEM album, I am offering a small edition of tintypes of my sculpture used for the album cover. Ten Totem I tintypes were made by me, using photographic processes developed in the 1850s. The tintypes measure 7.5 x 7.5 inches and vary slightly in tone and contrast, due to them being all made individually by hand. A signed and numbered 3.5x5” black card stock letterpress certificate, designed and illustrated by me and printed in silver ink by Flying Rabbit Press, is also included. This tintype is a slightly different version than the tintype I created for the album cover, having filled in the spaces above and below the raven where the cover typography went. The tintype was created using my 1903 Century No. 2 camera with a 1900 Dallmeyer 3A lens.

The Totem I tintype edition is available for $100.00 plus shipping at my Etsy store. Please follow this link to visit the store.

Crowned Diprosopus in Ascension

My fifth tintype, Crowned Diprosopus in Ascension, was started in 2022 and finished this year as the illustration and branding for the 2025 Dark Days Bright Nights music festival in Richmond, VA.

The sculpture presented me with several technique challenges, as I had to learn silicone sculpture, adding eyes into the silicone, painting silicone, and punching hair. Please see my studio blog post for the making of this sculpture.

Most of the sculpture was built along one plane, leaving the face out of focus when photographed with my Dallmeyer 3A lens. No photo editing was used to make the image. At 8x10”, this is the largest plate that I have accomplished.

In the future there will be a small tintype edition produced of this image. Please contact me if you are interested in purchasing one.

Thank you to Ron Lutz II for photographing my tintype.

Two Tintypes at Bedford Gallery Show, Beyond Color: The Language fo Black and White

It’s exciting for me to announce my first physical showing of my tintypes in Bedford Gallery’s juried exhibition, Beyond Color: The Language of Black and White. Two of my framed tintypes have been selected to be in the show and are available for purchase. This is a wonderful gallery to be acknowledged from, and I’m thankful to Jurors Demetri Broxton (Artist and Executive Director of Root Division) and Melissa Mohr (Executive Director and CEO of The Figge Art Museum). The exhibition runs from July 12 to September 14, 2025, with an opening party Saturday, July 12 from 5-7pm.

UPDATE 7/21/2025: Both framed tintypes were purchased at the opening party and are no longer available.

Bedford Gallery
Lesher Center for the Arts
1601 Civic Drive
Walnut Creek, CA 94596

One of two tintypes being shown, Totem I, is the first of an edition of 10. It’s framed with archival matting and is available for purchase for $300.00 through Bedford Gallery. The tintype measures 7.5 x 7.5 inches. A letterpress certificate, designed and illustrated by me and printed by Flying Rabbit Press, is also included. This tintype is a slightly different version than the tintype I created for Pygmy Lush’s TOTEM album cover, having filled in the spaces above and below the raven where the cover typography went. The tintype was created using my 1903 Century No. 2 camera with a 1900 Dallmeyer 3A lens.

The second tintype, Totem II, is also a first of an edition of 10. It’s framed with archival matting and is available for purchase for $250.00 through Bedford Gallery. The tintype measures 9.5 x 4.75 inches. A letterpress certificate, designed and illustrated by me and printed by Flying Rabbit Press, is also included. This tintype is a slightly different version than the tintype I created for Pygmy Lush’s TOTEM record insert. The tintype was created using my 1903 Century No. 2 camera with a 1900 Dallmeyer 3A lens.

Pygmy Lush's TOTEM Shirt and Limited Edition Silkscreen Print

To go with my artwork for Pygmy Lush’s TOTEM release, I’ve also been commissioned to make a shirt design. Drawn in pen and ink, the image was based off of the sculpture and tintype I made that is in the inside booklet of the release. You can see the making of this drawing in my Studio Blog.

The shirt is printed in cream ink on a black shirt and is available in all sizes for $24.00 from Persistent Vision Records.

Persistent Vision Records was also kind enough to produce a limited edition silkscreen print of the drawing. Signed and numbered by me, it is an edition of 60 printed in metallic copper ink on 12x12” black French paper cover stock. The quality of the printing by Triple Stamp Press is impressive, and they were able to capture all of the fine lines of the drawing.

UPDATE 9/9/2025: Persistent Vision has sold out of their prints. I currently have two available on my Etsy store.

Pygmy Lush's TOTEM Album Illustration and Design

I’m excited to share my work for Pygmy Lush’s release, TOTEM. Brothers Mike and Chris Taylor of Pygmy Lush and pageninetynine contacted me in mid December 2024 and asked about my interest in doing artwork for their upcoming album. They said they were fans of Dazzling Killmen and the artwork I did for them, especially the album Face of Collapse. That album was released in 1994, and I was flattered that there was still a regard for that artwork.

Decades ago, I lost interest in doing record illustration and design when packaging fell to digital, but the Taylor brothers were interested about multiple physical formats, including a 12 inch LP, and I became interested. Although my last record work was 20 years ago, I quickly found myself excited and inspired when designing the album. Returning to this kind of work was more fun than I could have predicted, and with the enthusiastic support of Persistent Vision Records, I believe the packaging to be quite special.

The album is in LP, CS, and CD digipack formats. The LP and CD are printed on uncoated matte paper stock, with the LP having the added touch of copper metallic foil over the band logo and album title. The vinyl record is available in three different color varieties.

The back cover of the LP and CD, like the cover of the album, is a tintype image of an original sculpture. I will be creating posts in my studio blog at a later date on how these were made.

The LP has a 12x24 full color insert, and the CD has a similarly designed booklet, both on matte paper. The frame design was drawn in pen and ink and colored with scanned watercolor washes. The strawflower pattern is meant to tie into the cover and is my first pattern design in a very long time. It too is colored with scanned watercolor washes.

The inside of the LP and CD fold out into a large tintype image with hand drawn ornament. Like the cover, this sculpture was created for the album and photographed using my antique equipment: a 1903 Century No. 2 camera with a 1900 Dallmeyer 3A lens. The boarder ornament and moth were drawn in pen and ink.

The side A and B record labels contain elements of both tintypes. For side A, the record player spindle passes through the eye of the raven.

With gratitude, I wish to thank the Taylor brothers, Pygmy Lush, and Paul Hansbarger of Persistent Vision Records for their belief in me. It was a wonderful experience to be a part of.

Now available for order in all formats.

The Infant King Limited Edition Giclee Print.

A print edition of my first tintype is now available on Etsy at my PaulNitscheArt shop for $35.00.

The Infant King- Limited Edition Giclee Print on Photo Rag Paper of Original Tintype, copyright 2021.

This is an unframed 9 x 11.5” giclee print of an original 8 x 10” tintype, limited to 35 prints.

Of an original 2021 sculpture, the tintype was made using my large format Korona View Camera and 1860s Darlot lens. The chemical clouding, imperfections, and dust artifacts are a natural part of the tintype process and, in fact, adds to its visual interest.

The giclee prints were printed by Picture Salon in Madison, WI, to my specifications and are signed and numbered. Great care was taken to match the colors and proportions of the original tintype.

Included with the print is a signed and numbered letterpress printed certificate by Flying Rabbit Press in Madison, WI, featuring an embossed Infant King skull. This paper of authenticity and an artist illustrated giclee print care instructions are bound in silk ribbon with an Infant King wax stamped seal.

Tintype Darkroom

I’m excited to share my finished darkroom, created in order to pursue my interest in making tintypes. This has been a long time in the making and I’m excited it’s finally finished. I hope you enjoy seeing how this room was put together.

In 2000, I bought an 1895 church to make into a home and studio. The room that was recently turned into the darkroom was originally the men’s basement bathroom. This picture was taken when I was first looking at the building for purchase.

In January 2022, work began on the bathroom to become a darkroom. The first step was to remove some of the concrete to add a new floor and sink drain. The field stone walls are the original outside foundation of the church, where an addition was added around part of the foundation in the 1960s. The brickwork in the upper center of the picture is a remnant of the original chimney, no longer in existence.

This room will be a  darkroom for several years, after which I will move the darkroom to another location in the building. In planning this remodel, I am also thinking how this room will return to being a half bath at some point in the future.

For about two years, I had been looking for a used darkroom sink. The rare ones I occasionally came across were the wrong size or in poor condition. I even drew up plans to have one custom made by a local metal fabricator, but that went nowhere. Eventually, I learned that Regal/Arkay are still in business in Milwaukee, WI, and in driving distance from where I live. A new sink seemed like a luxury, but I didn’t really have another option. Customer Service at Regal/Arkay  helped me find a product for my needs and in April 2022, I drove to their very unassuming building to pick up my darkroom sink with support stand.

The original 1960s single pane window was at a questionable height and position within the room. In August 2022, a new double hung window was added, centered in the wall.

After the outside wall was framed out and insulated, and wiring completed, new drywall was hung on the walls and ceiling in August 2022.

I took a break to work on some other projects for nearly a year. In July 2023, I began work on the darkroom again. Where the drywall met the stone walls, I really took my time getting a neat clean edge.

After the painting was finished, new lighting and a robust vent was installed.

For the crown molding to follow a straight path, I had to remove some portions of the field stone foundation wall. The above photo shows my rough chisel marks which I then followed with a bush hammer for a smoother, naturally worked finish.

Once I finished the crown molding, I shaped additional rock pieces to add into the larger spaces between the trim and wall.

All remaining gaps between the stone wall and trim were filled with a color matched tuckpointing. I purposely kept my work loose to match the original work on the wall.

The floor was tiled in October 2023. Great care was taken by the installer to follow the live edge of the stone wall.

Once the floor was in, I began upon the remaining trim work. I stained, finished, and did the trim carpentry for the base boards and door.

To block out the remaining light from the door, a custom curtain was made. The curtain is stored on the wall to the right of the door when not in use.

Also in October 2023, Regal/Arkay the darkroom sink was installed.

The window was made lightproof and a simple box with shelves was made to fit the window space for storage.

The floor was covered with a protective mat, which will hopefully guard the tiles from the occasional chemical spill. To maximize space, I created a folding table that can be placed over the toilet when the darkroom is in use. The table can then be folded onto itself and stored in the slot in the workbench.

The cabinet I made to cover the drainpipe was in part made with FRP for water resistance.

In July 2024, I finally finished the remaining FRP sink cabinetry and installed red LED rope lighting for a safe light. Now on to making plates!

Crossing Swords Tintype in Black and White Magazine

My second tintype, Crossing Swords, was included in the special issue of Black and White photography magazine as part of their 2023 Single Image Contest Winners. Currently available where magazines are sold, it is Issue 165, April 2024, and I’m on page 208. My many thanks for all at Black and White for including me, and I especially like that they used my image to begin their Mindscape/Surrealism section.