Ramona A Stone

* **Name:** Ramona Athey Stone
* **Position:** Artistic Director of the Children of the Little Mind commune, Sits on the Board of Directors for the Twin Cities Council of the Draco Foundation and the *doyenne* of the Tyrannical Futurist movement.
* **Metatype:** Human (*Homo sapiens sapiens*)
* **Magical Tradition:** Chaos Magick
* **DOB:** 1/8/2030, Oxford Township NJ, UCAS
* **Education:** Master of Fine Arts from the Pickman College for the Arts, studied medicine at Charité - Universitätsmedizin Berlin (no degree)
* **Family:** Ronald Athey (father, deceased), Lorraine Drexel Stone (mother, Vermilion Sands), Austin Stone (former step-father, Estrella del Mar, Aztlan)

Ramona A Stone is the kind of artist who is more famous than any of her art. She is in fact, more famous for being an artist than she is for actually doing art.

As she herself would be the first to tell you, Ramona was born an artist. The result of a youthful affair between the controversial body-modification artist Ronald Athey and cutting-edge sonic sculptor Lorraine Drexel. Her father, Ron Athey, died at age 36 in 2046 during a performance of his masterpiece of self-mutilation “Four Scenes In a Harsh Life”. Her mother, Lorraine Drexel, had been married to the famous art critic Austin Osman Stone ‘the Voice of the 2030’s’ for years and she had lived with her globe-trotting mother and step-father for most of her life, although in her early teens would often sneak out to see her father’s acts.

After a notable time at the Pickman College for the Arts in Providence, RI, she decided to pursue a course in medical studies at Berlin’s Charité. However, she wouldn't be attending a lot of classes there, her time taken up with the first of her great ‘projects’, the nihilist ‘Psykotik Suicide Temple’ in Kreutzburg, an art group she founded in 2054. A surrealist project, Ramona went to a great deal of effort to keep the views and aims of the “Temple” entirely obscured, even from the artists involved. The only hint we have is a criticism from the *Der Eigene* news-site, which referred to Ramona A. Stone, “*vomiting out her doctrine of death-as-eternal-party into the empty vessels of Berlin youth.*”

She was driven out of the city the next year during the corporate invasion of Berlin in 2055. After Surgery and investment in a bullet-proof mask, Ramona doesn’t show up again until 2058 when she turned up in London, ON as owner of a string of body-parts jewelry stores (lamb penis necklaces, goat-scrotum purses, nipple earrings, that sort of thing). The word on the street, however, suggested that it was not in the best of interests to become one of her clients as occasionally, a customer would step into her shop and not come out again. The whistle blew after a much-loved and highly respected celebrity, known for being known, failed to show for a gallery-hanging of her mirrors. Other celebrities, equally known for being known, some only to each other, thought it was the most profound exhibit in years and couldn't take their eyes off the works. All the pieces sold within an hour, many for record prices.

When the critic for Date magazine asked for an interview with the celebrity-artist, the gallery owner recalled that he hadn't seen her since earlier that day. She'd mentioned that she would be going shopping for a diamond-encrusted umbilical cord as a celebratory thing to announce her pregnancy. She would be back in an hour.

She wouldn’t be seen again until the Year of the Comet.

During the Comet Year explosion of counterculture and art, she banded together with a number of other avant-gard artists in the MSPlex to form an art commune ‘The Children of the Little Mind’, funded by rents from the individual artists and grants. Fifteen years later, Ramona is the only one of the founders still involved in the Project.

The next few years see Ramona become a star in the art world, known more for elaborate stunts than actually making anything like actual art. Very few people actually own a ‘Ramona A Stone original’ because she didn’t produce many. A shrewd business model if every there was one. By this time she was calling what she did ‘Tyrannical Fututism’, the explanations she has given over the years being as varied as they are contradictory.

When several of the original tenants left the Children after the Second Crash, Ramona started supplementing the commune’s income by using her magic to appraise artifacts for the Minnesota Historical Society and Atlantean Foundation, who had been reappraising finds from the Old Copper Complex (which had recently been confirmed to be an advanced, Awakened, Fourth World Civilization from the Great Lakes area). Her inspired work in finding the function of ancient artifacts. From this point on, she found herself working as often with museums of natural and supernatural history as art galleries.

Her work with local museums in the identification and proper storage of artifacts brought her to the attention of the local branch of the Draco Foundation and in 2070, her contacts and encyclopedic knowledge of obscure local artifacts got her selected to fill an empty sat on the board of directors.

To say her tenure on the Board has been contentious would be understating it, with several votes, largely spearheaded by her chief rival, academic mage Ananias Harper, to remove her for incidents including PR fallout from her elaborate pranks/performance art pieces, to the most recent vote, called to remove her for allegations that she was involved in the underground interest-drug trade, charges that were dismissed, but that still caused some hard questions within the Foundation.

As the last founding member of the Children of the Little Mind, Ramona now runs the commune by force of personality and reputation and has gathered a stable of other fringe cutting-edge artists like flesh-sculptor Darryl Carlton, the performance artist Leon Blank, and his new protégé Baby Grace Blue.

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