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Text of the page (random words):
ly spiritual but there are recurring naturalistic element and motifs without adherence to one single denomination of faith i interpret this line as a beautiful and hopeful vision of the constantly cycling energy in this world reborn again and again from a different angle the song one of these things first paints a very stark and grounded image of regret it s a perpetually fascinating song as the litany of paths not taken and responsibilities unmet grows nick s somber words float over brightly swung major chords and piano rolls i view the piece as an admission and apology to those whom nick might have neglected while still being an enlightened and wise acceptance of the choices he actually made i sincerely relate and try to reach this awareness three hours from london warwickshire paul weiner were you at all surprised by what you saw in tanworth in arden david dilillo i felt like i had been there before in an old dream the english midlands are not unlike the hillsides of eastern pennsylvania but the newness of the scents and sounds gave a unique and raw experience the passing of time or my perception of it surprised me the days seemed long but ethereal and illuminated i was rendered stunned by the emotional impact that one individual artist s work and life could have on me and i was taken aback by a town not frozen in history on the countryside but rather breathing with lives and stories that come and go three hours from london warwickshire three hours from london warwickshire paul weiner was this series shot digitally or with a film process david dilillo i shot with my father s canon ae 1 and used black and white film i nearly forgot to request that the rolls be checked separately at the airport an important reminder for all other picture makers and photo takers who still travel with film i was also collecting digital video footage but it was important for me to use an older process to shoot this project because of the investment of time and care required there s the inherent risk of not knowing the look of images taken until much later but i put trust in my knowledge with the process and in whatever outcome i d end up with three hours from london tanworth in arden warwickshire paul weiner has your project with nick drake affected your way of thinking when creating new works did you learn anything about your own practice either technically or conceptually throughout this process david dilillo going into the project i knew it would be important for me to present the area around tanworth in arden from an observer s point of view since then i ve tried to take the many creative influences i have and make work that can be seen as a reinterpretation of inputs instead of representation and reflection the isolation of the project and the trip also had its significance and place but i think i ve become more drawn to collaborative work in any medium exchanging ideas with others has become invaluable to me and i m still learning to focus less on how a photograph or any other creative pursuit or piece of art might fit into the greater whole of an outlined project and more on how i can best genuinely express my own thoughts through art three hours from london tanworth in arden warwickshire please view david dilillo s work on his website and like critique collective on facebook at http www facebook com critiquecollective subscribe to the critique collective newsletter for additional content faster updates art tips and insider information absolutely free back thank you for your response name required email required submit δ 3 comments july 10 2015 jj brine s vector gallery explores cultural hybridity vector gallery is among contemporary art s foremost installation spaces located at 40 clinton street in new york city and constructed by jj brine the gallery operates in its own futuristic time zone as a means for disrupting reality within what brine calls the posthuman movement vector gallery stands out from other avant garde installations as a space decoding cultural hybridity vector assimilates growing cultural movements under its posthuman conceptual framework with an unabashed interplay between old and new as brine intertwines religion and identity politics the internet and physical space colonial government structures and liberation the future and the present throughout the interview brine uses some terms that he has coined such as nevent alan and antity please find definitions of these words in the vector glossary further information about the concept behind vector can be found in brine s artist statement and updates from the the government of the satanic state of vector are also available online paul weiner tell us a little about the way vector gallery and your title crown prince of hell came to be jj brine eye have had that title for as long as eye can remember and vector gallery came into being when eye embraced it paul weiner many religious and pop culture references are made in your work including a comparison of charles manson to jesus could you describe the religious aspect of vector gallery jj brine vector is itself a religion and it manifests according to the observation of its own tenets it reveals the nature s of all who engage it and at the same time it reformats their nature s as it sees fit paul weiner do you see your work as site specific and strictly contained within vector gallery or are you open to exhibitions in other gallery spaces or museums jj brine eye had a militantly site specific policy for some time but eye have developed an expansionistic agenda as of late one recent manifestation of this is my posthuman mass grave paul weiner describe your posthuman mass grave and how it came to be jj brine it is the guarantor of the coming events you have to bait the reality to make it bite paul weiner could you describe a few of vector s religious tenets jj brine shall eye invert the entirety of lord universe in order to describe lord universe itself everything is in alignment with its antity there is no need for semantic distinction between is and becomes when we know that everything is happening all at once the infinitoment the antichrist is jesus christ jesus christ is the antichrist paul weiner do you recruit new members to join vector how many followers do you have jj brine there are infinite ways to count to one and there is one way to count to infinity you might find me saying in some other time and place oh but this was all prearranged baby and that would be true but eye have no need for followers for eye am herding neither cattle nor sheep if we are to be together forever we need only share a passing thought and in that thought the entire world is following me and vice versa paul weiner would you like vector to expand outside of new york city jj brine do eye have a choice as if it could be contained paul weiner do you see your music and installations as aesthetically linked do you create them simultaneously jj brine they are different formats for one incantation paul weiner do you consider vector to be linked to an exploration of sexual identity jj brine vector can be used as a prism for the exploration of any identity paul weiner do you believe vector is a forum to disrupt historical cultural norms and offer a new kind of history jj brine yes paul weiner vector gallery recently hosted a posthuman wedding what other kinds of ceremonies or events does the gallery host jj brine we are linking up the beginning to the end the end to the beginning we serve the interests of infinity in its infinite forms we are especially interested in hosting nevents events which cannot and will never take place paul weiner anything you d like to add jj brine the satanic state of vector is looking for attachés to appoint to the following territories japan tunisia yemen china zimbabwe india vanuatu sweden somalia argentina ethiopia azerbaijan russia brazil haiti indonesia suriname mexico france germany syria lebanon and benin among others please be in touch if you know that we are waiting to hear from you please view vector gallery s website and like critique collective on facebook at http www facebook com critiquecollective subscribe to the critique collective newsletter for additional content faster updates art tips and insider information absolutely free back thank you for your response name required email required submit δ 1 comment june 3 2015 peter yumi s process based collages evoke timely technological concerns an aura of technological apprehension envelopes peter yumi s process heavy collages an atmosphere of undulation that forms a tornado of imagery the collages slip into a vacuum of illusory space with limits defined only by the syntax of yumi s rigidly predetermined formulaic process which would read as a specter of formalist painting if it didn t act as a signifier for the cold effectiveness implicit in contemporary digital interactions the collages also evince intuitive tropes as seen in the artist s working materials from dilapidated selfies to gift wrapped patterning the denver based artist and former tiger handler for a las vegas magic show studied at the massachusetts college of art and design and his work has been featured by the museum of contemporary art denver palm springs art museum andenken gallery and various other venues throughout the united states yumi was also recently interviewed in westword s 100 colorado creatives series more images of yumi s work can be found on his website faces collage peter yumi 2014 paul weiner how do you find imagery to use in your collages peter yumi mostly the materials are found i collect junk walking around and people give me a ton of magazines i also go to estate sales and buy vintage christmas wrapping paper i admit it i have a gift wrapping paper fetish i started asking friends to pose for me for my newest work i just send them a text and say hey can you send me some selfies and they do the internet is a miracle i own nearly every single issue of playboy and decades and decades of national geographic i have also taken to collecting soda cans i find or consume on my own and crushing them with my car to use in my collages i create most of the imagery in the collages on my own though i paint quite obsessively i scan those paintings or photograph them and they are eventually added to the collages ladies in the house collage peter yumi 2014 paul weiner there are often figures embedded within your collages who are these figures and what meaning do they bring to the work peter yumi most of the images are of friends or of people from current events some are from my playboy collection i have been working on my artwork pretty intensely the past few years and i have not been that social as a result so i started going out to galleries and photographing people i know as well mainly i wanted to have my work express this general feeling of being cut off from what makes us human being creative and having the balance of being an individual and part of a community today we have all sorts of gizmos like the internet and our smart phones to be part of a world wide global nervous system but the payoff is to maintain that you have to give up some of the freedoms of being a free spirit everything this measured now in the workplace keystrokes and other behaviors are measured but behaviors that can not be quantified are being forgotten how well did my cashier at the grocery store make someones day those types of behaviors are becoming less and less important we are losing individual expression at the cost of productivity and that is really a shame but at the same time i am fearful and know others often feel oppressed by our new technological world but love the rewards that it gives so the images are supposed to reflect that feeling of being human and being part of technology or the age of technology anxiety the subject matter is something important to me because i know that i am not the only one who feels this sense of alienation and dehumanization city collage peter yumi paul weiner tell us a little about your physical process for collage what kinds of techniques are you using peter yumi i wrote three different versions to explain how i make these collages basically i paint a lot and as a painter i am very expressive i have always had a love of patterns and textiles and try to use those in the paintings i try not to think i have been a mediator for over twenty years and that plays an important role in my process if i start thinking things like this is really good or this is really bad i just say to myself in my head you re thinking and i welcome myself back to painting and i go back to painting i have created all of these steps to keep as much of my neurotic self out of my process once i start making the final collage works i have a much more methodical means of production the work involves a lengthy process of creating paintings and drawings that are scanned and catalogued by color pattern and subject matter for later use vintage wrapper paper and found photos or selfies and model photos are hole punched and paper cut involving a process that allows for random cuts to limit the editorial choices each and every step of the process involves a set of rules in an attempt to leave the self out of the editorial process once the images have been prepped they are scanned and catalogued later the images are harvested for use in the creation of new images in photoshop they are worked through a process that again prohibits many editorial choices and leaves much to chance operations once that process is completed the multiple images are printed out and cut apart using scissors hole punchers and circle cutters they are then laid out on sheets of plexiglass where they are in turn photographed or scanned then the process is again repeated 8 13 or 21 times the following rule is used to express the number of layers once the layering is completed sanding of the finished object occurs the collage is scanned and then processed in photoshop using a 3 black layer with noise filter set at 348 21 the images are then saved and sent to production using an hp5800 large format printer john babcock collage peter yumi 2014 paul weiner where would you ideally like to see your artwork displayed does it fit in a traditional gallery or more of an alternative setting peter yumi i have been looking at joining a few co op galleries here in denver i have spent the past five years or so wood shedding and really editing and working out my process experimenting i have been hesitant to show a lot of my work for that reason i think of the process that writers go through writing and rewriting and editing and reediting their work is something that artists should embrace more in the past i would make work specifically for a group show but now i have taken to creating an entire body of work that reads more like a delicious book of poems and i have found that s what it requires i have shown my older work in a number of galleries b...
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