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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 but for my newest work i want full control of what i am creating and the environment i am essentially creating a space that is fully immersible with sound light and imagery so it is important to me to be able to work with the rules that i have set up and do what the work demands right now some of my prints might be ok with a group showing but ideally they all need to been seen in a space together they are brothers and sisters it is my job like any father to raise them right and make sure that i provide a good place to nurture them i work for them they don t work for me playboy collage peter yumi 2014 paul weiner do you see the images you use from playboy or national geographic as having appropriated meaning when taken out of their original context or are they only for aesthetic purposes peter yumi i like using the images from anywhere i can find them really sometimes i will see an image and it will really hit me like a punch in the gut or it will make me laugh uncontrollably i have really been doing my best to use images that are older than ten years old mainly because i want my images to look very contemporary i think many collage artists fall into the trap of making work with old images because they are copying collage styles from the past but when those artists made much of that collage originally those were new images to them it is important to me to see those distinctions between new and old images if the image in the magazine is old and i like it though i just treat it like any other image in the end it is about the result i remember talking with a collage artists about how he used images from a book printed in the 1930s just cut them up he seemed proud of this but to me that s what the work demands of a collage artist you cut stuff up just like a painter mixes paint a painter does not regret mixing pure blue with red to make purple so a collage artist shouldn t have those regrets either abe collage peter yumi paul weiner how did you come up with the rules and equations for your process peter yumi john cage has been an enormous influence on my work i used to use i ching to make my rules now i make my rules through planning and observation of what other artists are doing sometimes it will be a simple rule like only one image can be used in this collage but you can have multiple copies of that same image sometimes it will be no green other times i will construct elaborate rules based off of language of some poets steve mccaffery does it so will with poetry and i borrow a lot from the poets from that school the equation i shared earlier is an expression of the fibonacci sequence and it is used by artists all the time sometimes they don t even know they are using it with golden ratios for my layering of images with glass i decided upon the number of images layered at any given time based on that sequence it goes like this 1 1 2 3 5 8 13 21 i can have one image by itself that image with a second image or a third but if i add any additional layers of glass there has to be five because 2 3 5 so on and so forth it makes it fun to have those limits all sorts of strange things start happening during that process things that happen just because of those rules palace of water collage peter yumi 2014 paul weiner how may collages would you estimate that you create over the course of a month peter yumi that s really hard to say i usually make ten to twenty images a day or more then my final finished collage work i make twenty or more a month i have created all sorts of ways of automating how the work is shared online with programs like hootsuite i use other means to randomly generate tagging of images on social media i take all that data that is generated from views to my page to create a spreadsheet so i can track the highest number of views and where those people are coming from that is a project of its own i am working on a program now that will output all that data visually on my website so people can if anyone cares but me see in a beautiful way what they are looking at exactly ladies collage peter yumi 2014 paul weiner tell us a little about the denver art scene what art venues do you go to when you want to see something interesting peter yumi i mostly go to galleries on saturday or sunday afternoon by myself and look at the work when no one is in the galleries i will go to any space that has shows with friends or folks whose work i am interested in i am very egalitarian in my choices of artwork i honestly don t know a lot about which galleries are currently trendy one or the ones people think are not that great my thing is that i feel if people are making work that is thought provoking and downright interesting i am interested in looking at it i love artists and anytime someone is making art i don t care who they are or who people think they are or aren t i feel joy that people are making artwork we need more people making artwork in our world filled with strife and suffering creating getting out of their habitual thinking patterns and being generally more alive i just love artists and art please view peter yumi 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 4 comments april 15 2015 the antic staatsoper critiques contemporary life through hybrid photography encountering the antic staatsoper s work for the first time is like watching a romantic date end in heartbreak the artist who originally hails from the south of france and currently lives in san francisco sets the stage with masteresque chiaroscuro lighting reminiscent of caravaggio s paintings he fills his images with classical references to various gods and spiritual scenes throughout his beautifully spacious compositions but then he introduces the critique illustrating contemporary issues through old figurative bodily vessels within a digital landscape the antic staatsoper covers material from censorship to perversion and the narcissism of today s popular selfies in hopes of reviving art s historically political conversation in a time when many artists are so preoccupied with the new tools at their hands that they forget about content these pieces take on the contemporary nude questioning the puritan covering of the body that can amount to censorship especially in the digital space oddly the formally romantic setting of this work recalls the reactionary tendencies that the artist critiques bringing historical context to the forefront of the work the antic staatsoper s work can also be found on his website aborted goddess of confidence venus and the dark veil of the censorship paul weiner you were born in the south of france before moving to san francisco california do you feel that your art is influenced at all by geography and the cultures of the places you have lived the antic staatsoper of course i m hungry for all cultures and experiences that life can give me on a personal level i consider myself a lucky guy to have the chance to visit the most famous classic and contemporary museums in europe in those conditions your curiosity is better than any art school europe gave me a huge culture keeping me curious about old and contemporary art or popular and underground culture i m still surprised every day by the european culture and its diversity my art is born in europe and i can t do anything to hide that i only realized how much my photographs appear european since i have left europe i wasn t conscious of that before the old europe raised me but i felt like a teenager who has read too many books of the beat generation dreaming about things bigger than life still waiting for a train to come i ve always had a craving to live in the american culture i ve played in a lot of indie rock post rock and experimental bands influenced by american music some rock runs in my veins i ve eaten up the american literature of the 20th century adored movies from the counterculture and finally felt the call of a new kind freedom as a way of expression i think that my thirst for liberty and the dynamism of my work comes from the united states this energy this power that pushes me forward is my american part i m proud of it my heart shared between these two loves has found a perfect balance today my only dark point remains how to be accepted in the galleries with nude pictures in the united states even in the fantastic frisco perverted pieta artemis cutting off her hymen paul weiner your works often reference gods of various different religions and mythologies as in the case of venus and the dark veil of the censorship or perverted pieta how do you select the gods or religions to be used in each work the antic staatsoper use what you know could be my motto i can t struggle against my western culture i really love the mythology it seems very human to me i love the imperfections and the deviant behavior so simple but true of these gods there is a real pleasure to play with these creatures each character has a specialization that helps me to focus on my topic i also like to manipulate their bodies their poses the contraction of the muscles or the position of each member in the frame can say more than any word can also i need to show naked bodies to remind people that nudity is not pornography once again it s a way for me to directly ask you some questions about your acceptance of your body as a natural device for communicating with your environment i don t understand the prudery today i tend to see this trend of fearing nudity as the root of many frustrations and conflicts in the world i use christianity too there are so many things to say but i didn t want to walk the easy an outdated path of profanity here again my connections with the painters and sculptors were obvious their art take us farther away than the religion they re supposed to be a part of like bach gives you the most powerful perceptions of spirituality with his passions at the begining christianity was the first love revolution of history but it s really interesting to see how we have perverted it and used it to abuse others i show religions as biological systems this sociological phenomenon is subject to a tragic decay from the dynamic and positive youth to the dark age of its own apoptosis however i think that we cannot ignore the relationship of this system or the people who lead it with their environment every religion and their distorted visions could unveil many humorous situations we are only able to represent our divinities in every religion through our own prism with human or eventually animals features or sometimes religions avoid any representations so as to avoid questions about their origins of course i don t forget the other religions for venus and the dark veil of the censorship the idea came from many female friends of mine in europe who told me they could now get in trouble for wearing dresses or skirts in certain places some of them have been threatened by puritans asking them to put on veils i can not let this be silenced as i said the body is the key less gods more spirit troie paul weiner tell us a little about the physical process for making these works to what extent are they digital versus photographic the antic staatsoper it s hard to answer i never considered myself as a photographer i always have doubts when i see the work of other photographers actually i m just a frustrated painter who is not able to hold a brush or to mix two different colors to get something consistent i was very impressed by the matthew barney s cremaster cycle he is also one of my favorite contemporary artists i had the chance to see the five parts of the cremaster i discovered that he was in fact a plastician he shot movies only to set up his scenery i think that is what i do too my pictures could be movies or paintings or sculptures or even music because in the beginning i m a musician photography was well i have to admit easier for me to manage maybe it s a kind of sketchbook my digital process is based on old painting processes yes it s very old school the scenery is the same that you could use for a drawing a very simple set up and a simple light as natural as possible i need the models to express struggle and the instability of the situation the moment before the conclusion at the end of the process i try to be a painter so i use a digital brush because it is less harmful than a real one i try to paint some texture on the pictures as if i had made and shaped all these pictures with my own hands alcatraz narcissus cloning the curse of the selfie paul weiner tell us a little about your formal interest in merging classical imagery and contemporary digital methods of creating your decorum series seem to reference for instance 17th century dutch paintings such as landscapes by rembrandt and vermeer while the gods series has a baroque feel about it perhaps sourcing from caravaggio s chiaroscuro scenes the antic staatsoper three years ago after a long love story something broke in my relationship with art i realized that something was missing but i didn t know what i needed to come back to the classical imagery i needed to go back to the true aim of art a way to reach an upper consciousness a gate to the spirituality i wanted something less fed by itself something less self centered i was bored by the me myself and i inspiration the second point was technology itself today the technique and technology seem to be more important than the intention and the meaning these perfect tools distract us from our goal that s what was missing for me in contemporary art a real purpose a yearning and a real battle for these values that is what i found in classic art a strength and a complexity that can haunt you for days and days in the end you get your own questions and maybe some answers this is an active art it lives inside you it brings you out of your material contingencies above the poor representations of the religion and its false perception this art opened new doors for me it gave me a window toward spirituality i use a classical imagery so as to talk about our world i also wanted a lo fi approach like in lo fi music the aesthetic didn t need to be perfect punching digital imagery straight to her face but using digital technology was necessary too i don t want to be seen as passé i started the project decorum in 2012 at the beginning i just wanted to ask questions about our uses of these new technologies in art and not about the tool itself my first intention was to show the 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