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form of preservation i grew friendlier with a slew of diverse artists during my time in school and beyond who fiendishly got me involved in film production sculpture humor illustration and other mediums i love creative collaboration but i also have an often overwhelming amount of interests and passions so i try to have my hands in many projects at once three hours from london wilmcote station warwickshire paul weiner who is nick drake and how has his music impacted you david dilillo when a close friend first showed me nick s music years ago i devoured it obsessively only to find myself continually rediscovering new layers up to this day nick drake was born in 1948 in burma and grew up in tanworth in arden a small hamlet in warwickshire england his music never gained the recognition or visibility he desired and he was eventually stricken with depression nick mysteriously died from an antidepressant overdose at the age of 26 you can read a lot about the details either known or rumored about his tragically short life about how he didn t quite fit into rigid british norms of the time what speaks to me most is this nick had an almost mystical ability to communicate timeless meditations on love and nature and i m one of many who deeply relates to his thoughts and struggles but i believe he was just trying to share his mind and heart with others in the best way he knew how his music never gained the audience and response that it deserved and he was eventually overcome with depression his lyrics shifted between cryptic psalms and beautifully descriptive accounts and his guitar style blended english folk american blues and even eastern tonality later on nick s fragile music and words of romance and universal connection have consistently given me new eyes to see myself and the world three hours from london tanworth in arden warwickshire paul weiner do you consider your three hours from london series to be a documentary narrative or more conceptual sort of project david dilillo the phrase three hours from london comes from one of nick s darker songs about escape interestingly enough it took me about three hours by train to get to tanworth in arden from the english capital when i stayed in the village i solely listened to nick s music and shot without a strict objective in mind which was a bit non academic and liberating i was writing too but the series is a very personal visual journal of sorts it can act as a narrative if certain lyrics of nick s are paired with particular images and it can act as a documentary piece about the town and surrounding areas i shot in black and white to evoke the time in which nick lived though to use another of nick s lyrics a time of no reply by visiting nick s final resting place i had the chance to bridge the chasm of decades and feel like i was meeting him three hours from london tanworth in arden warwickshire paul weiner i like the idea of trying meet a dead artist and experience the town he lived in when you were in tanworth in arden did you meet and discuss nick drake with any of the locals or was this more of an immersive experience of everyday life in the village david dilillo i spent a large amount of time hiking the area in solitude unplugged from most technology and my common distractions i attempted simply to observe and document what was around me the shades of leaves in the afternoon the sounds of children playing in the distance the brushes of wind from the hills my immersion seemed sacred familiar and rustic all at once it reminded me of nick s songs of isolation this wasn t a negative feeling but more a type of connection with the graves and green pastures and people around me in a strange and welcoming way this demystified the idea of idolizing a musician whom i ll never truly know and instead helped me to deepen my understanding of him as a young man who lived a vibrantly creative but far too short life i was also completely warmed by meeting and talking to those who lived and worked in town they were brilliantly and immeasurably kind hearted open minded people many patrons at the inn heard my accent and might have assumed that i had come to visit nick drake the singer buried among their many other loved ones and friends one day in the cemetery i met a man sitting on a bench close to me where his wife and he used to sit together he was there in remembrance of the woman he d spent most of his life with and i felt as if i were remembering a man i d never met we spoke for a long while and it was a bond i ll always cherish three hours from london tanworth in arden warwickshire paul weiner are there any particular songs that you used as inspiration david dilillo beyond three hours the song from the morning was especially resonant with me it s the final track on nick s third and last album released during his lifetime pink moon and its lyrics are engraved as the stark epitaph on his tombstone now we rise and we are everywhere nick s music is poignantly 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 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