Sunday, April 11, 2010

Atop dead oceans; wading with Palinurus

So this morning I pre-ordered the new Frog Eyes album Paul's Tomb: A Triumph (2xLP) from Dead Oceans, which I anxiously await the delivery of. Until then, however, the instant download which kindly accompanied my purchase will more than suffice. In fact, beyond even physical acquisition, the digital version may well have to serve me further, as my old record player has a tendency to slowly warp the speed of an album due to a variety of belt tension issues. In fact, Carey Mercer's last outing (Blackout Beach's glorious album Skin of Evil) is still pristine and as yet unopened as a result of my technical (re)tardiness.

Needless to say (but declare it nevertheless I shall!) Paul's Tomb is outstanding ...

For a more polished account of the album however, there's a nice description at The Decibel Tolls (and a free MP3 of Lear in Love).

Friday, April 9, 2010

Contextus; braided ambience

I've long possessed an unhealthy interest in the various processes behind creative works, with a tendency to place more emphasis on these than the eventual work itself, although I've struggled to find artists (with blogs) who're openly willing to share their techniques and/or explain the context behind their pieces. I guess their candidness could be perceived as unraveling the myth, like a magician with no sleeves perhaps ...

It was with great pleasure then that I stumbled across Orchid Theatre a couple of weeks back; the main reason being this photograph:

General intrigue inspired by abandoned mental institutions aside, the fact that herein lay documented the technique used to record this track by Evan Viera, which had caught my attention on Soundcloud a week or so earlier, was fascinating to me. Far from demystifying anything, it an added further clarity to the piece, more depth, which relates to my general philosophy of art being more than its finished product. I'm too tired to waffle, but art (other than shallow perception itself) is not tangible. The painting on the wall is not art - merely the impression left by the artist. Whatever 'art' is gets lost somewhere between brush and canvas ...

Oh, my dearest brain!

Suffice to say that finding the above track on Soundcloud, reading at the time its description and how it was recorded, and then to unexpectantly find a photograph capturing that precise recording take on film resonated with me.

And so, following on from this, yesterday I was watching a slideshow displaying the progress of an animated short film called CALDERA that Evan's currently working on with others here, and again was pleased to be offered the priviledge of insight relayed by the inclusion of test renders, concept art, and various storyboards.

My interest in (this aspect of) creativity is of course sullied and nullified by various principles taught by Werner Erhard (which I adhere to), for no-one but the artist involved can ever know the entire truth behind any work - although, with a little background and context I can at least enjoy the contemplation thereof.

Anyway, I joined Little Art Notes a while back because Karon Leigh went to great lengths explaining various inspirations and techniques, and although I'm not a painter nor have any desire to be, it was refreshing to see someone talk so passionately about what they do and why. And in such detail.

Another article I happened to find yesterday, which strays along similar lines, was Adrian Kinnaird's (a New Zealand cartoonist).

Hmm. Guess I'm never too tired to waffle ...

Ooh yes, and slightly (or rather completely) unrelated (yet noteworthy), during a radio interview with Graeme Downes from The Verlaines today, I heard a great quote from Paul Verlaine (1844-1897): “Music before all else, and for that choose the irregular, which is vaguer and melts better into the air...”

Which, of course, doesn't merely pertain to music.

Unless you're Paul Verlaine, I guess.

Wednesday, April 7, 2010

Sunday, April 4, 2010

Infected Monkeys (Re-Issue)

Infected Monkeys was a ten-page text comic first (self-)published back in 1997, with several copies being sold for the princely sum of two dollars an issue; itself a premium considering the content. Due to my completely forgetting its existence, this booklet was neglected mention recently, a pristine copy of the bastard resurfacing amongst a dusty rummage through my old notebooks (photographed below).

With regards the Spice Girl stickers, sometimes it's nice 
to have items linked to a certain time and space.

The text contained within this new edition of Infected Monkeys has been left absolutely untouched (itself cut and pasted directly from its original Pagemaker format - unread), although the accompanying images have been updated as the original version was appalling in its transparency. You won't understand this statement unless you have a vintage copy of this edition of course, which you won't, and that's just dandy. Preferable, in fact. 

Anyway, a PDF of this shitty re-issue (resplendent within the shroud of its original cover art) can be downloaded via Mediafire from here.

An aside: This project, purposely constructed from cut-ups hacked from a previous text comic which failed to sell appropriately (the offender titled 'Monkeys Dangle From My Colon'), was spread across the floor of someone's flat in various stages of disrepair as the news of William Burroughs' death was reported on the late night news. 

Art in the wild, in context, out of time ...

Back in around 2000, when my wife (then girlfriend) suggested we attend her cousin's current art exhibition at the Brooke Gifford Gallery, I was naive to the name Jason Greig and wholly unprepared for the silent embrace of the realms amidst I was set to trod. 

Hazily drawn from memory, I recall the first image under study involving a tangibly deep pool of sepia water, out of which arose an annoyed creature's head. He may've possessed horns - such was the prickle of his glare - although, far from pushing me away, his irritation served only to draw me in further. 

Since then, due to the family connection, I've had the enormous privilege of viewing several of his artworks (both completed and discarded) in an environment considerably less sterile than the contrived appearance of a typical installation. 

For example, below is a photograph of my daughter taken at his father's house in around 2006 or so, a portrait of him by Jason displayed on the wall behind her; perhaps the perfect context in which one could view it. 

And this next picture shows the same piece (far left) displayed in the Hamish McKay Gallery exhibition Rockumental, shown 25 November - 23 December 2009.

The following images are merely a collection of his works that appeal to me on various levels - and some day I'll own me one!

Death Star 2005 (1/1 monoprint, 290 x 215mm)

Edison's Wet Dream 1998 (1/1 monoprint, 130 x 175mm)

Seven Years of Labour for the Instruments of Time 2003

Storms comn - and its gonna be me 2006 (Monoprint)

Viking U-Boat 1993 (Etching) 

Isis II 2006 (Monoprint)

Revolution 2005 (1/1 monoprint, 370 x 300mm)

His work will be on display again at the Brooke Gifford Gallery between 20 July - 14 August, 2010. 

All flock destined for the offal pit

Even with daylight savings in my favour, properly updating the website to better reflect this new release shall need to be done tomorrow. Or later today as it's now become ...

Be that as it may however, the latest offering whose misfortune it's been to find birth within the Nosebleed stable has now been sprawled upon the altar at Bandcamp.

Dissect as you see fit - for hidden therein be the clothes of wolves!