words fer noise

Working on this Power Electronics project with my friends bromar and meuller which if i’m not mistaken is called MA CHEESE MO.  Some lyrics here.

1.

stretch the hole into a teardrop

cold steel flinches

pushes mass to mass

fucking rhythmically

white dress – red splinters

brine an endless shaft

sheen glistens in pale light

left quivering mess

2.

im not your cavity

no flesh dwells

flinching between pulses

where orange deferens

meets deep defence

putrid barbs

pierce vein ridden

serpentine poisoned

furrows torn tight upon surface

expel fallow fields of revenge

3.

staring at walls again thinking –

deep pink fat yellow tear deep lakes until regurgitation fucks bone through mouth saliva glistens bouncing off eyes envelopes stupid gape rope tingling through esophagus breathe hole tugged tapered tongue impaled

treasure town

dead winter furs chafe the wood

floor paneling chew through holes of deep

trans-vested dusted chairs

and overgrown lice couches throwpillows and cushions

enough foam filling soft packing fabrics like peoples mouths

around tables of give standing smoking drinking

the weave of champs loin upon every graven lone leg

sitting instrumentation folded between foundation

columnal noise pockets bursting atonal

wave shapes abound vents of cone

depart and reappear endlessly

my bile winter

I.

shoveled forth the froth from the ice

orange and black like bagged dried bean soup

stuck inside the plastic bag

blend hopelessly desegregated

were layers of this yellow egg bile

sediment of my leftover mouth

smoked hapless shoveled for my father

not built a bridge but a brunt badge

laid up under my drawn neck

were bubbled that ice

that formed never a swan

but swine

II.

“Shit, clean up your vomit!”

“I will”

“Get a shovel, your gonna need it”

“Yes it’s been a long winter and there’s piles of it out there”

door closes.

III.

a man never felt so tame

and timid as to pick up

these laments of my son

the cold winter frost

left porous the pile

but duty knows

what duty i have

of the family

of the health

of the heart

none so porous and vulnerable

as this pile

of laments

of my son

HEAD EMPREGNATED/FLESH OBLIVIATED

NEW ATTEMPTS – graphite and gesso on paper

A MACHETE GOES IN

CUTS A SMILE

INSIDE OUT

TEETH OFF THE COB

EVERYTHING SEPARATES

NEW SYSTEMS/NEW LANGUAGE

REALIZED

WHEN EVERYTHING IS DONE

NOTHINGS CHANGED

recent

JUST SAY ME

Jane Ryder

Christian Campos

Steve Ruiz

Februrary 1 – 28

Indian Prarie Public Library

401 Plainfield Road

Darien, IL

Pretty intense art show hung at the darien public library.  Brazen sexual imagery as if on accident hidden beyond fields of pattern, shape and texture.  Contemporary usage of the gouache medium on paper.

ALSO:

Maribelle (record release), Toby Foster, Quistum

Feb. 27 – 8pm @ Ball Hall

1621 N Kedzie Ave #3

Chicago, IL, Chicago 60647

My friend’s band Maribelle is releasing a new album, With Teeth Sharp as Old Friends.  Amazing indie/minimal folk music, dark echoing lyrics over far away sounding accordions and guitars.  On top of the music, there will also be six gouache paintings of mine shown at the space which i completed for the cover of With Teeth Sharp as Old Friends.  Come out and enjoy some up and coming folk/indie acts and some art.

some points of inspiration:

-intense alienation

-verbal retardation

-emotional fallout

-uninhabitable islands

-exposed yellow of fat

-grinding animal hatred

-dripping substances

-snow scraped across skin

-unwanted cakes

-uneaten foods

-unconquered knowledge

KABUL SOUNDS LIKE COBBLE

Another response to the Baselitz catalogue:

Take a look at A Big Night Down the Drain and you see shame, vulgarity, brazen sexuality and embarrassment.  This painting was based on a night at a club where an irish poet came out on stage with his penis hanging out.  Baselitz saw utter rawness, despite the attack on the audience.  The other point is the act itself and the setting in which it takes place.  Dead center stage, on show hiding absolutely nothing.  attack/joke/accident.

This approach is very common with me.  The imagery is loosely based on movement, not a point in time but rather a segment.  As if to try to tell a story with one cell in a comic book.  Things get ran over or muddled, forgotton and other things stay the same.

Corneater

Untitled

BASELITZ AND ANGUS

Women of Dresden / ash and tempura

Two Meissen Woodsmen / crayon and resin on canvas

I had been eyeing this art catalougue about Georg Baselitz at the MCA, hoping it was going to go lower in price from its already discounted marking.  With bad haggling skills and no money i decided to buy anyway.  Starts out with a somewhat dissapointing statement by the artist himself.  Written in 06 after his remix body of work, he takes the ‘shock value’ anti-aesthetic a bit too far yet explains that he “throws himself into the business of being German” rather than opposing the zietgeist of his people.  The word provocative is pretty strongly used and on point with this group of artists.  The zeitgeist produced such heavy gestural and raw paintings but focused on cheap conceptual quirks like placing paintings upside down and gluing straw on canvas.  The gesture takes over the work and anything else is just fodder.  His way of taking the personality of his figures and really pulling out the pathetic and putting it on display is beautiful.  I think I understand a delimma here which is true for all artists – the atrocity of ruining a good painting by going too far/not far enough.

Just watched An Englishman in New York, which is about the rather eccentric british homosexual extraordinaire Quintin Crisp.  In New York he meets some great artfolk like Penny Arcade and Patrick Angus.  It becomes a bit tiresome to hear the witty drawl of an old limey puff for about 2 hours but looked up Angus and fell in love with his paintings.  If you haven’t, look up Penny Arcade, her poetry is great.

Yellow and Green / oil on canvas

old/new

high accordion solo / gouache on paper

half baby accordion player (homage to Aaron Ross) / gouache on paper

brown painting (detail) / latex on appropriated stuffed animals on canvas.  This is a shit painting (in essence).

sky elephants / intaglio chin colle on rice paper, ed. of 8.  Had this in a really nice vanilla shadow box, looked like a fucking cadillac!

everyday abuse (detail) / oil, latex and marker on panel.  painting about shitting and natural inward body abuse.

glowing cunt / gauche on paper.  painted a portrait of a wife swap wife with a headlight on her head.  makes her kind of look like a christian relic painting with the turban like shape on her head.

TODO POR MARIBELLE

Maribelle consists of my friend ARoss whom I played with in a little band called Weekend Nachos.  I am in the middle of making a plethora of paintings for the cover of Maribelle’s upcoming release, “With Teeth Sharp as Old Friends.”

-teeth/contact/hard surface/bite

-never touching/facade of dentile density

-brother where are you?/what happened?

-watching ripeness/change before your eyes

-so pleasant/tiresome/drudging within life

-friends bite/never bite back

Heaving Trunks / gouache on paper

detail.

ah childhood.

A little drawing I did after watching  a 9/11 conspiracy documentary.  The only conspiracy is in the imagery.

dark strokes for dark soles

some new work.  i put at least a thousand layers of gauche in each painting.  im still lost in the application process of gauche, i just cant layer!  anyway the show went great, was going to make a post about it but my computer kept crashing.  yea that fucking sucks.  you can go to my friend Ann Flowers’ blog A Beautiful Party to see pretty pictures from the show.  these pieces are a bit lost right now.

flesh S (machete painting)/gauche on paper

thing smoldering/gauche on paper

untitled/gauche on paper

skincozy/gauche on paper