Wednesday, December 8, 2010

Eyes in the Sky - Diaries of a Dead Man






Though my limbs continue to sway, it is only the conglomeration of larvae and vermin scurrying beneath my flesh which keep this body in motion. Once a young and hope filled enthusiast, I threw myself into a world of optimistic activism. In this world every action, thought and deed was designed to satisfy an overwhelming concern and impulsive revolt which had permeated throughout my logic. I couldn’t understand existence but could see how a few simple changes, like a strategic twist of a rubix’s cube, would bring the whole thing together. So I fought the good fight in every respect. From the simplest of gestures to the most elaborate of affairs every move I ever made was a plea for change and an educated attempt to incite such occurrences.


For years my struggles went unimpeded. Each new season brought new success and the movement I’d become a part of grew stronger. Although at this point I see little reason in preaching of the various methods and means through which we’d achieved such successes, I will mention that the numerous enterprises involved had assimilated many of the techniques invented by our consumerist opponents. We had discovered a means of production and promotion equally as profitable yet completely void of all the manipulative and damaging aspects associated with commercial ventures. Absolutely no hazardous materials, inhumane labor conditions or corrosive advertising were ever implemented yet still our products flourished. As a result the project began to attract attention from a multitude of investor’s, producers, agents, Hollywood stars, writers and critics. A mainstream breakthrough was undoubtedly on our horizon. However time and again, the outside interests proved detrimental, forcing us to abandon seemingly endless avenues of opportunity to avoid the risk of turning into the very thing we despised.


All of this, of course, was to be expected and frustrated us little. We’d been fortunate enough to find smaller opportunities in abundance and were never truly tempted by manufactured success. Do not misunderstand this, for our mission depends on mass communication and every possibility was examined to the fullest. However at the first hint of corruption all negotiations ceased. It was through this process that we were able to discover many people in favorable positions who were not only willing to assist, but truly believed in the cause. So it stood that, around the winter of my fifth year in the organization, things were going according to both or plans and ambitions.


It was a late November evening that I decided to go for a stroll. I had completed a lucrative summer schedule and was nearly prepared for the upcoming winter event. This “event” through not necessarily crucial, was definitely a pinnacle accomplishment in the progression of my work. I was confident and pleased, knowing full well the potential advancements that this particular project might incite. It was by far the most intricate and intelligibly developed of all our attempts. I felt a plausibly invincible and had little fear of any complications. As I wandered the streets filled with decorative lights and shopping hordes, a sudden tingling inspiration struck me not unlike a mild euphoric shock. .All of the hairs on my neck stood up in attention as I stood on the walkway in unexplicable awe and excitement.




Now before I continue it is important to understand a little more about my personal beliefs. I am not a spiritual or religious person in any right. I do not believe in the supernatural, fate, unicorns, honest politicians, Santa Claus or pop music. In fact it has been a particular devotion to logic and reason which has propelled this mission to unfathomable heights. Yes, the things I have been striving for are not unlike those taught with such emptiness by people who claim to be godly (or in the service of deities by any other name). However those of us involved are motivated only by the world we live in, the quality of life and our children, not by any other worldly rewards or punishments.



So there I was a devout atheist, anti-spiritualist, ultimate-realist with little imagination for intangible apparitions, standing in the middle of a glistening windy metropolitan street. Struck by this inspiration, I looked up to the sky and impulsively posed a question unlike any I’d ever considered before. My thoughts ran as thus “If there is something out there watching over us, whatever you are, I wanted to say that this place is a real mess. I’ve done my best to fix things down here and well if you give me a voice I will use it to help.”




I didn’t have time to analyze the absurdity of my thoughts before the sky opened up strange above me. There, as if superimposed between the opaque clouds and glossy sky, appeared two giant red eyes. They were not those of a feline or serpent, but they were not human either. The eyes closed and faded instantly, almost as if I never saw them. Yet in that brief second the mocking glance had, like all eyes do everywhere, told me a story. The eyes were laughing and had said something like ‘boy have you got it wrong, this is not a world for those who’d help, this is the playground of evil. As long as you follow the subservient laws, you are destined to a life of suffering and torture.” I couldn’t hear, nor visualize the castrating cachinnation bellowed by the beast but believe me I felt it. Beyond embarrassment, beyond humiliation, beyond hope, it was like starring in the mirror only to realize that you don’t look anything like you did in any of your dreams or memories.




I tried to put the experience aside and thought very little of it at the time. Even to this day I believe the vision was nothing more than an idle thought which found it’s profanity in my excited exhaustion. Not even for a moment have I accepted the hallucination for anything more than that, yet something terrible has been growing inside me ever since that weird walk. At first it manifested quite slowly like some terribly acidic consumption easily mistakable as some physical ailment. However this repulsive hollowness thwarting my innards soon spread throughout my veins. The perpetually evolving sensation now inhibits my entire being.





A record snowstorm hit the city shortly after the aforementioned incident. This terrible storm hit hard annihilating our winter event. Not only did the snow shun our attendance and shut our doors, but an accident involving several of our transport trucks all but destroyed any hope quick recovery. The winter that followed was plagued by destitution and the mission failed to progress until late the next spring. By that time I was able to recoup to some extent, but had become restrictively ill after a long and poverty stricken winter.



To make matters worse another company moved in on our market, only they were not doing it right. Though they had plagiarized our public appearance and boasted our ideologies for promotional purposes, the competitors were still producing products in an unredeemable fashion. In essence they had staked a claim to all of our innovations but were in fact still selling cheap sweatshop plastics. Before long that company started exploiting the corporate and media relations we had been forced to reject. Within a matter of minutes they had risen to international acclaim using our titles and image whilst belittling all our ideals. Broken by fatigue and corrupted by a despairing stomach I began to lose initiative and shortly thereafter resigned from the revolt.





I’ve spent years now wandering and the world seems perpetually worse. All of the different old buildings are gone and the new ones appearing are organized. I can no longer stomach the sound of new music and even in starvation I can’t find anything of value to eat. Sometimes I muster enough energy to read, but here there is nothing that can rekindle my once passionate pursuits. No, despite all my efforts and foremost ideas, the wound inflicted upon me that November night was a fatal one. My life ended there and then. Still the maggots and rats push me about and around; feeding on meats and seasoned remorse, but do not let these movements fool you, I am merely a staggering carcass. These routines, my remains, all the ruins, are nothing except fitting, for this is truly the world of dead men.





more stories

Tuesday, December 7, 2010

Hey Apathy! T-Shirts

Hey Apathy! T-Shirts for $20. Just a reminder that everyone should probably buy a surreal decapitation for their loved ones this holiday season.

Saturday, December 4, 2010

Jenny Everywhere

Jenny Everywhere is a public domain super-herione, despite my satirical interpretation, I'd say one of the coolest characters ever.

Wednesday, December 1, 2010

Toronto Artist "A Paper-work Nightmare"

HEY APATHY! Comics Online


My Toronto artist studio floor is camouflaged with forms, essays, applications and endlessly bureaucratic pages of budgets and text. Hardly a drop of ink to be seen, the spots now entirely engulfed by the chaotic compilation of documents accompanied by randomly scattered brown envelopes and data discs. The theme to Gilliam’s Brazil echoes through the hallway as I dodge spelling errors, wrestle resumes and struggle to defeat the deadline horizon of this years granting season. The accumulation of two months worth of typing, reading, writing and rearranging words, numbers, pictures and accomplishments shuffles about slicing my ankles, stifling my every move. Duplicates, triplicates, multiple copies and only 1 copy of each form, sent to various addresses, all labeled with the artist’s name and the title of the proposed program of work or proposed grants program, each asking for the assistance in the development of a socially satirical body of animated atrocities. A little odd isn’t it? As one who spent most of his life perfecting a humanist art form derivative of folktales, street performances and the inspirational chaos conjured out of random experience, the penetration of paper work made me feel as a surreal Sisyphus might if only the boulder was a cabinet of forms which could never be completed. But alas I conquered the nightmare and that work is done.



As the opening description might suggest, the completion of said task was not an easy one. In order to get all this stuff done, and to the best of my abilities, I decided to make a meditation out of the event. I refrained from all drawing, recreational reading, and leisurely use of the internet. The only exceptions would include a late night cartoon or two after I’d exhausted my ability to produce proper essays and forms. I did get into one short discussion about the Justice League on facebook, but it was completely by accident as I actually went there for business purposes (I don’t usually chat on that forum).Abstaining from these small pleasures wasn’t too difficult because they all involve using the computer. After 8- 12 hours of working on the machine the last thing I felt like doing was traveling anywhere online. The most trying factor of the ordeal was suppressing the urge to be creative.



I stayed focused throughout the work but was perpetually taunted by my imagination. As soon as I’d step away or lie down the stories would start to flow, ….a tale of a dead man kept in motion by larvae and vermin feeding on genetically ingrained experiences, missed opportunities, broken dreams and embarrassed emotions… and things like that kept popping into my head. The next page of the comic, the animations, an idea, all crashing at my psyche attempting to overthrow the mathematical and essay driven obligations I’d imposed upon myself. It is certainly a strange battle, the artist, itself an anti-established deviation who throws paint on walls and lives free from all anxieties, forced to wade knee deep through imaginary paperwork in order to continue his mission of making a mess.



Despite the contradictory nature of the artist seeking finance from a world that he/she cannot help but criticize, the process is actually quite logical and certainly fare. Most of the applications require a brief, yet succinct, written account, some visual support material and summarized budget costs. It is amazing how many forms and copies you have to fill out in order to convey that simple information, but in the end if one knows what they want to do, and the work is of any cultural value, then one probably stands a good chance. At any rate finalizing all this organization of materials proved far more rewarding than repulsive and seems to have ended much swifter than it began. Well the letters are all sent and the remaining papers brushed to one side, so I think I’ll spend a day or two cleaning before doing whatever it is I’m going to next. HEY APATHY!

Monday, November 8, 2010

HEY APATHY! a brief article about comics, kids and the apocalypse ( my life's work)

HEY APATHY! SURREAL ART

“HEY APATHY!” is an ongoing artistic investigation into the city , people, nature, technology and the overall mechanics of being. In the initial ink drawings the metropolis is revealed as an ominous gear propelled by an endless sea of faceless denizens. In more recent artworks, the city remains a giant gear, only now it is all the different kinds of people, not anonymous cogs, who fuel the machine. In order to achieve such realisations I developed a particular artists process involving public interventions, gallery exhibitions, street performances and ultimately new media installations. Through this combination of fine artworks, interventions, merchandising, and multi-media technology, I have created an extended narrative analysis of life in the city in the hopes of inciting dialogue and initiating change. For my next project I intend to express the unique findings of my anthropological experiments through the creation of a multi-screen, hand drawn animation designed for installation at the Urban Space Gallery, (401 Richmond Street. Toronto Ont.) The importance of this artwork will be examined through a brief analysis of my overall artistic initiatives, the technical relevance, and cultural significance of the proposed artwork.




In pursuit of edification, “HEY APATHY!“ aims to develop artworks of social importance as a vehicle for instigating mass dialogue. When I started the project (2001) I used to represent the city as a lifeless entity corrupted by alienation, anonymity, and misdirected commercial ideologies.. At this time I was working out of the seclusion of a suburban basement studio and came to the conclusion that in order to best understand the phenomena in question it would be necessary to externalize my inquires. The plan being to immerse both the artworks and myself publicly in an attempt to answer the questions: “WHAT IS THE CITY?” , “WHO ARE ALL THESE PEOPLE?” and “WHERE DO I FIT IN?“. I have since executed this “Unconventional Interview” through numerous public exhibitions, street art performances, outdoor projections, and wall murals. These interventions have permitted me to meet and converse with thousands of people from all over the world, and of all walks of life. As a result the investigation has led to increasingly intricate discoveries about architecture and others, and ultimately more accessible artworks such as comics, merchandising and animations. Today the experiment is primarily concerned with the creation of drawings that are simultaneously intellectually provocative as well as accessible to younger audiences.





Throughout the entire project, a trend of increasingly accessible, public , and multi-media presentations has evolved. In order to communicate to on a broad scale my investigation consists of live performances, print publications, and new media projects with an emphasis on public interventions and exhibitions.
For the proposed media arts installation I intend to extend my combination of art and popular culture, by creating a unique and socially significant animated artwork. The hand-drawn animation will be presented as loop or “Living Painting” on a large format flat-screen , exclusively designed for exhibition at the Urban Space Public Gallery (see C2 for details). The technical process will differ drastically from the “Cell” or “After-Effects” industry standard. Using the research, craftsmanship, and methods of presentation associated with fine artworks, I will assimilate the popular technology necessary to discuss humanist topics of great concern by means of an abstract , yet accessible, animated language.





A fine balance of global issues and playful optimism is apparent in all of my artworks, an invaluable technique in the alchemy of connecting with both the public and the intellectual. In this constituently technological age, it has become second nature for the artist to adopt, infiltrate and subvert the mainstream. To an artist interested in mass communication, the probabilities of new media exploration facilitate necessity. The proposed animation will critique and subvert popular media, compare, contrast, and combine classical and commercial art forms, and most importantly, invite younger audiences into an alternative stream of communication. Potentially a pinnacle achievement in my aggressive attempt to reconfigure pop, art, technology, and self.

Friday, October 29, 2010

Alternative Comics Halloween Masks ...


 WHEN THE MASKS COME OFF

It's almost time for all the witches,
wolves and creeps to show their faces.
With each rising and racing moon,
more and more people are revealed as ghastly ghouls,
Come the Sabbath, 
and all it's holy praises.
 Landing late in the week this year,
 the gathering has excuse to begin early,
so the streets are half transformed with fear
 and will be worse for the better in mourning.
 After a full and busy and proper life,
 suffocating behind masks,
we finally have a call to breath,
for the children have all crashed.
 Fallen from sweet toxins
they are all out like the light,
 so no one will be the wiser
when the masks come off tonight.

Also check out the latest WEEKLY WEBCOMICS! (which are not written in ryhme, sorry can't explain?) 

Tuesday, October 26, 2010

Alternative Comics UPCOMING EXHIBITION! Ink Drawings/prints at URBAN SPACE


12 x 8 Foot INK DRAWING
will be included in upcoming exhibition
Urban Space 401 Richmond Nov 1/2010



To quote one of the great(est?) philosopher’s of recent times, “ GREAT GOOGILY MOOGILY!” I just started to relax following a long season of exhibitions and was preparing for a solid month of grants writing when out of nowhere I’ve got another show. Since February 2010 I have done 8 exhibitions including outdoor festival performances, comic book conventions and a simultaneous street performance and video installation at two locations during Toronto’s Nuit Blanche festival. That schedule worked out to be almost one show every month, all of which were convention style, meaning I had to transport all of my work, set up a portable gallery and tend the booth for two- four days. The Buskerfest was particularly exerting as it lasted for four 16 hour days in a row. Now that the busy season has past I was looking forward to some reclusive studio time and was glad to have the street gear in storage for the winter. Though as it turns out, not for very long.


At this time of the year the aspiring artist is generally chained to his/her computer conjuring proposals and budgets for the upcoming grant deadlines. My first submission is due on the 9th of Nov. followed by a few more applications due at the beginning of Dec. There for I had set in my mind to focus exclusively on these essays and forms over the next few days. The time so far has been divided between a lot of brainstorming, (though I know exactly what I intend to develop artistically at this stage it is more important that I cater the phraseology of said project to best suit each of my requests for funding and the councils reviewing those requests) and some preparatory paper work. I’ve had to make no small amount of inquires in order to ensure I create a proper budget and resume. I am still trying to get some answers out of the Toronto Arts Council, which is basically the only thing holding back the process right now. Tomorrow I’ll start the writings, likely between 6-9 pages worth depending on how much the conceptual approach differs from grant to grant. For example an animation might be more appealing to one council as a narrative film for festivals while another would prefer that same project to be called a media installation and shown in a gallery. Nuclear or Nuculear is still nothing but trouble.


As my obviously fragmented and slatternly expressions in the above block of text might suggest, the grants writing process is rather consuming and requires both extensive amounts of time and concentration. So just as I’ve initiated the rewiring of daily mental faculties and physical tendencies from creative production and performance towards academic and bureaucratic nightmares, I get an invitation to do a show, this coming Monday. While this has thrown me for a bit of a loop and surprise, especially considering the inexplicably short notice, the experience has proven improbably timely despite might current workload. Although I have to dig back into my storage unit and prepare another instant exhibition, this one will be in a public gallery space and this sudden connection has actually assisted me in the granting process.


One of the pending bureaucratic nightmares involved in the grant submissions is the inclusion of an authorized note of exhibition. The Councils expect the artist to have a gallery or space booked for the completion of the proposed project ( which ironically can not exist yet according to most grant regulations). This letter of confirmation has always been a struggle for me because I am a completely independent force with no gallery or representative to vouch for me and almost all of my shows are juried/ booked in the early spring. This means that there is no way for me to know if I’ll be accepted or to obtain the necessary letters until late spring when the results of the applications are released. Amazingly enough my meeting today about the upcoming show also resulted in a booking for next fall and subsequently the important letter of confirmation that I so desperately required.


Not unlike the unusually circumstantial obtainment of an exhibition space at a time when such an acquisition was vital, so to was the oddity of how the situation came about. A few months back I left a giant shared office studio located at Richmond and Spadina, just beside 401 Richmond (a giant Art Complex here in Toronto) in order to focus my studies on animation. Since I’d no plans of producing any original artworks this year ( and quite possibly ever again) in favour of small computer based cartoons and comic strips, I had no use for the grand studio and retreated to a home set up using the money that would have paid for the rental space to upgrade my animators electronics. I had some concerns about the relinquishing the commercial space but it has been one of the best moves I ever made.


 Shortly after leaving the studio I received a call from Urban Space, a major gallery located in the 401 Richmond Street complex. The gallery asked me if I could do a live performance at the main entrance of 401during this past October’s Nuit Blanche festival. Due to logistical reasons  (I RALLY WANTED TO WORK QUEEN STREET) I offered them my animations to project on the exterior of the building instead and the installation turned into a great success. So almost instantly upon my exodus from the shared studio which overlooked the professional building, I had moved into a bigger institution. Mind you that move was primarily symbolic as it was really just my projections that were being featured for a single night, but that night looks better on my resume (and in person) than 5 years of dealing with passively aggressive Machiavellians posing as young artists and studio mates.



The Nuit Blanche projections ran simultaneous with a live painting performance I did independently under a tent gallery on Queen Street West. These two events marked the end of my exhibition season and resulted in the slight moment of relaxation I mentioned at the beginning of this entry. Coincidently my symbolic entry into the 401 Richmond Street Building lasted for about as long as my rest period as I received yet another invitation by the Urban Space gallery, only this time it was to book two exhibits inside the gallery and (GASP) get paid for it. Earlier this afternoon I went down to gallery to see the space and confirm the exhibitions. I’ll be hanging some work in a group show this weekend and will have the entire space to myself in the fall. Pretty cool.



I think I may wait until tomorrow to discuss the group show, it only has three artist including me, and is going to awesome as well as an honour. I will however give a little credit were it is due and close this off explaining how these absurdist developments came about so suddenly. I got an email yesterday from a long time patron/collector Max Allen and though I’d no idea where or what the show was going to be I know Max’s style and was certain the exhibit would be intelligent, provoking and important regardless of any commercial viabilities and my tight schedule these days. It turns out that Max, already the founder and curator of the Textile Museum of Canada, radio producer and long time art collector just became a managing curator for the Urban Space Gallery at 401 Richmond. As one of his first duties in the new position, Max procured a showing of art about cities, in particular a comparison of physical and financial provocations regarding New Orleans, Detroit and Toronto and just like that my symbolic entry into one of Toronto’s most respected Art’s building transformed from a symbolic one to fully developed physical working relationship.


In delusion, er conclusion, I touched on a number of small topics here that require further explanation but have pretty much covered the basic sequence of events which occurred between Oct 2- 26 which have resulted in my first gallery showing in over two years and more importantly I am rambling out many, many words these days just to flex my essay-writing muscles which are going to be put to the test during the next few weeks. more at http://www.heyapathy.com/