Now is the time to put your zines on the shelf, they are worthless in our current age of quantum communication and interconnection. We do not write zines, we write grimoires. The printed page is dead! A relic of a bygone era which in no way suites our current symbiotic fusion of ourselves into our technology. The glow which now surrounds you is the medium in which we operate. We are the agents of change, the guides of aesthetic transubstantiation. We do not write artist's statements, we write manifestos. We are the magus types. We are Inter Sekt. We are the New World Creative.
"Breaking The Rules" An Art Expose' by Gus Romero IV
"Learn the rules like a pro, so you can break them like an artist." - Pablo Picasso. Well, to do this, I had to understand what it really meant to be a professional. It came one day like serendipity from an unlikely source. I was watching a biographical movie about Mike Tyson on HBO called "Tyson". George C. Scott played the role of Cus D'Amato, the late trainer of Tyson. He defined being a professional this way. "It's got nothing to do with money. A professional is someone who performs no matter what he is feeling inside." I liked this definition better. It made sense during those times when I didn't feel so creative or felt unmotivated. I had to keep honing my craft and sharpening my skills. I had to keep the pen moving, something told to me by my 12th grade English Teacher. No matter what I was feeling inside. That is when I discovered a different person within myself. There was a new purpose as I found myself doing things that came straight from my mind. Now, I'm not sure that was Picasso's frame of mind when he said it, but I do know that when I kept on performing, I discovered a more personal way to express my love for art. Now, I don't always worry so much about making it look like such and such or so and so. It isn't the money, the show, the website, the gallery or the fame that makes one a professional artist. I don't believe there is a rule that says you must experience those things to be considered a professional. But if there is, break it. And no matter what, keep performing.
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My mother always had a penchant for collecting pig statuary and a variety of related kitsch, she adores pigs to this day. Spending my formative years amid a bijouterie of swine must have had some whimsical effect upon my supple young psyche, or perhaps it was rather the opposite. I can recall one instance in particular of sitting in my mother and father's living room on a late summer afternoon, spending what seemed like an eternity staring at a small brass pig. The brass pig itself could have been no more than two or three inches in length, possibly two in diameter, but as I sat staring at it's face I noticed something off in it's smile. A look, not of fear, or of melancholy, or even of panic, no none of these at all! Rather it held a knowing, almost human countenance, of acceptance. As if to say: "Yes, I know what is next. But is that not my lot in life?" Perhaps this story can be taken as some sort of realization of death in my young mind, but if it is to be taken as such than it must also be considered a revelation into the deeper mysteries of the way in which sometimes even the most trivial aspects of life and the baubles associated therewith can lead one into a deeper knowledge, or at least a sense of one. I reckoned at my young age that the animal that this brass statuette represented was a lot like most people in life: sweet, smart, and ultimately doomed. Of course perceptions, like many other aspects of life, are not a static constant. Later in life I would look upon that brass pig with contempt for not only it's seeming passivity and the inherent laziness which said passivity is often a trait of, but for being made of that most bourgeois of metals: brass!
-Steven Lee Matz
A great specter is looming over the art world: the specter of Inter|Sekt. For far too long we have watched the artists of our generation turned into a disposable commodity, bought and sold by the galleries, stifled in their expression by the tastes of the art consultants who purchase pieces on behalf of financially minded clients who want a "solid investment".
They have been amalgamated into schools, said schools are a device of gallerists and art historians to divide and conquer the creatives and free thinkers.
For we live in a nation which thinks itself to be free yet is not, they expect the same of their artists.
Our culture has been raped and plundered by the upper echelon, picked apart and sold by the same greed mongers who claim to be it's patrons. The tool which has most effectively stunted the growth of modern American art in particular is the clever indoctrination of this idea of schools to not only the art student but anyone whom even reads a brief survey of the history of art sees that it is broken up into these categorized schools; the philosophies of these various sects creates conflict, division, and ultimately destruction of the morale and submission to the established order. Thus rendering the creative spirit confused and useless.
This helps curb the rebellious spirit of the average citizen outside of the art world in other spheres of society.
Art history is a lie and galleries are dens of thieves!
Inter|Sekt is not destroying the schools or the galleries, we are simply showing you they were never real, at least not in a world outside of that constructed by academics to sell text books to art students.
The reign of the gallerists and art consultants is over when you want it to be.
From the ashes of the indoctrinated schools of every form of art shall arise The New World Creative.
-Steven Lee Matz-
The inter|sekt manifesto
Gus Romero IV