This is the underground in the rough, type in the address www.intersektart.com and you’re here. Action is the algorithm, and the algorithm is the word. Press your face up against the screen and there you are; pixels and stardust. This is the true underground brought to you by the engineers of culture, often imitated but never duplicated. As we are all cast upon this modern stage of absurdity, we are all equals in the game, and the game is more absurd than ever before.
A strange, P.C. bred, quasi-puritanical mass mentality is fostering an environment which is anathema to art itself, but which prevails in the arena of Art World. It is an attitude that the artist is free to express him/herself under certain conditions which are often motivated by certain gender politics and crypto-fascist double speak. It restricts artists by laying out certain criteria that one must follow in order to not be vilified by the current standards of society and slapped with a defaming label such as misogynist or bigot, and it thusly makes cowards of both established and emerging artists who follow such criteria. Our job as artists is not to build careers which affirm the established order or its philosophies (if you want to follow that methodology you will fair better as a banker or lawyer), rather our purpose is to tear it asunder and forge new paths, by any means necessary. Perhaps Duchamp summed it up best when he said “In my day artists wanted to be outcasts, pariahs. Now they are all integrated into society”. So, what is the antidote to this quandary? If you are a painter: paint the revolution. If you are a draftsman: draw your own line. And if you are a sculptor, then remember that the most beautiful sculpture is a paving stone thrown at a gallerist's head.
For the most immersive experience we recommend using a PC for the duration of your Third Friday viewing.
Pictures will often be formatted in rows of three, click on the thumbnail to enlarge the image. Thanks for visiting Rogue Gallery! Enjoy your stay! Mortimer DempseySierra MatzR.F. PangbornRick AndriolaLee Harvey RoswellGus Romero IVDavid MacDowellSteven Lee Matz
Thank you for visiting. Inter Sekt is an organization that works hard to continue bringing new and fresh artistic content from The New World Creative. You can show your support by shopping in our store where you will find select prints, original art and a variety of other items. Our store is powered by PayPal and is capable of accepting both PayPal and most major credit cards as payment. You may also make an anonymous donation by clicking the button below where you will receive confirmation for your contribution. Thank you again from The New World Creative.
0 Comments
The work of Stephen Kasner is that of an artist exploring a realm of terra incognita most artists, whether out of fear or inability, never come close to charting. His subjects often find themselves cast as both catalyst and muse amidst a barren backdrop of existential longing. That, however, is not to say that the work itself is barren, and in fact quite the opposite is true. These paintings boil and writhe in the subtlest of ways that can be instinctually understood, but never fully articulated. This is an artist who finds his subjects in the darkest recesses of both the conscious and unconscious mind and presents them to the viewer in all their fallible and tormented glory. Ultimately there is a sense of hope within these walls of stretched canvas and paint. These figures may forever fight to keep the impending, inky darkness at bay, but they never fail to stave it off. Atmospherically speaking, the canvases often seem to be born of an ephemeral darkness. The figures in these paintings appear to have been scratched, scumbled, drawn, and painted into existence, yet, they are much more. They are as alive and as tangible as shadows, and as the beings that cast them. For all their sense of a textured, painterly roughness, of having been thoroughly worked, they resonate a certain polished elegance. It is an assured and granite elegance, much akin to that of marble. The way it tells us its story in the cracks, fractures, and fissures it displays beneath its smooth, elegant surface. These canvases seem to be born of a subterranean shadow world, yet the figures themselves exude an agonized illumination. This is often further intensified, not just by the darkness whirling about his subjects like angry locusts, but how he reminds us through his work that we are all surrounded by a darkness of the same fashion. As the illumination of a lantern in a dark forest often does, the light afforded one sometimes reveals more questions than answers. Indeed, the whole of his output consists of multi layered cacophonies of sustained brilliance and applied intensity. It is art fulfilling its full potential; these works have implications of a very complex and innate philosophical nature. There is no doubt that Stephen Kasner is an accomplished and technically adept painter and master visual artist, yet he has in more recent years extended the reach of his artistic vision past the confines of visual art. He authored Stephen Kasner: Works 1993-2006; an anthology of the drawings, paintings, and mixed media works that made his name. He is also the driving force behind the experimental music of Blood Fountains. We will be delving into that area of his output in our exclusive interview, as well in the latter part of this feature. With three never before heard tracks; one from Blood Fountains (Which you can get as a 10” silver/gold vinyl LP, included in the upcoming 2018 release of Stephen Kasner: Works, signed & numbered limited-edition book sets), as well as two exclusive, previously unreleased tracks from ArorA, and the original film from Blood Fountains, Moving Mountain, filmed in Belgium by Dwid Hellion, Tine Guns & Mathieu Vandekerckhove. We are very proud and honored to present to you our April Spotlight artist of 2018: Stephen Kasner. Stephen Kasner : Spotlight Interview With Steven Lee Matz Stephen, I would like to begin by exploring where art entered your early life. As a young person, were you always pulled towards art, or was there a singular moment when you realized art-making was what you wanted to do seriously or professionally? Drawing, painting, art making—these are practices I never thought much about, or was a path where decision played any role. Navigating my way through childhood with drawing; that wasn’t a thing I ever considered choosing. It was always there, and easily accessible. An impetus to create imagery was simply a natural extension of my mind, my thoughts, and it was a language I could understand. As far back as I can recall, there always existed a sort of pilot light within that was ever-present. Drawing and image making was my instantaneous, automatic, and even unconscious way to bring into existence those things that I wanted to see and understand, but was otherwise unable. It was a spontaneous tool to translate and define a language unknown to me, and it’s still very much that same way now. Who were and are your primary artistic influences? The main inspirational sources that have remained constant and infinitely resonant throughout my adult work as a painter include Francis Bacon and Austin Spare, Franz Von Stuck, Ivan Albright, Ross Bleckner, Fritz Scholder, Alfred Kubin, Anselm Kiefer, Odd Nerdrum, all of whom are generally or immediately contemporary. Though as is most healthy for any creative expressionist, I always openly seek to find inspiration everywhere, especially outside the traditional art world. Often, one can receive the strongest impressions and inspirations from things not at all connected to your own direct path. Naturally, music is a major driving force, both personally, emotionally, and through my work itself. But biographical stories also encourage me immensely, and plants, flowers, animals, and my own personal, individual relationships, are all sources of untold energies. Anything that holds clues or transmits reflections to the elusive mysteries of love and death are key. You can potentially find that anywhere. The world is full of countless signs and fleeting glances into the really great mysteries. That stuff is always right in front of you. You only need the soul to see them with. In addition to all of your output as a visual artist you are also the elemental force behind the music of Blood Fountains. How did that project come about and what is the philosophy behind it? Gravitating to a natural course through drawing, I also pursued the study of music. Of course, that pursuit took a bit more doing, as one needs a supportive parent to assist in the nurturing of something like that when you’re only 8 years old. But I did have supportive parents, and I suspect that it came as no surprise, nor was it confusing to them that I had that sort of interest. I didn’t have to convince them of my sincerity, or my intent to stay serious about a dedication to studying music. They had been witnessing the same driving behavior I had towards my art for some time by that point. I began to study guitar, and then electric organ and drum lessons at home followed. I’m acutely aware of the fact that there was a period of time, whether I chose it or not, that a deeper search through drawing and painting took the lead, and the visual side eclipsed the music study. Any of my friends who I’ve played and recorded music with all attest to this as well, with little doubt. It’s a strange thing; during that timeline when I began to paint seriously, the great bulk of my knowledge of reading and playing music—playing formally—just disappeared from my abilities. When I returned to playing music, I found myself with great, unexpected challenges of relearning everything I may have properly absorbed through formal study. From the time after that, when I decided to channel a combination of my own music and my art into one entity, I’ve no choice but to play and record with a similar set of psychological tools I use in painting. After years of initial frustration, I’ve come to not only accept what I considered limitations, but embrace them as an essential format in musical expression. I’m more pleased now, currently, as it feels more inevitable. I’ve accepted my limitations as somehow necessary to braid and weave my painting and music, and it’s through that same inevitability that Blood Fountains was created. Dwid Hellion was an early co-collaborator in your exploration and recording of experimental music. How did your connection together occur? I first met Dwid in 1997 while his band, Integrity, were just preparing to record their album Seasons in the Size of Days. Dwid had just seen my first solo gallery exhibition that was occurring at that same time. He got my number and called me, and after we spoke for several hours about music, art, religion, serial killers; he also laid out the concepts within the Seasons album. Dwid requested I produce the paintings for that album, which of course I was very pleased to accept. We always remained close, and our bond grew to explore some experiments in sound, initially through his ongoing Psywarfare project. Throughout 1997-99, I spent most entire weekends at his home recording with him. It was through his mediumship that allowed me to begin to explore a more serious level of my own ideas and concepts of what I felt was the natural ambition of my music. Refocusing the intent to translate the aesthetics, dynamics and emotions in what I was doing with painting, but through sound. How would you describe the creative dynamic between the two of you? Dwid and I have a great deal in common artistically, aesthetically, philosophically and intentionally. We understand each other intuitively, which is among the rarest of things. Dwid and I became instantly bonded through our immediate talks. We have remained trusted friends and collaborators for decades now, sharing a unique series of odd interests, examining the world as extreme outsiders. We both recognize our displacement in the modern world, we mutually accept it, and have both embraced that position long ago, separately but in tandem. There’s radical sources of power generated through these types of connections. Just like everything else, the level and quality of frequencies dictates the output. You mentioned the experimenting and recording of your music with Dwid, but that work together was not your first recordings, nor the beginning of your music that eventually became Blood Fountains. You were previously experimenting with sound as a project under the name ArorA? ArorA was the first legitimate series of attempts to document and record the hazy concept of what all my music is really about—to give some tangible form to a pure emotional target. You could call the music soundtracks to my paintings. That is essentially what the music is in the end, but the approach, premeditation, analysis, and production are far more complex than simply this. Ultimately, and hopefully, the music can be enjoyed by someone who has no idea about any of these intended connections, and not a clue of the parallel intent between the music and artworks, and just simply enjoy them as sounds or songs or whatever you might call them. And was ArorA an actual band, or how would you describe it? ArorA existed for perhaps a solid year of strictly recording improvisational experiments, guided only by a discussion of the means I mentioned, and an emotional focus, crystal clear, vague or abstract, was irrelevant in the larger scope of the almost ritual style between myself and Shawn Bateman, who was my sole collaborator in ArorA. I’ve known Shawn for most of my life. We are very much alike in a spirit-core way, in that we both scrupulously examine and define the world around us giving emotions a formal value. Emotions, what one feels within, has definitive weight and density and energy, and Shawn and I have always shared that core belief. It’s more than a belief, really. It’s a determination to the concept that emotions are a tool of measurement, and we all, consciously or unconsciously, use them all day, every day, to assess every moment in which we each exist, defining a perpetual value. Shawn is an extremely talented and natural musician, far more so than I am. There is never any comparison to our levels of playing. Shawn is cognizant and in control of his notes. I am not, but somehow that’s what works. After some time away, we played together again recently as Blood Fountains. Beyond his musicianship, Shawn is a remarkable painter as well. He as been a close friend and inspiration for many years. Your work was featured in the recent film, The Devil’s Candy, and is somewhat central to its entire concept. How did that project come about and what was the extent of your involvement in the production aside from the paintings themselves? Snoot Films, the production company for The Devil’s Candy, contacted me on behalf of Sean Byrne, who wrote and directed the film. As Sean explained to me in our first conversation, throughout his process of writing the story, he had envisioned my work as the precise imagery he wanted the main character, who is a painter in the story, to produce. The paintings of that character fluctuate, and are rather trapped in a psychological and spiritual battle. As the story unfolds and gets more absorbed in the mystery of the Satanic force that influences him, his paintings succumb to more and more demonic distortion. I was involved in every level of these creations as essentially the painting-maker behind the paintings we see as the work of the main character. My production of the paintings took place privately, well in advance, and continuing during the shooting of the film. I was not on the set during filming, and due to the unbelievably stressful time constraints to produce the large number of works necessary to the story, I continued painting up to and during filming, while communicating with Byrne. There were over 25 individual pieces of varying sizes and stages required for the film, which I completed in approximately seven months prior to shooting. It was really an impossible task, well beyond daunting, and I reminded Sean of that every chance I had, I’m sure. You and I previously discussed the work of HR Giger, with whom you had known personally. Can you tell us a bit about that friendship and how it affected your path as an artist? I would never be so bold as to define my association with Giger as friendship. That’s HR Giger. Frankly, I still have a very difficult time wrapping my mind around the fact that I ever had the privilege of meeting and knowing him at all. There’s also the psychological wall that exists due to the fact that, undoubtedly, Giger has always been one of my greatest influences. I was barely in my teens when I discovered his work in Omni Magazine. Those experiences, seeing his paintings in print, were startling enough where it wasn’t even a part of the equation to consider them paintings. He was creating another world out of nothing and nowhere. If you are a person who truly understands and revels in Giger’s work, you will know that there are no words to describe it. What I know is, I was invited to visit his home, I was there, and the facts blur at that point. That experience is not something one can keep in words or expressions of any kind. It is instead, something you can only hold within your heart, and you guard it under lock & key. I will continue to do that for as long as I am in a human body. As a painter you have a distinct, original style, which is unmistakably your own. By what process are one of your paintings born, both conceptually and technically? I expect as much as any artist, painter, musician, or anyone who evokes personal creations, this is a difficult thing to express or explain. It sounds peculiar, I’m sure, but sometimes even I am not so sure how these things come into being. I think the element of style occurs as a by-product or side effect of this personal creativity that, at its finest, remains subconscious. If at any time an artist becomes conscious or aware of the concept of their own style, you’re in trouble. That is when the danger of forced creativity is in play, and you are very potentially doomed to some sort of failure, either within the moment, or in a particular piece, or worse. Also, every artist has their own personal goals; radically varying levels of what one hopes to achieve. Some only seek to explore marginal, surface things, and others go deeper. Some, as you mentioned Giger, channel revelations pulled from some bottomless pit that is clearly not of this world. My work is exceedingly personal and subconscious, and I am indeed only interested in pulling from depths previously unknown to me. The reaches I take don’t have to be radically far. Very often, I pull from parallel-universe locations that can be right next to me. One only needs to know how to reach in. This action, and how I achieve it, is a kind of ritualistic event I have practiced and cultivated with my work for many years now. It’s rather like imagining yourself in a trance, or in mid-hypnosis. When you’re in it, right inside it, that’s one thing; but when you return from it, it’s often a remarkably difficult, if not impossible state of reality to put into words, or analyze, or sometimes even understand. As an artist, especially a visual person, a painter, attempting to reveal the things I do, you have to very often simply not attempt to understand it. It can be a counterproductive method to spend energy dissecting and comprehending the how and why the channeling of these things actually happen. The fact that they do, and one is able to access certain unconscious levels of being, and even invisible states or however you prefer to acknowledge it, is a blessing and a precious magical thing. It just is, and that’s all there is to it. Tracks 1 and 2: ArorA, Psychedelic Solutions [Unreleased Improvisation Sessions, 1996] All instruments and sounds: Stephen Kasner & Shawn Bateman. Track 3: Blood Fountains, Blood Fountain All instruments by Stephen Kasner, David Beaver, & Daniel Koja Mastered by James Plotkin Exclusive track from 10” silver/gold vinyl LP, included in the upcoming 2018 release of Stephen Kasner: WORKS, signed & numbered limited edition book sets. Blood Fountains Moving Mountain. All instruments by Stephen Kasner Filmed in Belgium by Dwid Hellion, Tine Guns & Mathieu Vandekerckhove Mastered by James Plotkin Stephen Kasner Stephen Kasner’s paintings, drawings and photographs have been exhibited and published worldwide. Gallery exhibitions of his works have been hosted in Chicago, Los Angeles, San Francisco, New York, among many others, as well as in Europe and throughout Australia as part of the internationally renowned Collection Art Visionary. His paintings and mixed-media works have been published to accompany numerous articles and editorials of vast social spectrums. Kasner is also widely recognized as a singularly masterful visual interpreter of music, producing a remarkable number of his unique images to accompany record albums for such modern musical luminaries as SubArachnoid Space, SUNN 0))), Darsombra, Khlyst, Suma, Justin Broadrick/Final, Skullflower, and Aluk Todolo, among many others. Stephen continues to collaborate as visual artist for a series of bands and musicians, creating original artworks for upcoming releases by Suma and Istvan Megdyesi, and has recently produced a series of unique automatic drawings for The New Recordist, an upcoming release from German experimental electronic musician, Marc Lansley. Kasner is currently working exclusively with Dark Art & Craft, producing an ongoing series of limited edition prints, as well as producing new original works for upcoming Australian tours of Damian Michaels’ Collection Art Visionary. Stephen Kasner is represented by Paul Calendrillo Gallery, New York: www.paulcalendrillo.com Limited edition fine art prints available exclusively through Dark Art & Craft: www.darkartandcraft.com/stephen-kasner We are currently accepting submissions from artists for Emerge! To submit your work, send up to 10 JPEG images to
intersekt23@gmail.com or click here We will not accept artwork of a pornographic nature (Nudes are fine but anything depicting a sex act or penetration will not be considered). Also, anything depicting hate speech / hate crimes against people based on race, creed, gender identity, or sexual preference will not be considered. This show is exclusively for new artists who have never shown on this site. Previous Spotlight artists and Third Friday contributors Do Not Qualify. The deadline for submissions has been extended to April 23, 2018.
Welcome to the March Third Friday! Spring is almost upon us (although by the time you read this it may be well into Summer), and the short lived era of R3VOLT has short circuited as quickly as it sparked. But in it’s wake we are left with a realization of our initial vision, an emergence of connection among the underground. By now many artists and creatives have begun to realize the suffocating and systemically obsolescent confines of the art-world with all its rules and etiquette, labels and semantics. Many of you recognize by now that abiding by such a caste system is nothing more than getting in line for the inevitable death march of the human spirit! But you know as well as we do that we haven’t reached that singularity point yet, and the only way to avoid getting in that line is to make the current order crash completely.
We must help each other in our efforts at ascending to the next level. That’s why we don’t take consignment fees from our artists at Rogue Gallery. Under every artist’s work there is a link to contact them directly. Art consultants are not required. So why do we do this? Because this was another component of our vision for a New World Creative when first starting out. The artistic underground has always relied heavily on artists helping artists, and we are deeper than the underground. We are a collective consciousness seeking to elevate all of creativity with love, passion and respect. We make no judgmental discernment to belittle, disrespect or challenge creativity. We aim only to encourage and embrace it. We represent the future of art. One that could never be bound by cold white walls. We embrace the art revolution as an art evolution and humbly invite you to take this journey with us. For the most immersive experience we recommend using a PC for the duration of your Third Friday viewing. Pictures will often be formatted in rows of three, click on the thumbnail to enlarge the image. Thanks for visiting Rogue Gallery! Enjoy your stay! Rick AndriolaMortimer DempseySierra MatzJim MazzoccoBeppo ZuccheriGus Romero IVDavid MacDowellSteven Lee MatzDavid Van Gough
Thank you for visiting. Inter Sekt is an organization that works hard to continue bringing new and fresh artistic content from The New World Creative. You can show your support by shopping in our store where you will find select prints, original art and a variety of other items. Our store is powered by PayPal and is capable of accepting both PayPal and most major credit cards as payment. You may also make an anonymous donation by clicking the button below where you will receive confirmation for your contribution. Thank you again from The New World Creative.
The work of this month’s artist is a synthesis of physical and digital. It is spiritual and material. He has an unusual vision which explodes on and off the screen with precision and clarity. Many would say that this is the work of an artist who is taking on the form of the meme as an aesthetic affectation to communicate very complex political and sociological ideas to an online populace with a tenuous attention span. We are proud to give to you our March Spotlight artist: Toto Páprika.
Follow Toto Páprika
Third Friday-February 2018 Users Guide.
For the most immersive experience we recommend using a PC for the duration of your Third Friday viewing. Pictures will often be formatted in rows of three, click on the selected row to enlarge the image. Thank you for choosing Rogue Gallery, enjoy!
We all remember at our earliest stages of life, putting various geometrical shaped blocks into their corresponding holes. It was pretty easy to discover that some shapes simply did not fit into the others, so you had to try another one. By process of elimination, you learned that not all things fit together. You can't put a round block into a triangle hole. Nope. Not possible. But later, you began to question things. The question, "what if?" begins to stir your imagination. So what does this have to do with Inter|Sekt? I suppose these blocks and shapes still exist everywhere throughout the fabric of our lives. Even with people. Some are round and some triangle and, well, you get the idea. When we sat down to come up with a name and a symbol to represent our vision, we wanted to bring together shapes that may not all fit together at first attempt, but through the common denominator of imagination, creativity and art, they fit perfectly. Like magic! It's easy to come together when the similarities are obvious. But it is when the differences go deeper than the surface. When even our beliefs may differ, with that same sense of imagination, we can somehow still fit together. When that happens in the creative world, such beautiful things are possible. When we look at the relationship between artists like Andy Warhol and Jean Michel Basquiat, we see their obvious difference creatively on everything they created together. When you looked at the canvas, you could see what Andy painted and what Jean Michel painted, yet somehow the differences meshed together to form one piece of art. We wanted to bring people together creatively. To put aside the anger and resistance to the differences that divide us and learn how to co exist. If anything, at least co exist on a creative level. We put the round block and the triangle block together to create a new shape in hopes we can see the magical beauty of creativity from ALL that exists. As the Beatles song says, "Come Together!" That's what we hope to do. Come together. With something universal that transcends language or border barriers. That is our ability to create beautiful art. Thank you for joining us here to celebrate that which binds us as artists, the love, the desire and the absolute need to make art. - Julian Mansfield Dusty RayRick AndriolaSierra MatzLX Morgan
yarn bomb·ing
noun noun: yarn bombing; plural noun: yarn bombings;
Mortimer DempseyClinton NeuhausRachael BridgeGus Romero IVDavid MacDowellSteven Lee Matz
Thank you for visiting. Inter Sekt is an organization that works hard to continue bringing new and fresh artistic content from The New World Creative. You can show your support by shopping in our store where you will find select prints, original art and a variety of other items. Our store is powered by PayPal and is capable of accepting both PayPal and most major credit cards as payment. You may also make an anonymous donation by clicking the button below where you will receive confirmation for your contribution. Thank you again from The New World Creative.
Welcome, Ladies and Gentlemen, to the Rogue Gallery. The work of this month’s artist you may assume to be pop art, if you do you are mistaken. This artist’s work transcends mere pop, (his subjects are often culled from iconic scenes of American cinema) as there is an intrinsic understanding in these paintings that the iconography of America lies, not in religious mythology or even historical accounts, as much as in the scenes embodied in the nation's films. Here is an artist who paints with the precision and lyricism that was embodied by the impressionists. His brush trowels through the globs of oil paint he lays upon the canvas to reveal figures gleaming with the artificial blaze of a Hollywood sound-stage. Their eyes focused on each other but with the ears slightly pricked up as though the gaffer just bumped into something, knocking it over, or the script consultant is giving them a line of dialogue. You see the scenes, often tense with the drama, but the subjects don’t feel the drama as we do (life and death, good versus evil); they feel the drama of studio heads, producers, directors, accountants. They feel something that we as movie goers are never meant to see, and maybe in the moment of total absorption in a film, we don’t… but in these paintings, there is a definite sense of these elements just beneath the surface. Indeed, the work which you are about to see transcends pop and is much more akin to a sort of new American history painting. But whereas an artist like Jacques-Louis David painted heroic Napoleon and the martyred Marat, the works of this month’s artist portrays the heroes of mass commercial culture and personifications of the only true mythology of modern America, that of Hollywood. We proudly present to you our February Spotlight artist: R.F. Pangborn. R.F. Pangborn Horror movies were a huge form of escapism for me during a troubled childhood. They've stuck with me through thick and thin like old friends ever since, and of course their imagery would find its way onto the panel again and again for me later on in my forties, when I seriously decided to take up oil painting. It's a little early on in my painting career for me to floor you with any deep or enlightening statement about what my art means. The act of painting, especially slopping it on thick, brings me peace and contentment like nothing else. It's been a fantastic catharsis for me. And yes, more escapism. I've been a doodler all of my life, but I've only taken up the brush seriously for the last five years and I'm just now starting to get a tiny glimpse of the potential of painting. I'm excited by all this possibility. Where I can go with all of this? I'm overjoyed that anyone finds my work interesting or entertaining in any way. I'm extremely grateful to the horror community at large. The people out there who support my efforts in so many ways, including purchasing my art. Still blows me away every time I sell a piece! I tried to get into comics back in the 90's with only a couple of dubious publications who printed my work, worked a million odd jobs, messed around with film-making for a few years, married a great gal, got my backyard S.O.V. crap-fest The Sadness distributed in 2007, didn't make a dime. Moved down to Florida from NJ two years later, played a bunch of electronic noise shows, wised up to internalizing bad advice about being an artist when I was a kid. Got a late start, but I'm finally where I'm supposed to be. Thank you for having me, RF
"The time has come," the Walrus said,
"To talk of many things: Of shoes--and ships--and sealing-wax-- Of cabbages--and kings-- And why the sea is boiling hot-- And whether pigs have wings."* Mortimer DempseySierra Matz
"But wait a bit," the Oysters cried,
"Before we have our chat; For some of us are out of breath, And all of us are fat!" "No hurry!" said the Carpenter. They thanked him much for that.* Rachael BridgeGus Romero IV
"A loaf of bread," the Walrus said,
"Is what we chiefly need: Pepper and vinegar besides Are very good indeed-- Now if you're ready, Oysters dear, We can begin to feed."* David MacDowellSteven Lee Matz
"But not on us!" the Oysters cried,
Turning a little blue. "After such kindness, that would be A dismal thing to do!" "The night is fine," the Walrus said. "Do you admire the view?"* Seven VegasWicked King
"O Oysters," said the Carpenter,
"You've had a pleasant run! Shall we be trotting home again?' But answer came there none-- And this was scarcely odd, because They'd eaten every one.*
Thank you for visiting. Inter Sekt is an organization that works hard to continue bringing new and fresh artistic content from The New World Creative. You can show your support by shopping in our store where you will find select prints, original art and a variety of other items. Our store is powered by PayPal and is capable of accepting both PayPal and most major credit cards as payment. You may also make an anonymous donation by clicking the button below where you will receive confirmation for your contribution. Thank you again from The New World Creative.
*Excerpts taken from The Walrus and The Carpenter by Lewis Carroll
Dark, poetic, and complex; our first artist of 2018 grew up in Liverpool, England. As a boy his imagination was forged by “a tableau of EC Horror comics, 70’s occultism and Catholic guilt”. After honing his skills in the field of commercial art for over a decade, he turned his attention to the expression of his own vision. In the studio he wields his brush over the fibers of his canvas with the precision and authority of a magistrate’s gavel. Each stroke of paint is laid down with studied, masterful intent. Weaving tapestries of man’s wonderment at the terror he poses to the world around him, and the terror he poses to himself. Ultimately, he asks questions of his subjects which they are forced to answer, and in the process so are we. Inter | Sekt is proud to present our January Spotlight artist: David Van Gough. David Van Gough is a Necrosurreal artist, using allegory and alchemy, chronicling a heightened sense of mortality, and the madness of the minds subterranean recesses. Raised in Liverpool England,in a terraced house overlooking a cemetery, his early years were colored by a tableau of EC Horror comics, 70’s occultism and Catholic guilt. A keen scribbler, his artistic intents were fully realized upon seeing a monograph of Bosch’s Earthly Delights. Enrolling to study at the Liverpool school of Art-upon graduating-he left for a decade as a commercial artist. However, upon the death of a friend--the third to die in a fifteen year period--what he calls a ‘cruel reminder of life’s fleetingness’, revitalized his early artistic ambitions, imbuing his work with “an emotional and spiritual excavation for purpose” Moving to California in 2005, he became an Honoree Artist of 2010 at the San Diego Art Institute,and his work has been hosted in a succession of solo and featured showcases on both sides of the Atlantic, including major exhibits at the Oceanside Museum of Art,(SD) Stephen Romano gallery (NY), Copro and Gregorio Escalante gallery (LA) and Bash Contemporary (SF), as well as being represented by the London based gallery, Macabre. His Hyaena gallery exhibit "Man/son and the haunting of the American Madonna" has been featured as part of the critically acclaimed documentary "Serial Killer Culture" by John Borowski, now streaming on Amazon Prime. Currently he lives and works from his studio in Julian, CA, where he is preparing his next solo exhibit-Paradiso's Fall, to be shown at the Dark Art Emporium, March 2019.
Welcome to the final Third Friday of the year, and what a great year it has been. From Denver to Denmark. From Athens, Georgia to Athens, Greece and far beyond; the New World Creative has grown exponentially! We would like to take this opportunity to thank every creative and patron who helped make the past year possible.
A very special thanks to Mary Rutelidge of Federal Heights. As the year 2017 draws to a close, we would like to take a moment, not for retrospection on the past year, rather projection of what is to come. We look to 2018 with a sense of purpose and gratitude as we enter into a golden era of artistic innovation, rejuvenation, and reinvention. At this very moment in time we stand on the precipice of a monumental undertaking into the evolution and renewal of ourselves as human beings and the reevaluation and reassertion of ourselves to our vocation as artists. Welcome to the era of R3VOLT! Sierra MatzAlexandria RomeroJim MazzoccoRick AndriolaDavid MacDowellGus Romero IVSteven Lee MatzSteven Johnson Leyba
I am Steven Johnson Leyba and I live to create.
This is a new chapter of my life moving from my book of WATER into my book of FIRE. I'm in R3VOLT. I left the cultural swamplands of Washington state to create further. To create from myself. I am now on the Navajo reservation living in a hogan. Studio Hogan is my new studio. I left my thousand-square foot studio for a dirt floor and a wood stove dwelling on the Continental Divide. I turned my back on living in the art slave systems of cities. I needed to concentrate on creating and turned my back on censorship. I am in R3VOLT. Inner space. A place of my own within myself. R3VOLT is the outrage over the star system of artists that seek validation by ARTWORLD and so called “civilization.” Stepping aside for awhile to gain the electricity from thinking and creating in solitude. As John Trudell said before he died a year ago, “We need a new fusion of new energy” R3VOLT is that energy. It is a RE-CHARGE; A RE-VOLT. I need the voltage and this new energy that comes from creating and blossoms outside of the spectacle. Inner space. A place of my own within myself. R3VOLT is the outrage over the star system of artists that seek validation by ARTWORLD and so called “civilization.” Stepping aside for awhile to gain the electricity from thinking and creating in solitude. I am finishing up my 16th hand made book WATER for my solo exhibit at Dark Arts Emporium in Los Angeles (Cities are once a gain trading posts. No longer centers for creation. Only places to take your goods, purchase goods and then return to your creation station.) It is hard to work on my mixed media pages in the WATER book when it is 10 degrees in the morning. There is the original homemade steel wood stove that was in this hogan. Initially made to keep the sheep and pumpkins warm through the winter. Fire threatens to melt the acrylic on the pages and ignite the book when it is too close to the fire. FIRE also being my next book. Book 17 of which I am starting here and will work on in my travels on the road. When I got to New Mexico over a month ago and made my friend's hogan Studio Hogan there was no WATER and I had to change the wood stove to have a big enough FIRE to stay alive and to create. I am freer here than I was in my live work space among mostly parasites who did not make art but got a slightly discounted rent and called themselves artists. Imagine scientists who all lived next to each other who did not practice science. Perhaps they did a science project years ago in school. Art is a good cover for the non-creative. What I mean by R3VOLT is not a blasphemy against the Corporations that control most of our life. That would make me a believer. I believe they exist. So do I. Multi-National Corporations are the new government and I am the new Pilgrim. A pioneer on the new frontier of my world. R3VOLT is when you are disgusted by the systems of control, whatever they may be. But why be controlled? Why not create? From the heart and not for mere fame and fortune? To start a “revolution” against our corporate masters only feeds the beast just as John Trudell would say. I have been saying it for years as has Trudell and artist Genesis P-Orridge and Lady Jaye P-Orridge “VIVA LA EVOLUTION!” meaning one’s evolution is most important. Why else are you alive? A revolution is like a hamster wheel it goes round and round and the new boss is just as the old boss. “The revolutionary has never won. The revolutionary has always become the state. Because the state has to protect the revolution. This is reality... Life is about EVOLUTION not REVOLUTION” John Trudell
R3VOLT is not a protest it is a detest. It is one’s personal creation away from what often times destroys the creativity in us. R3VOLT moves us away from the energy prisons. A more personal place to be away from the selfie sticks we shove up each other's asses every second. It is one’s own views and what one thinks and creates not what one believes.
Personally I get tired of the social templets and scripts. I seek to go inside myself to create what I want to see in this world, not what I am told to look at and see. I have stepped out of auto-pilot and I am seeking actual authentic experience not a prescribed virtual reality or a life lived through a celebrity. I want something to show for the time I am alive. Individuality and fame can be a culture trap. Rather than completely dropping out I seek to bow out momentarily to make shit I believe in without the distractions of the spoon feeder validation police and priests of society. I seek to speak of our time and have perspective. One grows tired staring at shadows on the cave walls. It can be revolting. So I live my life in R3VOLT. Right now I type this in my ancient computer on my painting/ bead table. The reservation dust is so fine I can taste it constantly and it is all over these smaller WATER paintings I am working on. It is hard to paint the details when everything is coating everything. Most days I prefer this to the constant bread and circus of social media. The Internet and social media are like cities, they are also a trading post. A good place to bring your goods and get a few but not much is actually created there. The rez dogs are at the open door of Studio Hogan begging. I gave them bag dog food, but they want my canned human food. Right to my left is a White Mountain Apache mug full of black number six glass beads. Several times I have almost drank that. Nearest hospital is almost two hours away. Lots of physical work that needs to be done around here like chopping wood. It is still the wild west. These are the happiest days of my life, perhaps not the easiest but in some ways it is. Very real problems and I am not concerned with so called leaders and their manipulations. I am focusing on what I can truly think and make. I am making a new pattern in my life. I am creating new options from my R3VOLT. When I did my first documentary movie “What is Art?” I asked fellow artists “what is more important the artist or the art?” most said the art but many said both. I think one said the artist. I realized the act of creating was the most important. More important than the artist and the art. Yet I cannot separate any of these things. The act of creating is a R3VOLT. The moment you create you are placing a portion of reality in jeopardy. That is a good thing because creating the same nonsense is the act of making stillborn art. Vital art is fluid. It is life and ritual in motion. Energy flowing. Electromagnetic energy flowing from your body and not a robotic repeat of all the recycler artists of the world reposting and rehashing the hashtags of misplaced meaning. R3VOLT is not a protest it is a detest. It is one’s personal creation away from what often times destroys the creativity in us. R3VOLT moves us away from the energy prisons. A more personal place to be away from the selfie sticks we shove up each other's asses every second. It is one’s own views and what one thinks and creates not what one believes.
R3VOLT asks more out of us each day. Did you create today? What did you think? I don't believe in believing in anything I believe in action and R3VOLT. Belief is stagnation and repeat. Beliefs constantly change as does life. I prefer change to belief. Creating, thinking and change = R3VOLT. I am in constant R3VOLT. To truly create from oneself is R3VOLT. Life truly being lived is R3VOLT.
RE VOLTING one’s self is FIRE and PASSION. The poet Lorca spoke of DUENDE which is a Spanish word that speaks of the traditions of true passion. Of THE BURN OF BLOOD and the FIRE IN THE BELLY. We are in an age of complainers and victimology. That is the new belief. World culture is often concerned with victimhood, finger pointers, tattle tales and complainers. Who are the doers? Who are the EVOLUTIONARIES? There is a Renaissance in science and technology and many artists are dropping the ball. Where is the art that truly speaks of the spirit of the age? Not how much someone is making, who they are fucking and what their outfit looks like. Quantum Physicists tell us the very nature of reality is being questioned. That excites me. Celebrities don't. Making my art exactly as I choose is an act of R3VOLT. R3VOLT is a Temporary Autonomous Zone. A creation station without societal rules or regulations. It happens when you create. Often times solitary but not always. It can be a cabal of thinkers and creators. Not as an alliance but as accomplices accomplishing something in that Temporary Autonomous Zone. Think of it like a jewel heist. You find your accomplices for the job. Not alliances because alliances can be infiltrated, compromised and may turn on you or turn you in at the new heist. Accomplices are in it for that particular manifestation of creation. Time for me to break the patterns and habits scripted to me. Some are easier to drop than others. Why not put a ripple in the matrix? Throw your wrench into the societal control machine by your creations. Create your way out. Create your way forward. Protests give them validation. Voting for or against gives them your energy. Why not create what you want to see in this world? Why not R3VOLT?
Thank you for visiting. Inter Sekt is an organization that works hard to continue bringing new and fresh artistic content from The New World Creative. You can show your support by shopping in our store where you will find select prints, original art and a variety of other items. Our store is powered by PayPal and is capable of accepting both PayPal and most major credit cards as payment. You may also make an anonymous donation by clicking the button below where you will receive confirmation for your contribution. Thank you again from The New World Creative.
|
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
CategoriesStaff
Jim Mazzocco Archives
September 2021
|