Thursday, July 24, 2008
Good-day Your-x readers. I am in bed and have decided to do an impromptu interview with the artist also known as my brother, or as some say "panda?". Some call him twilight2. Or is that, too? Anyway, as I have him next to me since I'm stuck here nursing a stomach-ache and with hyphens to spare, let's begin - after a quick pee-break....
(and... we're back - we're being me, Matt stayed here)
You-x/Joseph: Okay - so, this is live - un-edited blogging at its finest. Uhm, so are you okay with an interview?
J: I think normally they tape record these, or mp3 em and then transcribe it later. Typing this shit live is gonna be a magnificent pain in the bajeeber.
M: (Sort of laughs). What is a bajeeber?
J: I don't know it just seemed more clever than 'pain in the ass'. So, when did you find out that you were the brilliant artist with a million fans that we all know you as today?
M: When? I don't think that's true. I mean, cause I don't have a million fans. Plus, no wait hold on, (laughs) - uh, back to the question - that was after the yes -
J: What do you mean 'after the yes'?
M: I mean after the question where you asked me if I was up to the interview - with the bajeeber - which is not anywhere near as clever as 'pain in the ass'.
J: Is that a jibe at me? I know I'm being an ass. Let's restart. Reset -
M: You're being a bajeeber.
J: Hey, I was going to say that - I was building to it, honest. Um, okay so yeah, um, when did you feel like you had some sort of connection to doing visual art, say the sort of stuff you post to your blog?
M: Um, what do you mean exactly?
J: I mean, um, like when did you ... feel like you had found or developed a voice or whatever in your visual art that you wanted to share or post to a blog? I'm not looking for like time specific, I guess really my question is, was there a moment when you felt it all came together for the first time? Because, it seems like your art definitely has a common thread, or its own world that it's coming from.
M: When I developed my interest, or connection, to visual art was when I did my first post - which was like last year -
J: Hold on a sec, I'm a slow typer - sorry
M: When I developed my interest, or connection, to visual art was when I did my first post - which was like last year - and I really got into pursuing art and I got more interested in other artists, especially Nara who I feel is my biggest influence.
(phone call interrupts)
M: Connection, thread thing - I mean common...
J: Sorry I should have written something down first. I guess what I'm asking is: was there or could you explain the sense of discovering that you could express what you wanted to, or explore something, for the first time in your art, a moment from which you've been traveling on from... fuck, I suck at this.
M: I think it was the "Why am I always so lonely?" picture. Which obviously I was at that point pretty depressed and lonely. And, that is probably my personal picture ever. And, since then I feel like I can express myself more freely - or that I can actually express myself.
J: In art or anything?
M: I think almost in the 'anything' category. But yeah, since then I feel like I can express myself without fidgeting up or like have a lock-down and not really talk.
J: Were you intentionally working towards something like that, or did it just happen for all sorts of reasons, or was it a miracle?
M: It actually, it wasn't intentional or anything, I always start out with the hair and I did that picture with pastel colored pencils. And, when I did that - when I saw the hair I pictured a scarf around the persons neck, and at that period I was wearing a scarf like non-stop. And so from then I made the person look kind of like me but still could possibly not be me. Then I just did the writing, and I can't remember what I used. After that I felt, I'm not really sure - I think I felt a little better. Since that point I think my art has really evolved into something that I like. Because I used to not like anything I did, I'd just do it as a past-time.
J: That's really fascinating. So, fast forward one year or so later and you're having your first retrospective or really I guess it's your first real show. Which is amazing and fantastic. If you don't mind, what are your thoughts on that? How does it feel, or how real does it seem? Those sorts of questions.
M: Even, well, since I found out it was happening, the day Dennis told me, I was really happy, ecstatic and all those synonyms. And, it actually didn't seem really real to me. After that day, I don't know, I think about it but, it doesn't seem like it's having that big of impact - in the sense that it just feels normal, like these things just happen. Which I really don't know why I feel that way. But, my mom - she seemed like she didn't believe that it was happening. And then later she told me that she couldn't believe it was really happening and that she was really happy for me and that I should start making a portfolio. And, my friend Jarod (or as he's known, 'munch crunch' on here) uh, he was really happy for me and he told me that I was going to be world-wide famous now. That's what he said. And, from you, I think you feel similar to our mom.
J: So what does it feel like to have these amazing but otherwise textual-only people enjoying and appreciating your art? Is it different than say if just me, or our mom, or your friend, or some random local saying they like it? Because, obviously a lot of those people, Dennis for instance, really know contemporary art and have a real passion for it. Not only that, but they're well known and respected and have a lot of friends who are brilliant artists. When we went to that little gallery here the other day to see Nhuy's show, was the gallery owner's interest in your work different in how you felt about it to say the response you gotten from Atheist and others from DC's? I mean in the sense of the honesty. Because from my vantage point the people from DC's seem more honest and genuine in their interest. I don't mean to discount to woman who runs Gallery 74 or whatever, but it just seemed like she doesn't quite yet know what she's doing. I still think her interest in your work was real, but well, she's sort of in her own little world - she'll probably read this - fuck.
M: Uh yeah, I agree with you on DC's and the gallery owner - can't remember her name. Going back to the textual people thing. It actually seems like it's almost not textual - like you're actually talking with these people, or they're talking with you, like on the phone - the phone is more personal even though you only hear the text. But yeah, whenever I hear a compliment, like on DC's, it makes me feel really good inside. But when I heard her - the gallery owner - I didn't feel like she had any real interest in my art. I think she just had more interest in that I was young and she wants young artists for her show. And yes she most likely will read this - somehow, with her computer virus.
J: That's really interesting, to, to interject my own sense, I also feel that what's said on DC's is almost more real than what I hear throughout the day -
M: In real life conversations?
J: Yeah. So, do you think meeting someone like Nhuy Pham has had much effect on your sense of being an artist? I ask because she's done t-shirts, and now a show, and has this sort of out-going, no-regrets, but sort of low-key attitude. Not that I think she's influenced you at all. But I remember the night she was here she just was amazed by you and you art and the world you had created in your room, and all of that. I was wondering if she has in any way maybe helped you feel like you could open the door a little bit to others, for instance now you're posting on DC's.
M: Open up like personal wise, or?
J: I meant open up that door to your world to others, or for yourself, so you can speak and share or communicate - god I sound so stupid - but does what I'm asking make any sense?
M: Yes, it does. I really don't think she like opened my world to others.
J: I meant that meeting her, and her response to you gave a sense that maybe you could open up to others...
M: Maybe so. To make t-shirts, or do art shows, or whatever, she is sort of an inspiration. Otherwise, I only met her once so far.
J: That makes sense. Here's a question from the audience: what drives you?
M: (laughs) What drives me to do art? Uh, recently it's moreso I just feel artistic and I just go and do it. Sometimes I'm too lazy and don't do it and just go to sleep or watch tv or whatever. Otherwise I just go to the computer or go to my desk and get a piece of paper and just draw.
J: Audience again...
M: Do like a cheering thing.
J: The question is, do you see it in your head or does it come to during the process?
M: I rarely ever form an idea before I start drawing or messing on the computer. I usually just go on and I just start like a line or whatever and I get like a very basic, simple idea of what the picture's going to be and as it continues it forms into what it ends up being.
J: Would you compare aspects of your work to Yoshitomo Nara, whom you mentioned, say in the sense of isolation, loneliness, the solo figures - or is that not really the connection you have with his work?
M: I have moreso a connection with the face and figure - the face and the hair in his work. And, over the period of watching cartoons, looking at art, and his art, I've learned how to draw eyes, draw hair, and draw a body or whatever. But, recently I've been trying to differentiate myself from that connection - it's still there - but it's not a bad thing.
J: I don't mean to say that I think your work is really like his, beyond what I did point out loosely, I mean you often draw guys for one thing. And Nara doesn't. Is that mean to say?
M: No. But I guess I've been differentiating myself from my connection with him from the beginning.
J: Differentiating is a great choice, word-wise. Anyway, I guess I'm just obsessed with theory and was sort of trying in my fractured way to get some sort of inner thoughts from you, abstract ones or whatever on your art and art you like. How do you think about art? That's so vague you could probably answer with anything.
M: My feelings about art are so disconnected from me I really don't know how I feel about. I mean I definitely enjoy looking at it and doing it but I still don't know what I feel about it.
J: That sounds fair. Now, I wanted to touch on music. What kind of role does music play in your art, or in how you think about it - to get back to that in a different way - and in how you make your art. Or even just music as art. What are your thoughts? I know you're quite the fan.
M: The role connected to my art - I don't think music has really changed the aesthetics of my art I usually just have to always have it, music, on when I'm doing anything, including art. And, music, yes I absolutely love music. And I would probably go crazy without it, the vibrations.
J: Sounds like you enjoy bass music.
M: Isn't vibrations connected to every type of music? Since each instrument uses vibrations to create each sound...
J: Big bass speakers.
M: Do horns use vibrations?
J: I don't know the specifics, but yeah, you're right in sound being vibrations. I was just joking. So, you like the specifics?
M: No. I don't but uh, my last teacher tried to make me go as specific as possible. So I think that may have rubbed off on me.
J: Speaking as someone who knows you really well, I'd say that you've always had a thing for direct and precise communication. Which I've always thought was really interesting. Are there any bands recently or in the past that you find have helped you with your art in how they have expressed things in theirs?
M: As I said before, it doesn't really influence me. But I guess, Pavement has sort of influenced me. If I have any Pavement album on while drawing that will probably influence that art. Also the album "Feather Float" by OOIOO, when I was first starting out, or just getting back into art like a year or two ago, that album really influenced me in how I drew since that album is kind of trippy and experimental and takes you to a different world - which you're kind of not aware, you're kind of unconscious, you don't feel it, you're kind of on autopilot. I think that influenced the art in that period, and I still really like that album.
J: Well, I think we are officially past the impromptu stage. Anything you'd like to have me type up before I publish this?
M: That I hope you enjoy whatever Dennis has set up for tomorrow. And I hope you enjoy this impromptu interview.
J: You mean not me, but THEM. Right?
M: Well, the reader. The readers, besides us.
J: Yeah, I know. And tomorrow could be today. Thanks for letting me try my best at doing this.
M: You weren't that bad. And thanks for the, uh, interview.
J: No, thank you. No, thank you.
M: No, thank you. The scene where he chases her around the table and puts food in his mouth...
(both sort of laugh)
Thursday, July 03, 2008
self-portrait in mirror (trash-can)
(full story here)
"The mirror on the wall
Won't talk to me at all
Now that I have everything
The face inside the frame
Just doesn't look the same
Now that I have everything
I wasn't always so fortunate
But I knew what I had to do to be well-to-do
And it had to do with the things
I had to do"
(lyrics from their first song on their first demo, now that i have everything at the tmbw)
sadness (something here)
... but, inspiring Hine
(see more of hine mizushima's tmbgb)
(location from 'they'll need a crane' from museum of idiots)
"鏡の国のおうちに住んでみたい？ あっちだとミルクがもらえるかしらね。鏡の国のミルクはあんまりおいしくないかも――でも、あら！ ちょうど廊下のとこ までやってきましたよ。鏡の国のおうちでは、ほんのちょっとだけ廊下をのぞけるのよね、書斎のドアを思いっきり開いておくと。それで、見えるはんいでは こっちの廊下とそっくりなんだけど、でもその向こうはぜんぜんちがうかも。鏡の国のおうちのほうに、ぬけられたらホントに楽しいでしょうね、子ネコちゃ ん！ ねえ？ もうぜったいに、すごくきれいなものがあると思うんだ！"
鏡 【かがみ】 (n) mirror;
国 【くに】 (n) (1) country; (the) state; (2) region;
住む 【すむ】 (v5m,vi) to live (of humans); to reside; to inhabit; to dwell; to abide;
廊下 【ろうか】 (n) corridor;
書斎 【しょさい】 (n) a study; library;
思いっきり 【おもいっきり】 (adv,n) with all one's strength; with all one's heart; resignation; resolution;
開く 【あく; ひらく】 (あく,vi) (1) to open; to become open; to become empty;
見える 【みえる】 (v1,vi) (1) to be seen; to be in sight; (2) to look; to seem; to appear; (3) (hon) to come; (P);
向く 【むく】 (v5k) (1) to face; (2) to turn toward; (3) to be suited to; to be fit for;
楽しい 【たのしい】 (adj-i) enjoyable; fun;
思う 【おもう】 (v5u,vt) to think; to feel;
kanji crib sheet cribbed from wwwjdic
you-x tb day on dc's on tb's on your-x
Researchers would have to test how common mirror writing was in people with atypical language laterality.
"We'd need to know whether mirror writing is over-represented in that group."
Jackson said mirror writing may not have anything to do with language centres per se, but rather be linked to the way the motor system was being activated.
In synaesthesia, where the auditory cortex is connected to the visual part of the brain, you can't activate one without activating the other, he said. And the same kind of motor mix-up may be happening in mirror writers... (continue to article on mirror writing)
Look into the depths of the mirror as though you were looking into a bowl of water. At first it may appear gray than colors will come and go.
With time and practice you will be able to see sacred images like still photographs or moving film images. Spirits may sometimes look at the scryer, talk to the scryer or even touch the scryer. The visions may even exist outside the mirror and surround the scryer on all sides... mirror scrying
... most animals can't see themselves in mirrors right? even goldfish, I'm guessing...