In reality, each roll of the dice is an independent event, so the probability of rolling eleven is exactly 1/18 on every roll, regardless of the number of times eleven has come up in the last x rolls. Even if the dice are actually biased toward particular results ("loaded"), each roll is still independent of all the previous ones. The common term to describe this is "dice have no memory".
There is an inverse relationship between horror vacui and value perception, and commercial designers favor visual clarity in shop window displays and advertising to appeal to affluent and well-educated consumers, on the premise that understatement and restraint appeals more to affluent and well-educated audiences.
My problem with the term “zine” is that it is tied explicity to punk ideology. I have no real interest in that scene, so, even the most I define any book I make – no matter how simply it is produced – as a “book” and nothing else. I made an exception here in the spirit of Benjamin Sommerhalder’s Nieves imprint and its zine series. It takes its name from one of my earliest memories of really being struck by an image: a poster of Bruce Lee from "Enter The Dragon" in my friend Daniel's room. The back cover is a painting of a press shot Juergen Teller took of the band Elastica. They best illustrate my personal impression of punk: financially and academically privileged kids slipping on (and off) the costumes of political persecution and upheaval. Jinjoo Hwang kindly helped me draw and paint the images.
When I lived on the streets as a young teen in Vancouver, I traded my guitar with my buddy Mark for his Djembe for a while. I tried again and again to get a rhythm, and was getting frustrated. Then one Friday night us streets kids were hanging out on the steps in front of the art gallery. I had taken 2 hits of acid and was beginning to peak as I tried to get a beat going, then from on high came down to me through my crown chakra and bounced off my root up into my heart and out my hands a beat! Some time passed as I got deeper into my trance and then I opened my eyes and saw that all the people on the steps were staring wide eyed at me mouths agap in their own trances. It was then I knew that I had been blessed by the great spirit to be a drummer. Around the same time I was given the Drums of Passion tape and I listened to it over and over again. The healing potential of the drum is so overlooked in our modern mess of a culture. Bless up !
The work centers on political/social commentary that involves such issues as gender obliteration, extinction and the effect that globalization/gentrification have on our society. Given the progress of trans gendering, gender obliteration may not be too far off in the future. These topics have not been accepted until very recently and considering our present political climate, may very well be in jeopardy.
A quote by Nicelle Davis explains my statement rather clearly: Death is a charmer; nothing makes us feel more alive than brushing shoulders with him at a bar, in our cars, or at 5,000 feet in the air. Every time we risk and survive there is a thrill. We feel like we won more life because we are not the ones dying.
There is something sexy about Death, how when poachers take a machete to the face of an elephant, the gaping wound resemble a wet vagina, how sex is always better once it’s gone, or when whalers take a grenade harpoon to a whale—even more so when an entire species is gone, how life looks for life even inside a zoo.
But Death is a trickster. We can never win at his game. We might be living, but our humanity is dying. Soon, there will be nothing of our lives worth living for.
My materials include water based mixed media: I start by spilling coffee onto my surface, (this lays down the foundation and design of the work), gouache, water color, acrylic, graphite, ball point, India ink, color pencils, on paper. The work is colorful, sizes range but mostly 22”X30” 40”X26” format, and somewhat resembles a graphic novel/comic book type format. My layering process includes writing that I incorporate and use as mark making. It also helps to carry the narrative.
The work has often been compared to Dr. Seuss on crack.
"If you wait long enough, science fiction will become reality."
From October 1 through October 31, Felix Gonzalez-Torres’s “Untitled” (Revenge), 1991, will be on view at Front Desk Apparatus, 29 East Thirty-Seventh Street, NY. This is the first in an ongoing series of one-work, one-month presentations that take inspiration from Lillie P. Bliss, an art collector who resided at this address from 1866 until 1929. Presentations are not conceived as exhibitions, but align with Lillie’s preference to show works discretely—one work at a time.
*This offer ends on November 31, 2019, after which the price will increase in increments of $7 with every publishing season, thereby making it $28 by June 2020.
During streams 238 and 257, Benjamin cries intermittently during the stream. He does seem to break composure a bit and makes sounds while crying, but then returns to sitting and smiling.