artwork
Body Works: Five Senses (DivineBrick in collab. w/ Wes Johansen and Z.Vital) /
Whereas watching
Izella Berman with Jean Paul Jenkins and Mitchell Brown
Whereas
DivineBrick in collab. w/ Wes Johansen and Z.Vital
“A Rosie Smell, Still Turns My Nose if Grown with Distaste”
game experience in three parts (grey 3)
Viewer this is your part of this game. A simple description to still allow the experience to be new.
Part one
When invited to the Chamber feel welcome to come along. The space you hold sacred around you will be respected, all that is asked from you is to exist at a moment with another force other than yourself. You are free to leave at anytime, until another is chosen. We are mirrors to each other.
Part two
Come closer to the figure(s) that move under the light. Come see this moment as a landscape in which you hover over. See yourself in these/ this figure(s) as floating world(s), only now able to see the pale blue delicate soup that you are. Harmony easily broken with any influence dropped in. Decipher your roots.
Part Three
Five with frogs follow the figure(s), the rest follow the five. Five lead us all to the next experience when this ones complete.
Photos by Andrew Hall
Raze the WhiteBox- DivineBrick in Collab. w/ Mike Meanstreetz and Z.Vital @ Human Resources, Chinatown, LA, Ca /
from
on
.
Raze the WhiteBox
DivineBrick in Collaboration with Mike Meanstreetz and Z.Vital @ Human Resources, Chinatown, LA May 10, 2016
Video By Eon Mora
www.razethewhitebox.com
Click on Title of Vid to Enlarge
Proposal For Human Resources LA Decolonize LA /
Proposal for “Raze the WhiteBox”
To raze the WhiteBox will be a symbolic action of a greater deconstruction. Working within models of colonization will only develop concepts consumed by colonizing behaviors. Dismantling of this gallery space would be the only method to decolonizing it.
The WhiteBox (any gallery or museum space that hermetically isolates artwork) in its design and conception will always contain/own an object or thought. Property and borders are red flags of colonization. Dismantling a structure which is designed to contain objects and thoughts within 6 sides would be the action to decolonize it. Cement is not fertile ground, it is dead inactive space. A public space that allows community, inspiration and creativity does not exclusively exist as a collection or claim to ownership as does a museum or gallery. Community, inspiration, and creativity by their very nature will always remain fluid and un-owned. These three concepts only empower when used by the collective mass. The process of decolonizing spaces will involve replacing structures in which people collectively perform these concepts.
The remaining land, once this WhiteBox is dismantled, should be a network in which Peoples (any groups that have internalized a colonialist ideology) can regain a culture, but also regain what mother nature once offered in its harsh but nurturing way. The colonization of a People resulted at times with a simultaneous colonization of the land as well. Returning the land to its state of natural symbiosis will plant the seed of change that is necessary for this wounded earth to remember its role and for us to see its glory. This demolition is the only holistic therapy/ cathartic ritual that will remember the many forgotten People, forgotten knowledge, and resources that the colonizers either stole or destroyed. A WhiteBox and its confining walls symbolically and literally censor the past and the land onto which it has rooted itself.
The demolition will be followed by the introduction of indigenous plants and animals. This will inhabit the majority of the land and be integrated in whatever else is built. Some land will remain for agriculture and a stage/ gathering area for community and artist use. In the decolonization of this WhiteBox we must not forget about the inheritors of the colonized state of mind, the children. A place in which children could learn how to engage with nature and relearn the art of symbiosis would replace the structures that now exist on 410 Cottage Home St. If any structures will be built, they will remain small, since the land itself should provide a stage or setting for most things. Monetary means are intangible compared to community action and the blood and sweat of artist and activist. The land will be kept by its users.
If life is art how can life exist in a vacuum? Can the only definition of what art is be contained within a closet, which doors are only opened by someone with the means to own this space? Art removed from life, suffocated in a crate... Is this inspiration? Is art an object free from worldly interaction? Is it a phenomenon sheltered by the very thing that causes its chain-reaction? Transporting artwork produces waste, does this ill benefit this earth? Is a space built like a fortress a structure that welcomes the collective mass?
The brick unit is the beginning of growth. The straight lines imprisons the dirt, the self, the ripple of effect. - Raze the WhiteBox: A Think Tank of Change
May 1, 2016
The Sun Bear (three legs and a rail) ep4 /
Relatives,
I have been seeking a way, a form, a complete practice in which to exercise actions and thoughts that coincide with larger actions and thoughts that would allow behavioral growth. Understanding the mechanics and behaviors of this growth was also of interest. I seek a way to understand while I am actively changing the space in a way single to me, but part of a universal whole in which I am trying to understand. Causing shifts which rearrange enough to comprehend anew, but not losing the string that pulls me to the center. This is my present lesson. That seems the most human to me or the human I seek to be. A searcher of unknowable truths. A believer in forgotten mistakes.
Destruction is just a small aspect of rebuilding. When rebuilding, my mind thinks, this is when drive must be channeled. Fire does not need direction, everywhere is its path.
The most literal understanding of what I mean when I say all those vague concepts I chirp all the time, my only straight forward and simple representation and lesson is my work bench. Beauty do to function and simplicity. Growth enabled by necessity and a giants fall.
standing in the woodshop of csulb (wood major department)
I needed a bench to work on. I had the wood. The know how I fumbled through. Each mistake reset with the only skill I did have, the only one we all have, to ride the wave on which we travel skirting on the right angle just enough to continue forward, finding aesthetics in falling upward a spiral step. To move is chaos. To have continuous movement seems to be the harder drive, the more deliberate tendency.
This work bench maybe a certain kind of perpetual. Either perpetually in my life time or the Sun Bears.
To catch up on the previous post:
post 1
http://dbrp.blogspot.de/2011/07/sun-bear-my-roubo-workbench.html
post 2
http://dbrp.blogspot.de/2012/11/the-sun-bear-jig-and-router_19.html
post 3
http://dbrp.blogspot.ru/2015/06/the-sun-bear-lifes-future.html
old tenons removed but not smoothed
My Bench is up to working condition but let me show you how I re-arrived there. The last I spoke of the Sun Bear I was speaking of the maple plug planed and ready for the next lamination. Since I cut off the old tenons of the third leg I was left with less material for the tail of the sliding dovetail. The dovetail that would replace the failed fox joint that originally held the third leg in place. The walnut addition allow me to have the material to make the socket and tail of the sliding dovetail and hit my target height. It's an ad-hoc aesthetic that I found both silly and harshly contrasting. Which I enjoy.
Figuring the height was a bit forgiving. If my measurements of this moving bench were off I would simply have to flatten out the top to correct the angle that would be off. Of course even though this top has moved drastically it at one point started true. This is still prevalent in the left side of the bench. The area between the two twin dovetails of the first two legs were pretty square, some movement. Those were the strongest of the joints in the work bench. From there it went from bad to worse...but more about that in the next post. Saving me a noodle ache when flatting the top I made sure my estimates were true.
first two walnut pieces
I glued it in the same multi-step method as the maple.
must have gotten too excited this is the only picture of this stage. But you get the idea.
dried and flat
When all the smoothing was done the beauty of the walnut really revealed itself. It has a gorgeous curl in the grain. Can't remember where this walnut came from. Possibly arts school. My feet have a great view of it when I work. That's if they look up.
smoothed and ready for the table saw
top of third leg on which the dovetail will be cut
Most often the table saw is a highly accurate tool, only if your reference for the cut starts from a square point.
The portions of the third leg that were once square were: the foot, the potion of the slab (slab dims 2 x 16 3/8 x 27 1/4h in.) that enters the foot (foot dims 23 x 3.5x 3.5h in.), the portion of the slab that enters the top of the bench. As I did when I first built the bench I picked a squarish side, made it more square, then made everything in the general proximity of the parts that would be riding on the table saw square. Square from there, opposite side as well.
I did a survey of all the planes and angles of the legs and top and figured which way to fudge and how much. A very intuitive approach. Once I made sure the sides of the leg were parallel I finished removing the remaining buds that were the failed fox joint tenons. The narrow side remained with the natural edge. Setting the saw to an angle I decided...I just went on how much I needed to angle based on the density and brittleness of the wood (to much of an angle I risk failure on the pointy parts of the dovetail), then I went ahead and made the first pair of cuts down the length riding on the narrow side at the top.
first two cuts done on the tail
I honestly don't remember what I used to cut the length of the cut. I think I chiseled some of it then cut the rest with my hand saw. You can see it in the picture.
At certain points in my general making, I still seem to hit mental blockade. A now too uncomfortably familiar paralyzing unwelcomed friend. I sometimes think it is a natural instinct to protect the self. Or maybe it's a crossed wire on a feedback loop.
For me, my personal experience, my demise waits patiently behind hesitation.
The only problem in knowing this is knowing how to temper my willingness to jump. This willingness has pushed my psyche, my flesh self, my general growth. I realize this has also cause unwanted effect. One example is this next step.
I thoroughly measured this next cut. The groove for the sliding dovetail. I decided to use a circular saw to help me make the recess. My first cut went perfect. down the center. Stopping short of going through the whole of the newly replaced underside of the bench (I thought it would look neat if the third leg looked like it got shot out and embedded into the top). The second one was just as well, angle true.
The other side of the angled groove, this cut is where I saw myself going out of the marked line. I had a chance to stop. I just continued. I'm not sure if I continued out of impatience or just for the challenge to fix another mistake. Even though the whole time it felt purposeful, I regretted the cut as soon as I ended it.
This inconvenience left me with a slightly wide groove towards the stop in the cut. A stopped reverse tapered sliding dovetail.
first cut down the middle
cut stopped short (used one of my winding sticks for the fence)
another view
Guess by this time I was too preoccupied with measuring to take more pictures.
groove cut and cleaned
I chopped the rest of the groove and cleaned it out with the chisel.
the third leg placed (also compensated for the very slight wind in the leg, that's why it looks at an angle)
The fit was good enough to require a couple of shims.
I added dowels to secure the lamination (I put few just to see if the need to expand and contracted could be curved)
maple and ficus shims
added some copper nails
To not forget this mistake I made sure I could see those shims.
third leg and rail secured
Setting these shims was the last step to make the Sun Bear able to stand.
After forcing a few more shims here and there to really lock in the legs (these were tiny compared to the other ones) I was content to start the flatting of the bench.
I remember when I last thought of retrofitting this failed fox joint. A blue moon ago I started the work. Because of lack of equipment, interest in other arts, and the influence of corporate work that lots of artist feel must me done to be feed, this project had been in slumber. In need of making is the catalyst that revived it.
Next post on the Sun Bear will be about it's flatting and clamping additions.
The Sun Bear (Roubo Inspired Workbench) ep3 /
The Sun Bear
(continuation of the retrofit)
Followers,
It has been quite a while since I have posted about The Sun Bear, a Roubo inspired workbench. My obsession with it has kept me in the studio more than may be healthy in the last few months. Joking of course. The studio practice is a beautiful yet sometimes isolating, an unsaid reality...sometimes. A project that started...I actually don't remember the birth of the Sun Bear...this is evidence of my neglect, of a beautiful time in my life, and the realization that I will present with this process of rebuilding. A realization that becomes more solidified as I work on this beast.
*if you are familiar with the past post on this project please continue on. if you wish to read these first click on these
post1
http://dbrp.blogspot.de/2011/07/sun-bear-my-roubo-workbench.html
post 2
http://dbrp.blogspot.de/2012/11/the-sun-bear-jig-and-router_19.html
Looking back on my notes it is hard to pin point the birth to 2007,...possibly 2006 in thought. I know I had it early in 2008. A year full of fear, love, and memories that are now intimately connected to my art. Looking back on my notes I found that at times I failed to date my thoughts. Also failed at writing more than I had wished. ..but that feeling forever never satisfied.
Flipping through my thoughts I found a picture which explained the obvious haze. Until now I see, that picture was dated 2002 a thought only to fruit in 2006. A picture of the moment I first saw a dream manifest in an institutional hallway of school. Of course my attention at this time was divided among my divine idealistic muse (my Art Belief) and this earthly dark angel in the picture. While tracing back and reflecting on my work and my notes its hard not to re-examaine myself. Only now a welcoming feeling.
My Bench reflects time spent adjusting and rebuilding self and ideals, simultaneously. A map of growth. A continually living being. If you recall I last left the Sun Bear bottom flatten ready for the maple glue up.
ok ok I know the pics I will show look posed but I actually work pretty organized now
I hope to catch the good light that sometimes happens in my shop
Tales from the Notebook
I had a few ideas of how to rebuild this fox joint that went awry. I thought many over but finally settled on this method that includes a lot of intuition and impatience thrown in. Experiencing still some immaturity.
Just like my Undergrad professor Fred Rose, I see myself as a wood explore. I must remember each piece of wood came from a whole. A living Whole.
trying to get out of the habit of putting the plane on its side
I chose to use reclaimed maple from a work table top which I acquired from the science department of CSULB, continuing the legacy of this Long Beach resident that once was this bench. While I attended Cal State, the university decided to remodel and throw out lots of amazing specimens of the yester years of science. Microbiology being their new emphasis.
After ripping sticks 11 1/4 x 1 1/2 x 1 1/2, with my new table saw...*clears throat*...fuckin aye finally... I left some with the original table top varnish, I dry fitted the pieces.
Before I glued in the maple I glued in the walnut I decided to use to fill in the grooves I talked about in the previous post. A quick second to spend sometime talking about which way to glue the maple...with the grain of the iron bark or against. Since these woods most likely have different moisture content and rate of expansion. I was torn on what to do. I am not very versed in wood characteristics, (doubt much exists on iron bark) I kinda just went with my best judgement. Since the laminated piece will be spanning past the bench top both the top and lamented piece will expand and contract width wise individually with no real risk of tearing each other apart. Wood expands longitudinally insignificant amounts so their should be little to no risk...at least fixable risk.
Presently I have a limited amount of clamps. Which added to this adhoc method to measure the structure of instability. With the understand of what is the final failing point one can reel back and find the maximum efficiency. Sounds a bit militant industrial now speaking it, but it is a method that I have come to used when dealing with unknown answers to hard art problems. You can never have too many claps.
My approach hinged on the limit of my clamps. I think I glued 2-3 sticks at a time.
I had a lil fun with minimal clamping. Hopefully within tolerance.
You can see the old tenons of the fox joint of the third leg in the back left.
Once dried I leveled out the maple replacement. Too be clear this is the bottom of the bench where the third leg belongs. Some of the pieces are just free floating. I need to still reenforce these with dowels. Nicely accenting it. If you look closely at the picture above you can see by this time I cut off the old tenons of the fox joint on the leg. I work on many things at once mostly if the projects require breaks. The maple is now ready for the next layer of wood I decided to add... more on that later
I will continue on the next post with the final glue up and problems dealing with an un-square object plus the start of the sliding dovetail I decided to go with for the retrofit of the fox joint. until next time
deciphering the roots-
DBL
::LA CITA/ Los Angeles::Photos /
DivineBrick
Zero Collective
Photos by Brenn Lowe
Winter West Coast Tour 2014: Into the Forest of the NorthWest /
DivineBrick @ WHEREAS Warehouse photo by Amy Darling
Excited to share the Corporeal Reformation this winter. I will be traveling the west coast with a sonic wave bending into light:
XOVER
(Danilo Casti) : Electro-power-noise audiovisual performance
The project Xover is an electronic sound and visual performance that
runs around glitches, drone noises, field recordings played by digital and analogue
electronics instruments, a mixture between digital and analogue sounds, programming and
circuit bending, idiomatic shapes, abstract sound objects and absurd musical architecture.
PRESENT
is a Los Angeles based quartet performing femininly heavy-experimental music since 2012.Their compositional process is shared between members with most passages crediting all four. As PRESENT is the seminal group for half of its members, their writing and style is idiosyncratically colored as outsider. The tone of their music invokes influences of 20th Century Classical, Black Metal, Japanese underground, Anarcho Punk, art and free jazz. Live shows have been regularly accompanied by performance art, live video, and improvised noise artists also performed with in non-PRESENT iterations.
Saxophonist Erin Worra is trained in classical brass, and singer Angela Gleich has studied and performed flamenco singing. Since 1997 drummer/sequencer Mike Meanstreetz has performed/shown/installed on both coasts of the US (including the Museum of Contemporary Art in Los Angeles) and extensively recorded and worked in such varied forms as musical free improvisation, experimental music, installation, video, painting, costume, performance art, noise, dance, punk and metal.
PRESENT's recordings have been released on a split LP and various compilations by meta and
micro labels based in France, the Czech Republic, Oakland and Los Angeles.
Their atonal compositions abandon guitars and lyrical form in favor the angular dissonances of female saxophone, synthesizer, and vocals seated atop a hectic percussive intensity. Non-traditional linear song gives way to free form passages, often in collaboration with other artists. On this tour, Mike Glover supports performing noise.
Ian Hawk (of Tecumseh)
soundscape and drones set to film
Keep up on tour dates here
Winter tour kick-off show December 20th in LA at the WHEREAS warehouse!!
featuring:
Bad Acid Trip / Bandito Overlord / Xover (Danilo Casti, Sardinia) / DivineBrick / PRESENT
DivineBrick will be performing "Tale of a Toad". On this tour. The ritual was first performed in Long Beach. Time will only tell its growth by the end.
Teaser
DivineBrick
Research Projects traces the steps that connect all practices. The goal is to manifest a practice that informs and awakes performer and witness. An exploration in sound and movement this project continues the exploration of Corporeal Reformation. Self accompanied (drum machine, the Buto' Fluto' {a wooden head piece decked out out with circuit bends and an analog synth}, and loop pedal) josie j structures a landscape to present "Tail of a Toad" a non-linear long lost story of transformation and corruption. The product is not a performance but a ritual cleansing. An intense exchange in which something is always gained as some thing is burned.
WHEREAS- HOWEVER- a Bonanza 2 /
Lighting by josie j and Brenn Lowe
heavy improvisation, desert dirging, angular arabesques & fleeting spectrums
WHEREAS HOWEVER summons the shamanistic landscape of a sonic arc lit by video projection and traversed by a troupe of performers whose movement tells the tale.
Constituted of the seamless procession several groups, each piece gathers momentu
m overlapping into the next in moments of collaboration between like and un-like.
Happenstance erodes whilst invigorating contrasts galvanize.
The night also heralds release of CT ASSAULTS' and PRESENT's cassette split on Sanity Muffin Records!
performances by:
Joey Molinaro (NY)
S&ndc&stl&
A'rk (Joshua Tree)
CT ASSAULTS
PRESENT
::
Nagual Sun
DivineBrick performance troupe
+Present setting the landscape, DivineBrick Troupe will be performing
Ritual: "Dinner for the Peasant Dog
"
with
performers Grace Smith
(WI), Brennan Lowe, and josie j
$5 donation
Tuesday Night Post #3.5 /
First drawing in a series entitled "uni0n":
3mbr4c3
Parallax Beach-Parallax Scroll @ Highways Performance Space- Santa Monica, Ca /
Severed moments of macrocosmic balance routinely underline human evolution. These moments intrigue, as modernity has alienated us from the immediacy of life. Perceptions of time become mercurial and subjective depending on perspective. Parallax Scroll will take the audience on a revisit through the emergence of life. A trip that re-exams light, language, and the development of society, ending in a space unresolved and recycled. All points can viewed when wading on a Parallax Beach.
PARALLAX BEACH's "Parallax Scroll" is a multi-media performance piece that bridges the abstract landscapes of sound, light, time, and movement. A collective of artists, each utilizing different mediums, come together to make this unique work. Wes Johansen creates a visual representation of abstract thought through digital video projection, edited live and synchronized to synthesizers. Mike Meanstreetz uses avant-garde percussion and composition techniques tangling the participants of this ritualistic performance in a web of synesthesia . These elements are accentuated as josie j conveys transformation to witnesses through ritualism/ meditative movement, influenced partly by Butoh training and a background in performance art. Also performing in this piece are Zachary Vidal (saxophone/sampled noise) providing textured mood, and Brennan Lowe (movement) setting the wheel of this cycle into motion.
Tuesday Night Post #3.1 /
Fanatics,
#c0z3n
Man has taken from a womb. Destroying as he creates.
Stealing as he rapes.
A newer thought of a feed back loop that spreads thin
evenly across a surface
Of a man given a gift which he sees it as that
the structured thought was the first to notice
Repetition makes the group
Consumption closes the loop
In this act in his behavior he climbs
only to end up face down
People seed in their weight
end for them left in a gram of ash
Whereas However- a BONANZA {May 2} /
<a href="http://ctyf.bandcamp.com/album/whereas-however-a-bonanza">WHEREAS HOWEVER: A BONANZA by CTYFaudio</a>
via Maneesh Madahar
we could elaborate on things, specify how we shall move, or even what may happen. certainly there have been times in which the discussions yielded these kinds of particulars….but…you know maybe thats not the communication we should have at this moment. here and now. what is needed, ultimately, is a space for intimacy a
nd connection that begins to push against a possibility. the dynamic potential of a tribe carrying torches deep within bowels of the earth. the cavernous geological womb…watching the fire dance and the luminous rhythm create a shifting choreography with the animals painted on the walls.
this place can also be a bedroom or cinema or a warehouse. they them us we will congregate and gather to help each other thrive. to find ways of becoming a peoples of instantaneous magnitudes blossoming into the infinite impermanence… or , at the very least, we can make something happen that is new and for us. something whose precedent is an elaborate tapestry of interwoven histories extending along fractal meridians into the future and past lives of the selves we always knew we could be…come with me ill follow you.
dancing. summoning sounds. trying to conjure the numinous materiality. bass. gazes and silences.
this event is focused around an extended improvisation between groups and projects. every individual will be given a certain space-time frame in which to perform their personal work. however, this space-time frame will emerge from and merge with a larger collective platform. sights, musics, and costumed forms will be improvising into and out of each other.
constituting the arc are:
C-STARSOUND
DivineBrick Research Projects
(josie j, LAZERBLADE, Maneesh Raj Madahar, STIIVE MAGE, elle merhmand, and Ashley Moon)
PRESENT
JIHAD BALLISTICS
Elle Mehrmand
CTHS
BOBBY LONDON
Danilo Casti
Wes & the Cult of the Eternal Beat
Friday, May 2nd
1729 west 21st. street
Los Angeles, Ca 90058
PRESENT w/ DBRP @ D3C0D3D in the D3S3Rt /
from
on
.
Filmed by: Danjon Black
D3C0D3D in the D3S3RT
Furst Wurld, Joshua Tree, Ca
April 19-20 2014
Music by PRESENT
with performance by DivineBrick
"Research in Ritual #c0z3n"
PRESENT:
Mike Meanstreetz, Holly Spirit, Erin Worra, Zachary Vidal
Projections: VJ Wes
DivineBrick:
josie j, STIIVE MAGE, Maneesh Raj Madahar, Mystic O'Reilly
Event Stills:
Stiive Mange
D'rok
Lazerblade w CT ASSualts
Mystic O' Reilly and Maya Papaya
Boulevard Wind - heART WALK Echo Park, March 16th 2014 /
Via Mike Meanstreetz
Fleeting moments of the site specific performance “Boulevard Wind,”
by collaboratists WHEREAS
@ heART WALK Echo Park, March 16th 2014
Ali Hyman Wolff (bodycity et al)
Mike Glover; Maneesh Madahar (CT Assaults)
Mike Meanstreetz
DBRP
Fotos compliments of Stiive Mage
Present with DBRP, Elle Mehrmand, and VJ Wes @ 21th street warehouse /
Parallax Beach @ Pehr Space: Parallax Scroll Final Performance /
Witnesses,
This was the last time Parallax Beach performed Parallax Scroll. The night was filled with great acts. I personally was hypnotized by the sounds and visuals of
. I hope to see more of this very very talented lady. I always gush for
so...
were fun. Three cute boys making noise, much fun.
Without further a due here are some stills of the night. Brennan has got his character and moment down. Stay tune for some audio.
Heads: Performance Show /
Viewers,
This Saturday, November 23, Members of PRESENT, BOW+ARROW & PARALLAX BEACH’s combined efforts will yet again crash their own party, and take others’ lives into their own hands. Improvisational video/puppetz/noise/synths/movement/blast beats/saxophones will scratch their own disc into bludgeoning skips while surrounding the crowd. Warehouse party.
Hell D3C0D3D /
Recall,
On November 2 I realize Halloween at this point in my life has no meaning just like Christmas it has the stench of a sales man with nothing to sell, but an all consuming idea. But I do feel I need a time to explicitly remember the dead and face death as a mortal that I am.
On this day I was lucky to be part of Highways Performance Space Dia de los Muertos Celebration. It was a performance that stemmed from a workshop conducted by La Pocha Noestra at Highways.
The Performance itself was a variety of talented performers showcasing a variety of styles. Ranging from dance, singing, to performance, some including all three. Sneak peek pictures coming soon.
After the show I was honored enough to be invited by Mike Meanstreetz to be part of a jam performance at a house in Echo Park. It was a Zombie Day of the Dead Party. I was happy enough to freak out some more and channel some ancestral wisdom to freak out the locals. Didn't quite get enough at Highways I guess. In the end it was a wonderful piece. Lazer Blade on keys/ sound/ mythical puppet performance, Mike Meanstreetz on drums and triggers, Zac Vidal on sax, and a new one I just met (groove guy) ARCHITECT on sax...SAX, duo it was monstrous.
Here are some lovely pics via Amy Darling.
Don't forget to water your Roots.
Much too Weird for your scene.
-DBL
<a href="http://mikemeanstreetz.bandcamp.com/album/dia-de-los-muertos-performance-d3cod3d">Dia de Los Muertos performance @ D3COD3D by Lazer Blade + Zachary Vidal + Architect + Josie Jay + Mike Meanstreetz</a>
Michael Nannery :: DBRP :: Intimatchine @ AHC /
Lovers,
The Show at Almost Holden Collective was intimate, tasty, and seductive.
Intimatchine was a lovely hypnotic landscape of dreams. Michael Nannery was a memory trip of textures and primal awakenings. AHC thank you for your hospitality.
Everyone was open to the freakers we are. Thanks for your support.
It was a treat to further explore this experiment of self deconstruction which is "Research in Religious Self-Cybernetics: Pruning the Rose, Eating the Thorn". The ritual object which you see was finally named that night. Pronounce in Spanish, Butó Flutó. Thanks Wes. My need for smirks and giggles in my work is much needed.
Enjoy this peek behind the veil... If you were not present.
Intimatchine
D.B.R.P.
*photos by Christopher Steven Wormald and Brian David. Video by Jacqueline Li and josie j