Steve Fly Agaric 23: Art

Showing posts with label Art. Show all posts

Painted Caravan In Amsterdam For Illuminati Records

More details and images at my Substack:

https://pratgpt.substack.com/p/painted-van-in-amsterdam

CHU 3D Graffiti Cube 2010

CHU 3D GRAFFITI CUBE

Uploaded on 25 Oct 2010:

OPENS 6pm, THURSDAY 28TH OCTOBER at CORDY HOUSE, CURTAIN ROAD, SHOREDITCH, EC2A 3BS. Then every Saturday & Sunday 2pm - 6pm until Sunday 14th Novemeber.

This is a walk in one person experience. Shoes off, glasses on, step inside the 3rd dimension! (Glasses provided).

Artwork by Chu. Cordy House by Mutate Britain.

Art and Money?

How is it, who issues it
creative and yet counterfeit
for nothing

a second look
double take
the time space
inversion with

value?
empty things in time space
filled with space time
what do you call it
money or art?
artney/moart?

which technical abilities
aesthetic reflections
information content and
originality

in economics
the painted euro
fabricated pound
sculptured dollar
projected bit

coin from paper to
data and back to the newest
paper cash

canvas
mini illustrated notes
of limited beauty
money as counterfeit art
art as counterfeit

money
draw you notes now
to Elmyr and twenty Bob
what’s unique and rare art

what value system is held
in s/place my numbers
5, 10, 20, 50, 100
limited proportions
artistic value

distortions
Art & money raise
question:
what is money,
who issues it
how?

Steve ‘Fly’ Pratt
(Amsterdam)

CI for COPENHAGEN INTERPRETATION 2009: What Poetry?

Shannanigums Wave Book III Chapter XII by flyagaric23

“Us clams must stick apart” –Feudal Baron Periwinkle III.

Aphrodite rose from sea foam in film. Merry Mermaid and love goddess surfinn her scallop chariot through twisted arms of godsoilmen and sludge.

She has risen to meet the supermajors to balance scales and dance to the finnance seers circe song.

Gulf scoop. Venus Arise! Awake. Hail Eris! Drink snail wine and toast to King scallop, loops.

Sail up Botticelli’s shell birth canal, known by cockle, hat and staff, Cruz’ past oily Slick Cheney news. We roe under the sign, past energy task force positions.

The Galloping Scallop clad man of greek myth. The Knights bejewelled in clam lips and kisses. Rich blue Oil spill or mother of pearl? Like blended parrots and dead plankton, mixed emulsions. Beautiful Miss. Oil Spill?

Crude awakening to the spill-age. A Collosal squid princess riding old Jakobsschelp to help a Hutch load of old scallops rise out the Seafloor Blues. Deep sea things speak! Lo! Scallops of the ocean down by the great rising Chiefs.

Take Big Periwinkle into your earshell. Smell the sign, touch the symbol, has it got ridges? Dreams cast to sea to see in a Venus shell in a mother of pearl breast. Dead Plankton in the paint painted on Saints of the swamp.

And the city sewers flow. Heed the clam of commerce and the cockle-shock shimmy. A shell of transfusion, what sea-shell sign symbol confusion.

Emerging on a horse covered in Scallops? Yes, Prince Periwinkle gallops-up stream like Salmon. Skullops for one shelling a dollop. Sea wave-wind Mussels flex into fossils. Oh, more yet, invisible smell of oilamp from the limpet.

The Penis of Mr. Big Periwinkle is swelling, a telling sign of the times. Lets Oil the Oystery of Oil, and stir with a staff, lets foil Big sharks, get shocked, struck coil! Row roe with the Tide Swell batter and salt.

Swim with the titanic Sementic shift, up out the shell, again, to tell a snail tale of the planetary shaft.

Son’s of Thunder Juice, Snel, quick up to defend the word. A sea slug with untold feet, runs with you. Hoily Tools of the Big Petrol scoop and scope scheme, wallops the marine scene with unclean oil sheen. Another spellage.

Ocean deep n' blue, packed full of shell-rooms, true teachers of petrochem generation X. Drill here. Rise up like foam, Alexthunder Oil the Shah Cockle and the unseen shellhand scoop, arise fortuna.

Waxy Parrot Snot in the sea banks, how to dress up a death spill? Casting Shells - The wavy lines trace swellmighty calm. His Loch' Holiness the Buddhaclam Caliph of Pearl of the Santiago Shell mound gate tell us, what fate?

Great clam emperor of the Mollusca lineage, Big Up your shelf. By nature the sign, 500 Million years of geometry spun, sings in holy brine water, the Duke Periwinkle Clam tissue of ivory Sheen?

Look down the well. Oily DEA and ivory salt newspaper scalps litter our vessel, truth and beauty from underwater vents, meanwhile oilmen pollute the ocean-Green with sculpted Pipe lines, crime waves of DEA projects, No Oildea how sticky their handshells.

To the Great Old One's, please hear us and help a sign-sailor resist a supermajor temptress, blackmailing a redesign.

Each cell on the Shell glitters and does not glisten. Clamco on our sex organs. Oil spill, pipe-line, spoil, Usury, coercion, interference with the flow.

Oyster Gods of ancient oceans sculpt the wave and weave pearls for serpents teeth to sew. WWII elixir prohibition, in the name of thy snakeoil potions, Rise, Oh.

Sea-meat wonders with one hundred eyes that dwell upon Old heraldic shields, Rise up like bubbles and show us your shape. If only Molluscs could grow wings?

Dutch English American statistics, more scallops? Roam the ocean wide with the Sigil of Galloping shells tells a whale of a trial of a clam, with snapping hinge teeth. Big Blood and loot (bleep) swinging from the Scallops pole, I and Shelly, and our Seal: Koninklijk.

A Toast to Scallops and the food of Godzilla, and the marvel of Clam propulsion.

Venus come surfing on a scallop, leading with a shell in hat and staff in hand. Scholar. Mussel Swimming down Saint James's glory-gate to stealth Oil Cow and coo. Scoop it. And the church Redlips TTOTTAL Informollusc. Sculp. Crude awakening.

Cockoily and Crude Millions scalloped out of the earth's. Intimidated pilgrims raise a Church shoal. To the Botticelli Shell-mex, mix, to the - Supermajor – noGods’ and the shall he, Shall he not trotter. Heart of calcite, home of crystal. Toil to swim with the ASA Esso sponsors. Pick a Shell and drink James Juice.

The sacred periwinkle proportions, now sea gold. Periwinkle Cockle and aragonite Shillyshellying, on land we're all out of gas? Gaia Scalp flaking, dry rot and sun burn, Crashing oil and Blood in similar waves, Half-mollusc, half man with a vulva Cuthulu cult riding a Periwinkle to shore, to soil on past British Patrolingmen.

Deep Rejoice – Skol - of the sea leagues 93’000 species of Mollusc, calcium from sea, Saint James Juice “No thankyou.” Oh, resurrecting Periwinkle is forbidden? Greenwash be damned, HOLY Scollop of truth Swim on your way!

Oh, Mollusc gas around pilgrims Hands. Scooping the word. Praise the Count of cockles who calculates the calcium content. Re-shore em’ that Oystery has Pearls. Barons to protect the crust. Don't drill, hear! The silver pink flesh remaining of ocean Sheild.

What pearls lie in the sign. Schaaldrake Unreeled from the Well, winds blowing above the abyss of humanity.

A clamber of underwater James shimmer “What the devil’s covering you, old directors?” The Hat clamp too. Holy floor, must be peak oil time! Shall we use our gills to push? Praise oceans Brand waves. The fisherman on fire, Oil brigade, fire brigade.

What Sustenance? Entangled oil pipline artery of earth rot? Well well well, Oil be damned! eyel. The stolen dead plankton. The dead seamen-oil-blood transfusion.

The Tectonic shifts and shafts. Swallow the shilly-shally sea and go a’ rumaging. A mussel bound wisdom tongue in a Dutch pit. Venus in shell, that feminine Scallop.

Beware the starfish and oystercatchers and Condi Rice. Our boat enters the earshells of Leviathon. Seers are feeding, so meditate on bivalvia underground and grow new ears. Total germs. Sea worms fight back.

Please dive off the Euro board and Rejoice for James Juice. Hoily Houses Haunt Oystery sauce. The currents of Oysery in the Musselmen’s. How to Oil the machine and then stir, sir?

Scallop filtration of nature Mouth pit. Hermaphrodite Samuel of the black-gold waters. Global eyes of the oceanic gleam where Ibskal speak of sea diamonds, pearls and disturb the Calm mud.

Look Deep, look well , lick the James Juice-oil, drink the poison and ride the snake to the pit of Saint DEA, to planet Exo-Clamboil. Elders send word of hope, inducing Amanita Mollusca.

Sometides wash nutrients up Ripples of the great allrudy wish-ways prepear’d with proportions of Baron periwinkles dimples. Chevrollop, clamswallop, wham. Big Shh’ galaxy, in silence. And inside the noble clam chamber Mr. Mussel finds shelter from transfusions and Cockledoom on a dinner plate.

Oh shil, you supermajor logo shystirs. Rumble of waves around scalloped edge - where Venus teleports - to visit ecstatic ten-thousand. And Brand new standards, drink the ocean ink of clam soup. Ingest the Hoily Ocean Extracts from the me-a-ning Well, it's all for the best.

Wade through the bauxite, don’t step on our eggshares show foresight. Juice the wellwell markets, be merry, speak into these eggshawls. Schelp, I need some clammy mammy? Muscle and sperm of capitol, testoss and hydrocarbons, Thankyou, the pearls really shine. 500 Million years of Scallop evolution sculpted from chalk with tyme.

Real Crotch Oil spread and royal Roe Smoothie. The synchro-swimming around the OVA, mixing a schaal alliance. Pink into the black current. Shellfish swim for ecosystem and it’s edges.

The taste and Zap, filtering compost on sea-bed, the underwater awakening, like Fungus, the Clam infiltrates the swill. Heaven and Hell, the birth of Lucifer von Periwinkle and his Kingdom Oilmen! Lo, the chatter and Swell, the Venus and the Vulva. Marian’s Well. Like a Mermaid's, always moist.

Master of devices and of painted Green weeds. Grow. A Pilgrim Artefact slyjacked. Marian! Murmur and maid, with comb and mirror, homeless, Comb exchanged for a clam-pick to pluck Lyre songs. Merry tinkles of shells and deep-blues for heads.

Oh yeah, to schell the proof to buy the truth. Sea Red and sigil read. Michelle, and her pink mantle. Swimming with our vows to explore the edges of the Sun. Elixir of Baron Periwinkle makes a tasty tipple. A tale maybe a virus. Vile us! With a treacherous hijacked Scallop - snapping - at your toe, out to out brand Oil.

Way out. Respect the Hoily mollusc of Saint James. These Claims of holy clams clamp down on Baron Periwinkle’s clump, so Dive down and pry benearth. The Venus Mermaiden has risen from the sea to show you her she-sails.

51 DEGREES: AUDIO RESPONSIVE AND RETROSPECTIVE. pt. 2

CHU EXHIBITION from Trav on Vimeo.

http://vimeo.com/travart

THanks TRAV. Good JOb.

http://www.schudio.co.uk/blog/2009/360-degree-51-birmingham/

| posted on May 12 2009

360, 51, birmingham, gallery, jibbering art

360

Click on the image(s) below to see the fullscreen 360 degree panorama(s):

(opens in a new page, requires Apple Quicktime)

For anybody who couldn’t make the show in Birmingham, view the main room from three different angles. You can also view the cube too.

If you’re interested in having one made, let me know.

Its possible to create them entirely in Flash too, without the need to download Quicktime, view the high resolution example of the experimental cube.

| posted on May 04 2009

360, 51, birmingham, cube

360, Artwork, Draw, Featured, Installations

Life is short, the art long, opportunity fleeting, experiment treacherous, judgment difficult
-Hippocrates

Nearly my whole creative experience I have been toying around with virtual spaces and thier exploration. Since I began working in CGI (on the ZX Spectrum VU-3D by Psion March 1983) and then into papercrafting and print techniques, I have been on a mission to merge the crafts and techniques and give the user experience more validity, or basically give the onlooker a super-human power, instead of me, the artist.

For years I had considered the cinema 360 shows at the seaside and the stereoscopic applications, with red/blue glasses etc. that are familiar, hi-tec experiences you can have in many venues in various cities around the world. Six years ago I hit upon a technique that would replicate, or reverse engineer, the effect of a Quicktime VR movie or QTVR. QTVR’s construct an all around photographic experience from a single viewpoint, in the centre of a cubic space. My thoughts caught fire when I considered that it could be a real cube, and the centre was the natural, average height of a human eye level.

Click this image to see a small version of the demonstration model that you can print out and make:

For 6 years I believed the object necessary for this centre was to be 12 foot by 12 foot by 12 foot. Just before I had the oppurtunity to practice the concept, it hit me that the natural centre of a cube, a 5 foot 10 inch person, would require an 11 foot 6 inch cube.

Rich Holland was the keen craftsman gifted with the task of building the walls and ceiling on the floor of the Wild Building in Birmingham. It took 3 days and over 2000 screws.

The cube was launched at the preview night on 23rd April. To aid the viewing whilst the door was closed the very able Peter Dixon fitted a pendant 150W lamp 3 foot down from the centre of the ceiling, evenly casting light into the corners of the cube.

I have to admit to getting a little cabin crazy whilst I worked inside the cube. After a while I was unsure what was the floor, and what I could rest on whilst I worked on the ceiling and floor. The sheer scale was a little ambitious in the timescale of the show, only two weeks to view this manifestation of a crazy idea I had. I hope to return to the next phase and hopefully bring it to London. In the meantime, enjoy a little version I made of it that you can view on-screen (Apple Quicktime required)

Click on the image(s) below to see the fullscreen 360 degree panorama(s):

http://www.schudio.co.uk/blog/2009/360-degree-51-birmingham/

51 DEGREES. AUDIO RESPNSIVE AND RETROSPECTIVE.

CHU ROLLS INTO BIRMINGHAM APRIL 23RD.

http://www.schudio.co.uk/51/

New bodies of work on canvas and paper on display in Digbeth, near Birmingham City Centre on Saint George’s day 2009, Thursday April 24th.

Here’s an extract from the press release:

Aerosol cans become unstable at 51 degrees, pyramids are built at 51 degrees, secondary rainbows are only visible at 51 degrees, daisies open up to the sun at 51 degrees, and the northern hemisphere begins above the latitude of 51 degrees*. If the graffiti tradition of adopting a number after your tag (similar to Taki 183, from 183^rd Street, NYC) then the artist Chu’s number is definitely FIFTY ONE.

Exploring (literally) new perspectives and embracing computer-aided technologies, Chu’s work has continued to push back the boundaries of graffiti since he first began experimenting with aerosol paint & home computers in the late 1980’s describing his creations as gently reminding us of the everyday conflict between digital and analogue devices.

This new collection charts a journey in the UK from the town of Walsall to the city of Birmingham, along the A34 road, the flagship route for bus number 51. 12 new paintings and simultaneous, limited edition, screen print releases will be shown alongside a warehouse space containing an installation created specifically for this long awaited comeback show.

I’ll be displaying all of the studio work I’ve created over the last 12 months, along with a few new vibes aswell. I’ve been working a lot more with tricks-of-the-eye, illusion and site-specific works, aswell as canvases and designs for print.

http://www.schudio.co.uk/51/

OBAMA & HIP HOP? fly feedback. (I)

Hip Hop culture, rap, graffiti, turntablism and breakdancing? African American community and non-African American community HIp Hop? what? Rap vs. Poetry. Graffiti vs. Art. Breakdancing vs. Ballet. Turntablism vs. Automated Radio broadcast. How to define Hip Hop? Who distributes it and how? Old School, Gangster, Conscious, underground, Krunk, Christian vs. Muslim Hip Hop cliche'.

Those who distribute the message and have the means to shape it and mass produce it also further define it in accordance with the monopoly of meaning and media-spheres of influence to propogate that single sighted truth. What of Rap vs. Poetry, Graff vs. Art etc. conflict, two-valued logic games highlight dualisms in which most but not all HIP HOP culture seems to be wrestling with on masse. As if it has not already totally permeated every part of everyday life, langugage and culture. Like an African American language virus eating up stiff white English meat: Hip Hop culture has transformed the worlds cultural, political, economic and linguistic landscape. But what parts of the new HIP HOP culture of 2009 resemble those of 5, 10, 20 or 30 years ago, when HIP HOP and the four elelments were coming together for the first in such a urban street hip incarnation.

I have my own views of what real HIP HOP culture and music are, were and should be. And as a DJ have spent more than 15 years making mix tapes, mixing beats and developing the art of turntablism for my own ends, listen to these tapes and tracks for yourself and come to your own conclusions. I mean to say that one sure sign of HIP HOP seems to be a strong sense of self reference. Identity and purpose! To be living the way, the path, and for the art, for the the word and the music. Yes. A way of life in the fullest sense of the word. Therefore we have a large degree of self explanation involved, but sadly those not out on the streets or inside the music studios fail to experience the kind of lifestyles many of the artists lead and which they reflect upon in their work. Reflect, redirect and blow into and out-of proportion. Depending on a massive flux of socio economic factors, and personal aesthetic and structural descisions that each HIP HOP artist may encounter.

Alike most things in modern consumer life, 90% of HIP HOP, as we know it - around the world - seems shallow, predictable, dogmatic, and full of cliche'. No surprises there. But its that small percentage of great inventive, improvisational and creative individuals that we are aiming to highlight, push forward into the mediasphere and let loose upon the agricultural industrial military media that helped spawn it. HIP HOP as the invention of new languaging tools to help make tribal bonds within the new electronic tribal world (1970's) and F-E-E-D-B-A-C-K using microphones, spray cans, dancing, walls, turntables, amplifiers.

With organizational groups within communities creating SPORTING meetings between local ARTISTS in a similar spirit to that of the great African Indian American's and the Mardis Gras Indians battles. ART. Music, song, dance, poetry, graffiti! In neighbourhoods across New York and Brooklyn and then reaching out around America and the rest of the world, HIP HOP culture began to spread. Another Black Revolutionary Language virus was on the loose and taking over sound systems and boomboxs and the radio waves, like Blues, Country, Jazz, Rock and Roll music before it - HIP HOP would rock and shock the nation' and was spreading to every street corner and every store, every radio channel and every TV station, everything had something connected with HIP HOP culture within the small period of roughly 20 years. But, as i keep repeating - along that road something happened to HIP HOP, a hijacking?

The DJ's stopped being such a crucial center piece of the experience, backing tracks played more often than a beat juggler! The Graffiti writers no longer followed the MC, tagging and designing the environment on the fly, using all their worldly experience as a Graffiti icon, defender of the word, truth and beauty and all things that resemble those things; meanwhile the breakdancers also splintered off into the FAME school or fitness academy - at least seemingly to my eyes and ears around about 1996-98 when HIP HOP started to emerge into the mainstream of UK music culture, and become the most popular US musical export, overtaking ROCK music by 2001. By which time i was in the US playing turntables with a band called Garaj Mahal, who defy musical definition, and kindly invited me to plug in my turntables and introduce scratching, samples and beats to the music, jam and represent. (type: DJ FLY AGARIC 23 + GARAJ MAHAL and search)

I have already raised many questions, and don't pretend to give any easy answers, as the field of HIP HOP culture maintains many more knowledgeble and versatile minds than my own, plus individuals who can realize American HIP HOP and African American Hip Hop culture from expereince more so than my own UK Gothic Hip Hop cultural pickling that culminated in my recording with early UK HIP HOP crew NEW Flesh FOR Old, on one of the most respected and own personal favorite HIP HOP music labels from the UK: BIG DADA recordings, sister label to the mighty NINJATUNE.

My major concerns about HIP HOP and the new American President Obama and his comments and interest in SOME hip hop revolve around the question of who decides what is GOOD hip hop and what is BAD. What are the values - hierarchy of values - with which the comparisons are drawn? What shall we do about the N word? or for that matter any other single WORDS that are deemed different, special, more meaningful and powerful than the others? what of context? what of the arts of deception? of language used to persuade and coerce people by forcing them into two valued logic traps.

What of aristotelian logic games? and epistemology, the question of origins? the divine rights of kings, the greek letters fraternity? what of the NEW language? Of CHINA and Ideogram? HIP HOP and Graffiti? compare them? how many GRAFFITI superstars? Ask yourself questions about ART and |Culture, the balance between the visual arts and the aural arts? Record deals and Mural commisions? Compare the fine ART industry and the recording industry? Economically and then from the point of view of public entertainment and celebrity status?

Why have we allowed HIP HOP culture to be cracked open and robbed its meaning, satisfied with an empty shell of material beef rappers and mouth pieces. Why did we loose the balance between the four legs of DJ'ing, MC'ing, Graffiti and Breakdancing? Here i find a more interesting place for study, as the likes of JZ, Kayne and other outspoken supporters of OBAMA seem to have forgotten the other 3 disciplines and the fact that one of them: GRAFFITI is deemed ILLIGAL and a Crimnial activity by the worlds backwards government authorities from Australia to the UK and the USA. ARTCRIMES is the name of the largest online GRAFFITI archive for a good reason!

President OBAMA! Graffiti and Hip Hop? If you want to help educate the youth and inspire their minds open up the designated Graffiti areas, and teach them how to modify their environments for the benifit of the many rather than the few. And any UK authorities reading this i urge you to quickly do the same. But, alas i suspect that a political figure who can speak smoothly about music and about HIP HOP in particular (as the biggest youth culture movement of the 21st century) coming from the UK is sadly unlikely within the next 8 years. Since the criminal Justice act of 1994 in the UK they have been moving towards a police state and surveliance culture, from my own observations. The United Kingdom has never seen the coming together of some quality artists and politicians like what we have just witnessed in the USA, the closest links between celebrities and the state in the UK are through sporting avenues, maybe best embodied in one man: Lord Sebastian Coe. Say 'HIP HOP' in the houses of parliament and the echos will ring out as if Horace Andy sang em. But if the UK wants to stay on the scene, themn it better get up! and rise to the new age of African American Culture, including HIP HIP, Blues, Jazz and Reggae. In fact, anybody who wants to do business, dazzle and turn on the Obama administration better have some soul music, some improvisational skills and at least a breif understanding of HIP HOP culture. Rap. Graffiti. DJ'ing and why YOUTH culture are using these tools to revolutionize humanity, in the minds of the people.

I am still only just getting to wrestle with the questions of poetry, what is it, what does it mean? And so to distill poetry from Rap and Hip Hop culture requires a firm foundation for describing what poetry is, in fact, how it operates, its structure and other pointers, without which it remains simply language, charged with the upmost meaning.

C is for CHU: Painted Plane

Sea'in and not-seen,
from the nozzel to object
& knu end language of gas ungrasspalpabble.
GAS bag of AEROSOUL beyond...Chuscape't.

Wind and stars. Fillamint-buster and the firm-cement. Spewing gas but some froth and cake't up swirl of pigment. Congress. Vortexture of cream.

Yes. Cherry Peppermint swirl, Jungle Lozenge mumint, See weed green with blush.As seen from a Nozzle head of the game at hand.

Objects hunted down AND NEUTRALIZED. CornersRemoved, adjusted, arranged according to the

CHUSCAPE 360 exit'Planet Graffiti Mustards. Skeye Socket, pivot, ball and fully flexi jointed. Perceptual waltz into and out of that word..Corpse-
manure on the lips of the Literati. What IS and ISN'T? Litres of spit-atoms brew nothing NEW on TV? swatches? The Great Lie, Con,

Insider trade and perceptual coersionYes. The great spirit of Illusion.

Cracked open and caked to our faces. Deception turned into ART Mask and Anti ART Mask Painted Plane, painted banking towers.

Painted cardboard people.Nozzle-view sees through that, and through timespice pace pace. Masking, anti-masking the delightful environmint,

YOUCAN - You are the Nozzle of perception. Just spew it.

Paint seas of snot green. Papermunt Origreeny Hulk.
Cream cake of Nozzle clog residua - spurts rusty cherry bombsLike a Jam donut explosion, cap switch switch.

And the picture has not yet even fully taken shape, even, as, i write this.Chuscaprism from Alphabeta v 1.0

I painted, from one viewpoint, a CHUSCAPE vision of an aeroplane engine falling
through the roof of the bar. –CHU

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NBA is for Noon Blue Apples: DVJCCon.

THIS TREASURE BELONGS TO DAGOBERT II KING
AND HE IS THERE DEAD SHEPHERDESS NO TEMPTATION
THAT POUSSIN TENIERS HOLD THE KEY PEACE 681 BY
THE CROSS AND THE HORSE OF GOD I COMPLETE THIS
DEMON GUARDIAN AT NOON BLUE APPLES - http://rawilsonfans.com/articles/mary.htm

http://www.csp.org/chrestomathy/sacred_mushroom2.html