#nowblinkking Telekinetic Walrus‘ new ep “Tic Toc.” #Because If Salvador Dali made music in this day and age this is what it would sound like.
mood: #walrusphunk #meltingfaces and #meltingclocks
A wise person once said good things come to those who wait and I believe it to be true. Back in 2009 when I was living in Atlanta I started working with a talented producer with a unique style by the name of Y Diz. I shared my self-recorded demo with Y Diz and he shared his spaced out funky bass tracks with me. There was one track in particular that struck a chord in me called “Cristal On The Moon.” As Y Diz proceeded to play his track “Cristal On The Moon” I felt so inspired by what I was hearing that I started to write the lyrics “All I really wanna do is sip cristal on the moon.” This was the first song Y Diz and I had collaborated on. I was super excited. The track reminded me of something familiar but yet so fresh. It was exactly what I was looking for in terms of music production; It was a new musical direction for me.
This track was a sign of growth in my rapping style and ideas. After sharing the track with so many people over the years and continuously working on it, “Cristal On The Moon” is finally ready to be shared with the interwebs and beyond. I present to you “Cristal On The Moon”. This song features verses from Miami based Beatboxer/Mc/Dancer Komakozie and myself. Production by Y DIZ, Guitar from Buffalo Brown and mastered by Adam Schechter (Warp-9). I sincerely appreciate everyone who has supported the song and given me feedback and hope. Listen and Enjoy!
Y-DIZ is a Miami based producer and one part creative brain behind the band Telekinetic Walrus. He recently dropped his latest EP called “Oscipurpillate.” His experimental BASS gets under your skin and touches your soul in infinite ways. I encourage you to experience Y DIZ playing his music at a live show if you get the chance. If not, watch your mind and body melt into the musical landscapes he creates. Dive in!
Miami based artist Pete Kirill recently shared his newest mural project in Wynwood with you titled, “Rebel Without a Pause,” located at 82 NE 29th St. The mural is of James Dean from the movie “Rebel Without a Cause,” depicted as rapper/reality tv star Flavor Flav. The title of the mural is a reference to the Public Enemy song “Rebel Without a Pause,” from the album Fear of a Black Planet, and is a tribute to the groups recent induction into the Rock and Roll Hall of Fame.
Elvis Presley had millions rocking and swinging to his music. Despite the undeniable influence there were skeptics who saw a different picture. In the words of Little Richard, “He was an integrator…they wouldn’t let black music through. He opened the door for black music.” In the same vein, in the words of Sammy Davis Jr, “There was something just bordering on rudeness about Elvis. He never actually did anything rude, but he always seemed as if he was just going to. On a scale of one to ten, I would rate him eleven.” Miami based artist Pete Kirill might be of the latter opinion when it comes to the King of Rock and Roll. His latest mural makes a statement about how Elvis was influenced by black music, and then in turn Rock and Roll influenced Hip-Hop. Take a closer look at the images below.
Corinne Stevie’s latest track “Celebrate” is the perfect remedy for the Tuesday blues. Part vintage N*E*R*D and part nu-disco house, the track rides like a celebratory dreamscape before crescendoing into a hype Miami bass inspired dancebreak. “Celebrate” is lifted from four40records’ recently released Regality EP. Listen and download the track below.
This Wintour is BEGR RICH. Nice shot of a BEGR RICH sticker and a GREATeclectic Anna Wintour pasteup on a Stop Sign in miami. Unexpected symbolism running all through this shot. That’s what you calling saying so much, without even trying.
Red Bull Curates kicked off a new season of Canvas Cooler Project exhibitions on January 31 in San Francisco. The exhibition drew nearly 1,300 visitors to Public Works in the city’s Mission District to view work by 20 Bay Area artists. The artists were given the assignment to interpret the clean surface of a Red Bull cooler according to the aesthetic of local San Francisco bars, lounges and restaurants. Two of the artists were awarded for their standout, interpretive coolers: Akira Beard andSlvster. Each won the opportunity to exhibit and sell their work at the SCOPE Art Fair during 2013 Art Basel in Miami in December. For both artists, it will be their first time exhibiting at a major international art fair…
Let it be the new cliché: Art Basel wasn’t seen in a day. That’s the first of many startling realizations that overcome you while cruising and perusing a pulsating Miami Beach, absorbing as much expressive, progressive, and impressively offensive art as you do solar rays and eye candy. That’s the second realization: maybe inviting your girlfriend along was a bad idea: much as you try to safely avert your gaze, everywhere you look a gorgeous hip-yet-pseudo-sophisticate in a skin-tight tube dress materializes before you. You lay eyes on your girlfriend and realize (realization 2.2) that she’s taking in sights of her own, purposefully or not.
The doors finally open, you’re officially ensconced in the largest, most eclectic art show on earth. Where to start? You start off in the Sixties: Miró, de Silva, and Picasso right there in front of you. Masters near their end. You could stare from six inches away at these works all day, but you have to move, move right along. There are 260 art galleries from five continents, and you’re hell-bent on seeing what they have to offer.
You’re here because you respect art, all art, you really do. But wonders you what a dozen glasses of variably-filled water are doing on a shelf on a wall at the largest art show in the world. You linger in the freshet of artsy-farts, waiting for any one of the estimated 2,000 featured artists to appear with damp fingers and ring them round the rims, the sonorous harmony of wet friction hushing ten thousand bodies in wonder-filled awe. Multi-media artistry? Sonic expressionism? Impressivism? But no one appears and the display is tossed aside in your mind as little more than college-style dorm décor.
The art is wild. So are the people. The isles seethe with these wild people: scholarly French speaking Catalan; mid-aged ex-wives in track pants with demonic designs of stoic house cats shooting lasers from their eyes; dishevelled youth in fashionably-unbranded organic cotton with shaggy side beards parted at the chin; gay dudes in Budweiser wife beaters and American flag boxers and suddenly you’re realizing the paintings and sculptures and carefully-positioned army duffle bags, penis fish in vagina tanks, and flashing neon signs of encouragement aren’t the only displays trying to make a statement; many of the visitors are shock-value works of art(?), too.
Apple™ is everywhere. “No Photos” signs are conspicuously not present; handheld camera-GPS-computer-phones have made such requests unenforceable mandates. iPhones snap Instagram photographs of iPads powering what you think to be a papier-mâché bird with a Bluetooth headcam “flying” circles around a rotating gear, taking 360° video—hey, cool, there’s you—on the iPad-generator-thingy. This could be art.
You descry a handicapped old guy cruising in his power wheel chair, trailing an iPad 2 attached to a bit of string attached to a lure of some kind. Does he expect a cat or small kid or anachronistic flip-phone-er to chase after it, like dogs at the track, in some cruel joke? Is it an interactive piece? Or just another big-city nutter. Either way, is it art? You wonder…
You wander. You wander the labyrinth: the isles and rows, and turn corners to find faux rolling hills casually enclaved amongst the overwhelm and the excitement. Some of it is abstract; some of it delusional. Some works truly move you; some are just damn cool. Your knees hurt from the slow, observant cant you can’t help but adopt. You’re taking in what you can. You avoid nothing, save the food court, where swarms of hyper-energetic middle-schoolers gather loudly, bumping into everything. You observe a potential buyer become dissuaded, annoyed by the rug rats, move on and maybe or maybe not return; you observe the rubicund-with-rage face of the potential seller.
There’s a lot involved with selling at Art Basel Miami Beach, the least of which are the price tags: the numbers you overhear: the casual “two-point-three for the set, Miss;” the unimpressed miss’ smirk, and the “He is an important artist.” Disparity? Too small a price tag? Too big? A bluff? With movie stars, ballpark heroes, over-played musicians, millionaires by trade or name all art collectors these days—if only for these four days—you realize that the procuring of pieces at Basel is an art itself. You become blasé to the numbers and names being traded. You plop a seat beneath a fake tree on the most distant paper-grass rolling hill. It’s a park in a building in a park. It was assembled and will be disassembled with the other pieces, booths and stalls. On it’s slopes you rest.
You’re beat, man. Your girlfriend’s feat hurt. Both your stomachs rumble. Time for lunch.
And with the gurgling tremble deep within you, your weakened muscles, comes your final realization: you need more time. But first you need a break.
Traipsing along Lincoln, Washington, Collins, 15th, 16th, 17th Street, Espanola Way… you finally settle at crowded French sandwich spot for the best sandwiches in South Beach.
You’re revitalized, but your plan needs reworking. Everything in the art world is happening in the South Florida fashion-cultural-fiscal-social epicentre this weekend, but the Miami Beach Convention Centre, at eleven years of hosting Art Basel, is only just that: the center. The purlieus expand to the corners of the city. Including Basel, there are twenty-two art fairs bustling right now, with tickets ranging from free to “only if we sneak in”. Bars are hopping as Happy Hour gets under way. Music comes at you from corner stores and concerts across the city. Passers-by chatter about plays, like Kurt (about Cobain), and you feel you need to see it. There are the art parties, where you plan to mingle amongst big-wig celebs and supermodels who have a heart-throbbing twist on the English language. A few of whatever A-Rod is drinking and you won’t care that you won’t be able to afford buying anyone anything for the holidays.
Transferring Venetian Causeway, on your way to Wynwood, the early evening shines a SoHo glow over Miami. Advertisements flash everywhere (most for Absolut Greyhound, which you plan to have much of later) and the city has officially illuminated. Basel banners bid you farewell, while a computer-generated silhouette winding her hips on the east façade of a downtown skyscraper welcomes you to the mainland.
After Wynwood, perhaps a foodtruck dinner. Hemmingway today would re-write his Parisian classic, set it here amongst the food trucks and night clubs and hip soirees. A Moveable Fiasco.
Wynwood is impressive. The works slightly more manageable than actual Art Basel, you finally stop asking yourself “is this art?” Nay, this is art. See and appreciate. It’s not hard, but it’s not easy. The art takes a toll, especially when it takes up your day, your weekend.
You’re idling in traffic, east-bound on MacArthur, back to beach-side, Facebooking old friends for a place to stay the night.
Basel banners welcome you back. To 4th street, for a free Verge Art Miami Beach fair. But what you’re really back for are the parties: the clubs whose previously stoic fronts are now open doors with lines of sparkling clubbers patiently waiting for their night to begin. You and your girlfriend way your party options. You’ve researched the highlights: Choice Meeting; Livio & Roby; Fuck Art, Let’s Dance… and those aren’t even the invite-onlys. This is nuts, but it’s nothing new. Art Basel hasn’t altered Miami one bit. Okay, next weekend won’t be Basel. Something else will steal the spotlight, but right now, you have to take it all in. And you need more time. Rome wasn’t built in a day and you need more than a day to fully appreciate Art Basel.
Art Basel… you’re head spins and your body shakes from bass beats and you think: what a great excuse for Miami to be, well, Miami for another weekend.
Art Nouveau: You are in Florida right? Do your surroundings play much of a roll in the images you create?
Derek Gores: I’m sure somehow… I’m in the unique spot on the planet where humans reached out to the moon and could also go to the beach. There’s a combo of problem solving and patient daydreaming around all the time that gives me new fuel.
AN: I have heard you say like to see how far you can deconstruct your subject. Can you talk about your process some? Do you sketch your work out or work spontaneously?
DG: I do some wet drawing work that starts from abstraction and sometimes becomes an object, often figurative or spacial. However In the collage work I work it backwards, from a photo reference in a space I breathed, and then I do start with a simple sketch with a sharpie marker usually and then layer in the abstraction of the pieces of paper. I am after the essence of a real figure, often hinting at elapsed time perhaps, but I build the figure out of opposites. I like using linear, sharp, man-made elements you wouldn’t think of as art, like a schematic or a map for example, so that the life and the space you find is that much more surprising when it hits.
AN: Have you always worked loosely or is this a theme in your work?
DG: I was super tight as an 18 year old, but once I saw the end of that particular path I’ve loved anything that can distract or get in the way of that kind of accuracy. Water, using two hands, all sorts of outside influences, collaborations with the subjects, etc.
AN: It seems like this push towards abstraction is what allows your viewers to insert there own interpretation?
DG: True, I love ambiguous spaces and all kids of references in the recycled elements, so that viewers can use their own memories as they interact. The spacial play I would say comes especially from Franz Kline’s abstractions, and the Klimt/Schiele play with flattening spaces as a way to make their figures pulse out at you.
AN: What have you been pursuing in your most recent work?
DG: Two things especially. Lately I’ve been playing with transparency in the pieces, where shadows see through to another space. Also, this year I have played with a more involved narrative, even if it isn’t clear what’s happening. I’d say my subject has become the study of ‘fierceness’- the admiration of a strong individual woman whose beauty is the result of her choices and actions and lifestyle. The first several I’d say showed a weight in her eyes, and my most recent show the fun of living.
AN: I know you aren’t crazy about the word ‘collage’, what else have you been calling it lately?
DG: Cleverness, Advanced Scrapbooking, and it gets a little cooler with some European influence, see look: ‘cøllage’
AN: I know you have been really busy lately, what shows or projects do you have coming up?
DG: Select Fair at Art Basel Miami! Huge! and next big awesomeness is a show in the Spring at Thinkspace Gallery in Los Angeles. And another in Barcelona. Details on the way…
AN: That will be awesome, are there any artists or galleries you are looking forward to seeing at Art Basel?
DG: I must locate Hush. My other favorites: Christopher Maslow, David Burton, Jeff Filipski. Check ‘m out!
Corinne Stevie recently waltzed herself into Terry Richardson’s TerryWood release party at THE STANDARD during this year’s Art Basel. KESH, Azealia Banks and Pharrell were among the many stars making appearances.
Fashioning a street identity is all about putting the work out there. Miami based artists GREATeclectic and Corinne Stevie have been taking weekly trips across Miami to plaster the city with their respective visual aesthetics. Take a closer look at some of the images below.