On Sunday, November 1st, the sixth edition of Dreams Were Made For Mortals comes to the St. Vitus Bar in Brooklyn. This one day art event showcases the work of some of the underground’s most interesting artists. Check out the first in our 2-part interview series with some of this year’s exhibitors:
Vincent Como
What are your dreams?
The ones I remember tend to fall into the “banal-but-weirdo-stress-
What will you be showing at the upcoming installment of DWMFM on Nov 1st?
Some newer ‘zine works I’ve been staring at this past year and am finally ready to release into the world.
Why did you choose to display this work?
A combination of approachability and context. As a minimalist painter who uses only black, the work can become superficially viewed on the one hand as inaccessible to a broader audience who may not have an art history background (and plenty that do have the art history background, too…), but I don’t really want to draw a distinction between different methodologies, or high and low art. I approach the ‘zines as artist books in the same way I would approach a painting or sculpture, or an installation piece for a gallery or institutional exhibition. While the particulars of the mediums may differ, all of the work strives for the same thing, which simultaneously reveres and attempts to subvert modernity through an economy of visual information. That being the case, I think the ‘zines are an interesting entry point into my other works by being rooted in a DIY or punk ethos, and create a bridge to that other work through a familiar format.
How would you characterize the relationship between music and your art?
They’re both aesthetic experiences, and I tend to seek out the same basic things in music as I do in the other arts. I want something that’s considered, well executed (which is not the same as polished or over-produced), and ideally, difficult. I want to be challenged by the experience, not sated or condescended to. If the be-all end-all is to look at or listen to something that’s “pretty”, it had better be so fucking beautiful I weep before it. I think the Richard Serra drawing on the cover of Suno)))’s Monoliths and Dimensions was a smart move. Great synergy. As much as I love skulls and dead things on albums I don’t particularly want or need to put more of those into the world in order to have the same conversation that they are meant to generate.
What’s next for you?
I’ll be included in a group show in Bushwick titled “The Violent Study Club” opening November 20th at a new gallery, Stout Projects. This will be their second exhibition. I’ve offered a Drawing Subscription direct from the studio for the past 5 years, and on Nov. 1st of this year I’ll open up the 2016 series for subscribers to pre-order, so I’ve been trying to finalize some minor details and generally get my shit together for that.
How can we mere mortals find you?
Old-School style analog stalking is always a classy move, My Website: www.vincentcomom.com where you can also sign up for my email list, or @vincentcomostudio on the Instagram.
Zev Deans [Panorama Programming]
What are your dreams?
Sex and death, mostly. One time, I dreamt I was Orson Welles as a child, when Houdini was teaching him magic. In that dream, a marble bust of Houdini had a plaque with an inscription that later (in real life) turned out to be a very lucky address. I used to have Night Terrors frequently, and that consists of alot of horrific out-of-body experiences, sometimes in which I witness my own body chasing after my floating consciousness, to pull me back into “reality”.
What will you be showing at the upcoming installment of DWMFM on Nov 1?
Music videos, and artwork directly related to those videos.
Directed By Zev Deans
Why did you choose to display this work?
Because that’s all I’ve made in the past few years. And because the Saint Vitus Community has played an integral part in most of the work I’ve done…
How would you characterize the relationship between music and your art?
As a filmmaker, the music has been writing my scripts, so I guess the relationship is as intensely direct as it could possibly be. It is my job, at the moment, to illustrate what I hear.
What’s next for you?
Coffee, a shower and then more videos. Short and hopefully Feature-length Films within the next 3 years.
How can we mere mortals find you?
Carmelo Espanola
What are your dreams?
To be able to freely roam the earth and see many amazing places before I die.
What will you be showing at the upcoming installment of DWMFM on Nov 1?
Photographs of special moments that I happen to stumble upon in my life.
Why did you choose to display this work?
I’m a very shy person and photography is a way for me to communicate what my interests are with the world.
How would you characterize the relationship between music and your art?
Symbiotic. Without music, I probably would’ve killed myself a long time ago.
What’s next for you?
I’m currently working on issue #2 of my ‘zine, Distort//Delay. It should be out in the next few months. It will have some cool interviews and photos. Issue #1 is almost sold out and will never be reprinted.
http://distortdelay.storenvy.
How can we mere mortals find you?
I recently started a new musical outlet called Skrewherit, and I play dark techno. Check it out. http://skrewherit.bandcamp.
Simon Fowler [Cataract Press]
What are your dreams?
My dreams this past month have been really disturbing, violent and psychedelic. Probably due to a high level of stress and physical exertion, plus liberal self medication of the fine beverages available in Japan. Or do you mean, my dreams as in life goals? In that case, I’d like to have less fucked up dreams! It’s interesting as the dreams are absolutely the opposite of my experience on this trip, it’s all been incredibly positive and inspiring.
What will you be showing at the upcoming installment of DWMFM on Nov 1?
I have no idea what I’ll show, as I’ve been on the road doing a show in Osaka and building plans to exhibit here in Tokyo next year. I’ll probably show a selection of what best represents my abilities and ideas devoid of overt outside influence or art direction. Or I’ll do some drawings on the flight home tonight. Lately, I feel bored showing old works, or even looking at them. There are many ideas I want to express and explore from here on in a freer way with more hands on techniques, moving away from digital processes even further.
How would you characterize the relationship between music and your art?
Music is probably the best catalyst for my imagination, that and walking.
The world of music has been a good home for me over the past eight years; I have been lucky to meet some incredibly inspiring people I consider family all over the world and work with often, I’m usually given free reign to do as I please with the artwork. I appreciate their trust and desire to let someone attempt a visual extension of their music.
Music is the ultimate expression of time, giving in to the pull of live music is like nothing else other than great sex. I’ve never tried smack though…
What’s next for you?
Next… Well I’m doing some commercial work lately, and that’s very slowly allowing me freedom to do my own projects. I will be doing a lot more artwork in Japan in collaboration with Kosuke Kawamura which is exciting. I’m also working on a book with Rogier Robinson and a new LP for Rogier Smal and a LP for a great new guitar duo called Markers.
The label collective I am part of called Small But Hard is also busy, we are putting finishing touches to Spectre’s next LP so look out for that.
How can we mere mortals find you?
Instagram: @simonfowler
Web: www.cataract-operation.com
Karlynn Holland
What are your dreams?
My waking life aspiration is to give a home to the visual forms that are inspired by and accompany musical expression. This type of visual creativity, in particular illustration but also concert photography and video work, doesn’t fit in with what’s going on in the white-walled galleries of the fine art world. Tattoo shops and accompanying galleries have given some home to that kind of visual expression, for example Gristle Tattoo and Paul Booth’s Gallery Last Rites. I find these shows to be mostly concerned with a dark visual aesthetic. I wanted to create an event where the artwork made for and inspired by more extreme forms of musical expression could stand on its own and be appreciated.
What will you be showing at the upcoming installment of DWMFM on Nov 1?
A selection of drawings commissioned for album artwork by various bands in the scene in the last two years.
Why did you choose to display this work?
I haven’t had the opportunity to show the original drawings for these works yet. I created the DWMFM series specifically to display works of art such as these. Vitus, being a music club, is the perfect venue for exhibition of album covers and accompanying artwork.
How would you characterize the relationship between music and your art?
Music has long been a source of inspiration and a starting point for much of my work. I draw every day. I greatly enjoy putting that talent to use supporting the creative endeavors of musicians around the world. The collaboration between myself and a band has proven to be a great source of inspiration and motivation to create new work.
What’s next for you?
On Friday, November 6, I will be in Philadelphia for the opening of ‘A Gathering of Wolves’ a group show curated by Joseph Bealieau. The opening will be held at Black Vulture Gallery. Joseph is a photographer and has participated in previous installments of the Dreams Were Made For Mortals series. I am very pleased to be taking part.
How can we mere mortals find you?
I can be found hanging around Facebook and Instagram. Saturday nights you can usually find me working at Saint Vitus Bar. You can reach me more directly at karlynnholland@gmail.com. I also sell editioned prints online at karlynnhollandprints.
