28 Dec 2010
Triangular, 63. Guitar Love Triangle, 2.
Monday, December 27, 2010.
“My world since Tuesday, August 31, 2010.
My beloved biologist sacrificed our company so that both could survive. Since then, we live in a bizarre love triangle. My loneliness is the symmetry's axis that leaves a bad taste. My love: Where am I in the world that you move? Where am I in the world in which you draw me? - Innita para No
“Mi mundo desde el martes, 31 de agosto de 2010.
Mi amada bióloga sacrificó nuestra compañía para que ambas pudiéramos sobrevivir. Vivimos un extraño triángulo amoroso. Mi soledad es el eje de la simetría que deja mal sabor. Mi amor, ¿Dónde estoy yo en el mundo al que te desplazaste? ¿dónde estoy yo en el mundo en que me dibujas?” - Innita Para No
to be continued .....
à suivre .....
24 Dec 2010
11 Dec 2010
Danse de la Vie Danse de la Mort Danse de Naissance Danse de Combat (Le Danse du Tout), originally uploaded by crescentsi.
Thank you to XstockX (Julie) for allowing me to use her fantastic photo in this picture.
The image of Julie is layered with photos of the sky, that I took November 2010. And much editing!
Title inspired by conversations with Solea
29 Nov 2010
28 Nov 2010
Innita's Rockanrose cover.
Triangular, 19. Story repeats herself, 3.
Saturday, November 27, 2010.
Innita re-haciendo su sesión de fotos y, esta vez sí oficialmente, dando públicamente la portada de su álbum para el 2011, Rockanrose.
Innita re-doing her photo sessions and, this time officially, giving publicly the cover of her 2011 album, Rockanrose.
Innita refaire la photo-séance et, cette fois officiellement, publiquement faire la couverture de sa album pour 2011, Rockanrose.
to be continued .....
à suivre .....
27 Nov 2010
An ideal of Jazz dance and the musical genius of Pat Metheny.
26 Nov 2010
20 Nov 2010
is an outwardly Wednesday
Wednesday's child is outside the box
that porn decries
by art decides this equilibrium,
a stasis of procreation
Henceforth da numeral the clitoral
infamy of self
Help me, Notice me
I'm a fuck with a pseudonym
living insight, a flesh
a parody of paradoxes
a limpet clinging
a virtual rock, a legato
page, an art
we live within its flat, flat
canvas. Inhale the intrinsic nothingness
Her breasts are mechanical,
beautiful clouds in pierced (monotony)
overkill to rumble the awful (regional)
erection, not vetted (stasis)
but non concrete (pebbles blokish perimeters
by chance or a Governmental splendour)
this miasma du choix (globalising inference)
or compliance (notice the political reference)
danse du vie
danse de mort
danse de naissance
danse du combat
sing the song of doing
Listen! Ecoutez d'amour
her heartbeat faster
faster fasting, like a machine
when the music's over
our heartbeats meet across
the divide of the unfamiliar
and the famous
bluebells coarse in fields
winter rummaging in you pants
like velvet amongst snow drifts
the man is a fable and
crosses the scene like garbage cans,
littered petunias comforted
shoes, pebbles blokish perimeters
fields the sky ascends broken meters
Incessant motion moved by truth
awful and insistent floating
intent anguish and skies (foraging)
in asymmetric oddity.
With a Governmental splendour
the rash of incest.
and, Whence by this is truth
it automatically assumes its opposite
or juxtaposed by chance, dance
romance, lust or its opposition
if it escalates I'd presume
that I'd be amazed if they'd
put glass in it.
14 Nov 2010
f***ing the Winter sky line
bluebells coarse in fields
Winter rummaging in your pants
like velvet amongst snow drifts
The man is a fable and
crosses the scene like garbage cans
littered petunias comforted
Shoes, pebbles blokeish perimeters
fields the sky ascends broken meters
Incessant motion moved by truth
awful and insistent floating
intent anguish and skies
in asymmetric odditty
With a governmental splendour
the rash of incest
And, whence by this truth
it automatically assumes its opposite
or juxtaposed by chance, dance,
romance, lust or its opposite
if it escalated I'd presume
that I'd be amazed if they'd
put glass in it.
The text is an excerpt from a recent poem by the artist.
Thank you to XstockX (Julie) for letting me use her photograph in this picture.
7 Nov 2010
Sunday, October 24, 2010.
No para Innita, interview Stylo D.C - Spanish version .
BROKEN ENGLISH TRANSLATION:
"NO PARA INNITA" has been, for more than 15 years, filling inspiration by the comic, drawing, music and the arts to his family, friends and more than 4,500 followers of their daily publications in the Flickr network where you can find different stages of his work and development of his series about Innita.
NO is his name NO and PARA INNITA his last names www.flickr.com/photos/noparainnita/3567254264/, NO is not a pseudonym or a nickname and NO also has been using makeup and various styles of masks that hide your face from more than a decade ago and keeping his private life for emphasizing the feminine in his work without his masculine face distract your audience .
NO has toured venues such as Bogotá's Rock al Parque III in 1997 by musical performance with his then-band 667, was co-founder of collective producing comics such as TNT, ACME and Tostadora de Cerebros, made more than 7 independent publications among which are : Virus #1-#6, Sólo Para Cinecrófilos, Luto Blanco Pesebre Negro, Ginotropia -illustrated tale where Innita debuts, "Eco Pop, hermafroCita and Jesu Cristina, and managed, curated and participated in numerous exhibitions.
No, tell us a little about your initiation into the world of the Illustration?
I confess that I never really considered an illustrator, the term itself seems ambiguous and often reluctant to it, except it is a convention I use to explain what I do.
My reluctance is due precisely to my beginnings. My love for drawing started with comics. From my childhood I have been fascinated by stories with images, as Carroll's Alice. At that time, drawing on sheets of notebook that became stapled and whose protagonists were superhero comics based on cartoons and toys that I saw I had, with names like "Super Zancudo", "Yaguar", "Pambelito" and a boxer puppy named “Boty”. And today, it continues in me, the basis of my work is narrative, and that is why we combine drawings -my individual work- and music -collective work-, as a fundamental part of my stories. And surely I will expand in the long term, to sculpture and theater. That's why I know I do not move much in the world of illustration as such, I have never dipped a long time in the editorial and advertising illustration, it has been just phases, not a constant. I try to apply my drawing to my stories and characters, rather than to illustrate in the aforementioned media.
What influences or favorite artists have you had?
In my childhood were Mauricio de Sousa, André Franquin and Francisco Ibáñez, family-comics authors. Then I met the work of "Les Humanoids Associés”, French collective of adults comics which were enlightened for the erotic ingredient of my work. Currently, my influence is amateur photography that can be found in blogs and similar. But my favorite artists "of all time" focus on the painting, such as William-Adolphe Bouguereau, William Turner, Sandro Botticelli, Gustav Klimt and Alphonse Mucha.
We have some memories of Jesus Cristina starting this decade, what happened to her?
Jesucristina was the result of my passionate liking for music and content of Marilyn Manson in the second half of the 90s. A couple of years, I reinvented her as a child who is crucified at the end of World War III:
In the history of Innita you has lasted over two years creating it narratively and visually. Tell us a little about her origin and the different stages that emerged during the course of history.
Innita was visual poetry about my ideal woman since 1998-the year in which the invented her- until 2005, although I make her absent during 2002-2003 because I felt Innita was something emotionally intimate I had to protect from the public. Two years later, at a time in 2005, I thought and realized that this gesture of been her hidden was actually quite corny and weak, and then I decided to do just the opposite: to make her my main character, starring and icon, something like Mickey Mouse was to Walt Disney. Ending 2005 I started then with a few sketches of comics without text, which Innita still had that ghostly look of weightless and airy woman; the idea was to make fantasy comedy, incorporating real characters in my life, friends, acuantiend, at the time, initial stage was the office where I worked, but it was the dye real time narrative still use. It was only starting in 2008 when I decided to give the character of virtual character: Innita is a singer born in Santa Marta, on Saturday March 5, 1988. . . . . I even did her astral chart and everything, hehe.
Yes, It is amazing all the work you do narrative with each of your characters and especially Innita who has also experienced several stages of musical composition ... www.facebook.com/profile.php?id=620541118#!/discography/?... Tell us a little about that process and who have collaborated in this production?
The collective project of Innita starting in 2005, and my idea from the beginning has been for me to making every lyric and glimpse the musical style, and to leave the realization of each song to various musicians. That year I started the project with Fabian Torres, “La Comodidad de Planear el Divorcio desde la Noche de Bodas” -The Comfort of planning a divorce from the wedding night-, the first track of the first Innita Ep. Alejandro Jaramillo later composed the piano ballad "No para Innita", and also "Telegance" under a tune of the vocals that I wrote in 2000, demo version with vocalist Viviana Mayor. Later, musical progress is casual, except the song "Innita," -1906 version- which comes in Pecha Kucha 3 with the voices of Valeria Castro and Esmeralda Bolhuis as a duo, consisting almost entirely by Nicolás Ulloa, who also composed " Vampirama "and" Mozart Was a Lesbian ", all of this in 2007. In 2009 Esteban Martinez undoubtedly become the main songwriter, who has been collaborated with 62 tracks, with only 2 of them sung by Nathalie Martinez and Camila Currea. The huge amount of demos is asymmetrically unbalanced by the lack of a stable vocalist to complete. To hear some of the demo versions: www.jango.com/music/innita
According to some drawings of the series on Flickr, it seems that Innita series has ended ... Right? What are you preparing for 2011?
No, Innita series has not ended, quite the contrary, is in a slow countdown to "Rockanrose", Innita fifth album, which is preparing for 2011. Innita's history – and of my every other characters- is told in real time, and now she is in a state of introspection, having canceled his tour and isolated from public view, following the outcome of "Nemesis" ( www.flickr.com/photos/noparainnita/sets/72157624631506142 ), where she and No, her fiancee, are separate in different radial worlds, Tuesday 31 August, -3 weeks before their wedding, obviously canceled. Notable changes of Innita´s life follow in the antechamber for Rockanrose, being the most recently the friendly departure of the 2 older members of her band live, officially announced on Sunday October 17: http:/ / www.flickr.com/photos/noparainnita/5091723521/in/set-7215... . The next chapter to "Hallowteen," which ends this October 31 is "Triangular", an event that takes place in the months of November and December 2010 and January 2011, whose plot involves a love triangle in the three radial worlds where unfolds the story of Innita and No: www.flickr.com/photos/noparainnita/4293384669/in/set-7215...
Sometimes we dream about people or situations that are suddenly as calls that materialize in real life ... is something like the radial world is about? Where does the concept of the Worlds radio?
The concept is somewhat similar to what you said, in that they are longing-or nightmares-that materialize, but not as individual dreams that seem to anticipate the coming of people or events in "this" world we perceive, but they materialize in a whole new world to be dreams woven collectively. The concept of Radial worlds is my personal update to what is commonly referred to as parallel worlds. Radial worlds are worlds where everything exists, divided precisely by the different possible forms of collective materializations. The feature of the radial worlds radio is that people and creatures that inhabit them feel that their respective world is their material reality. To explain better, I will describe in short the 3 worlds I use in my story about Innita. The first is the supra-reality, the dream world is where: 99% of the world population is vegan, eating meat or drinking dairy is illegal except in Amsterdam and Bern, the problem of drug use and traffic is non-existent except for a few outbreaks of alcoholism; air pollution is very low; and the last major international act of war was the bombing of Hiroshima; a world where humanity has learned its lesson about the impact of technology on both humans and other animals and plants; then, this is the dream world of vegan straight edge, and that's where the adventures of Innita happens as she being pink Rocker nudist. The second radial world is this, as we perceive it, where Barack Obama is U.S. president, and "TRON Legacy" will be released in December now; I call it Apparent Reality, and is the collective dream of omnivores and vegetarians who do not want changes so radical that upset them too much of their daily and individual lifestyle; this is where I'm a lesbian with male body and my Innita doesn't have pink the iris of her eyes nor freckles in the shape of stars. The third one is the Sub-reality in which World War III happened in 2006, and happens World War IV -which I call "RAW WAR"- under a destroyed ozone layer, constantly bleeding in scarlet rains, where humans mutated into vampires, minotaurs and zombies, and all are afraid of the sun: it's the nightmare come true for all beings on this planet, in that radial world is where I'm currently trapped as that glass-wearing biologist of my drawings. Another radial world outside these 3, which obviously I do not handle copyright (hehe) is where there would be Wonder Woman, Batman and Superman, also existing Themyscira, Gotham City and Metropolis, respectively.
You created the concept of Menorrealismo ... Please explain, what is it?
In March 2008, because of accidentally know the term "Situationism", and mixed with my liking for the works and as such the word "Surrealism" led me to wonder how I would define what I was doing the last 10 years with my work. Already in 1998 I had self-defined as "ginotropia", ie my fenicentric lifestyle, so I wanted to define my job into my lifestyle. It had nothing to do with political and social struggle as is the situationist, nor with the aesthetic and literary approach of surrealism - my material of use in my work was the questioning of reality itself. What I had been expressing and producing was the result of my deep dissatisfaction with reality. My way to "improve" my life in the reality was consciously escaping of it, to unrealities for slow down reality in my daily life. But it would not with substance or with nostalgia for social revolution nor creed. So I see in art the best substitute for drugs and utopian hopes for social or spiritual paradises. For me, the basic difference of the art versus altered states generated by drugs, or the illusion of social or religious revolt, is that art is self-conscious of its own fantasy. For me, art is the journey, not a messianic destiny. Art as a creative act of everyday unreality to lessen reality: This is the Menorrealismo. The first 2 Menorrealista letters give more details: www.flickr.com/photos/noparainnita/sets/72157622329782205
Most of your work can be reviewed in the network, there are texts on blogspot where we can find parts of the series www.innita.blogspot.com , most of your production have posted on flickr www.flickr.com/photos/noparainnita and facebook where Innita group also has www.facebook.com/innita.para.no . Tell us how you have been away from print and take advantage of the versatility of the virtual environment and how it was received and follow the series?
My Internet public behaves mostly pleasant, restless and curious, with more and more questions, since I'm doing that the events of my characters -in particular those about Innita- go more frequently. My main network is Flickr , I signed in 2005 but only since December 2006 is when I begin to manage it, the experience is rewarding as it inspires me to keep the discipline of new drawings and texts published almost daily. My notebook is open to the public. And soon the exercise of this notebook will give birth to a new site which will follow the daily life of Innita, written by herself, is her official site, in due course give to know the link and the same for caracteríticas you can visit. The Experience in Facebook about Innita's profile is more anecdotal than about presence, but still has the advantage of manifesting as a person in the same level as the others. "Defictionalization" is the term that implies becoming real a work that is cited in a fictional universe, which in the case of Innita are the 59 demos on the Jango's link I aforementioned.
Have you thought about making a printed publication on Innita, will there be a display in the real world ... it is, outside internet?
Yes, of course, the Internet is a fundamental means, is the axis, the stem from which emerge several branches. "Rockanrose" will be not only the Innita's fifth album, but also her second literary work -being "Rome" the first one-, which is an experimental short novel, as it is conceived as a mixture of novel, poetry, essays, theater script and journalistic chronicle; my idea is to publish it in printed book form, and adapt and mount it as stage work. I have little time writing it, so it will take some time to being out. And musically, the idea is to arrange a Innita's live band, for rock shows with theatrical tinge.
Ending, I want you to tell us a little about your lifestyle, we know that is a bit radical ... that you are part of a stream called Straight Edge and also itemize each food that you consume and you're vegan but at certain times only eat fruits. Tell us a little about this vision and way of life.
Continuing a bit with a previous question, the Straight Edge, which is the voluntary and total abstinence of alcohol, tobacco and other drugs, is part of Menorrealismo in the sense that producing of Menorrealist works are made in sobriety. There is still a great myth that crative states derive almost necessarily from induced-drug-altered states. "did you smoke green?" Is the eternal joke, not only against strange behavior but against eccentric artworks. I think that artists addicted to these stimulants do not produce their works because of the drugs, but despite of it. On the other hand, veganism is for me the most sincere and practical case against helping other beings. I can not say what defines an anarchist, or communist, for example, it's very ambiguous because the way they carry their ideas into daily practice; however veganism is simply a rejection of all animal product consumption. Veganism is not an academic ideology, is an everyday act. Many people criticize veganism because although it saves animals, yet it consumes plants. Let me illustrate with an example my reply: "If in a fire, 6 beings trapped there are about to suffer and die, and I can rescue a 4 instead of 2, it is always better althought I can not save the 6." If we had no digestive system, so there would be no need to eat plants. As for my experiment with the fruit, it was because me practicing fruitarianism, it is, naturalist raw food vegan diet based in fruits and vegetables without being processed by cooking, to maintain its nutritional value to 100% as other animals eat them . I held for 6 months a fruitarian diet, but in my case, my difficulty in maintaining it was because I personally feel that to experience full and constante benefits is preferable to obtain organically grown food that you care, to have a rural lifestyle rather than urban , and to live almost entirely out of touch with the city.
NO, has been great to talk to you, again thanks for sharing with us. A big hug from STYLODC and congratulations for your work !!!!.
Thank you very much to you Paola, and all of you in STYLODC for the invitation.
30 Oct 2010
12 Oct 2010
Fortunately, I live in rather a remarkable advert in the way that it makes no sense to the consumer. Traditionally, adverts had some clarity about what they were trying to sell, so people could recognise the product and buy it. This is the beginning of paying for advertising, not just renting a space to live but a kind of tax to fund Capitalism or "life solutions" as it is rapidly becoming known.
Not requiring a physical space to live in does cut costs and cuts down on prison inmates, but, although fair play, it does sometimes feel less absorbing than 4 walls! The advert I live in, although rather amateurish from a programming point of view, is laced with symbols of independence and freedom. Democracy is often evoked through an owl.
The paradox (not irony, which implies pragmatism) is that many people still live in flats and houses. Although this is becoming indistinguishable from "living solutions", the problems with administration and physical space should be addressed and full compliance reached, or we will face huge litigation, even on a perceived basis.
I have a huge face of a founder-market-leader on the fascia of the advert, constantly in view of the paying public. At least we know that the art of the past is being honoured, through the depiction of gods, goddesses and demi-gods through creative mechanisms.
I often remark, although with some hesitance now, that 10 years ago the whole notion of living within a virtual space would have seemed absurd. However, absurdity is the mother of all invention (rather than necessity, which is absurd) and virtual living spaces or rather, living solutions, have dramatically cut costs to advertising and commerce.
I feel fully functionable and have managed compliancy, despite 2 late payments for my education and 1 to a dating agency. This is also an achievement, considering that my parents are under the "living solutions eligibility compliance threshold", having squandered money on physical holidays abroad and a lack of potential earnings, due to my Mother leaving education before her Masters.
I say "fully functionable" because originally there were concerns that those who lived in virtual spaces would lose basic functioning such as life-skills, social skills, and motor abilities. Some still had notions such as mental illness and anxiety and depression! Of course, psychotic disorders were proved to be a symptom of a public-funded economy. However, none of the above were cost-effective, so, naturally were ruled out.
2 Oct 2010
another, from one culture to
another shouldn't be a faceless
car on a neglected road
a worm-hole in a plastic world
a black hole, a stargate, a
manoeuvre shouldn't kiss our cities
like a timeless trance
A Facebook page, a cure for Cancer
we shouldn't be neglected like this;
a shortage of housing, a reflection in a
We should say bom dia, bon voyage
a handshake here a pat on the back, a
caress, a hug and eyes that
met across heated floors
should wend their way back to television
screens, for this, 25 minutes to Solihull
by a route that seems never invented
is the blink of an eye in a Sat Nav
screen that decries the woodland that
I pass in flurries, the poverty and drugs
and illness that is measured digitally
This portal is faster still, a land
my home that I do not recognise
buildings empty, half built
like a friend, misanthropically
You'd rather forget
12 Sep 2010
The brilliance of the choreographer, Shobana Jeyasingh should not go unnoticed. My review will be short as I have dental problems and I get sick and tired of trying to explain the importance of certain art works to an audience who don't really give a toss! However, there are those that appreciate high levels of creativity and attempts to comprehend art works in greater detail, and I write for these people as well as for my own pleasure.
So, briefly, I believe it is important to acknowledge Jeyasingh's insight into multiculturalism. Multiculturalism and globalisation (by this I mean the meshing of global cultures as well as economic, intellectual ((sic)), political and other "cultural" phenomena) are today's avant-garde.
Jeyasingh and her dancers reveal the choreographer's comprehension of the current state of intellectual and cultural disparity, that is gradually cohesing and altering our comprehension of ourselves and the way that we interact with each other. Jeyasingh manages to convey this highly complex and uncertain contemporary experience, through a marvelous fluidity of movement and breath taking subtlety. Jeyasingh's choreography merges (principally) Indian, classical dance forms with Western dance forms. However, when watching her dance performances you realise that her comprehension of dance (as a metaphor for cultural disparity and exchange) is highly erudite, mixing Jazz, Contemporary, Ballet and street styles with Indian dance. The Indian dance is most important in the sense that it acts contrapuntally to Western styles, largely through hand and facial gestures, iconic, bodily gesture and rhythmic disparity to Western musicality.
Jeyasingh's choreography acts as an antidote to Modernity and Western, Postmodern, societal stasis and historical reflection. It points towards the end of Post modernity and the beginning of the next cultural period that we will experience.
Finally, it is important to note that Jeyasingh's work is accessible and includes popular dance styles and mixes them with styles that are traditionally deemed to be of more merit, artistically. She creates beyond the restrictions of many choreographers and other contemporaneous artists, creating dance that is not confined to established views. In other words, Jeyasingh creates art that does not merely toy with ideas of multiculturalism, globalisation and the consequent societal upheaval that this will bring. Jeyasingh creates art that genuinely and completely expresses this condition.
9 Aug 2010
8 Aug 2010
The photograph of Julie is layered on top of a photograph I took of the Bullring shopping Centre, Birmingham, UK. Other textures were used as well.
Hopefully, this picture evokes ideas regarding capitalism, the "shrine" of the market place (agora), the changing face of the workplace and the potency of advertising. To me, contemporary advertising expresses a repressed need to invent gods and goddesses and to worship "quasi-deities" in a materialistic and capitalist landscape.
Thank you to XstockX (Julie) for alowing me to use her excellent photo in this picture.
4 Aug 2010
1 Aug 2010
No para Innita, the Sayingsomething Interview.
by Sebastian Villarreal.
1 - From what, and / or how did the word "innita"?
The word “Innita” emerged in 1998 to seek a name, with paper and pencil on a desk, to my wife / partner / girlfriend, my virtual / real love, my infinite "half" feminine who she is with me this or absent: a type of perception a-la “My Heart Will Go On” -but in lesbian and spatial version. "Innita" was a word invented in an era that began to pay more attention to Russian models in magazines, precisely because a female friend from there. The word "Innita" born inspired in part by "Nikita", a film that ironically I have not watched.
2 - On the Flickr’s set called "No Para Innita” I found many photographs entitled “Casualties of Rawwar”, where you are in a bath with the mask, are taken from various angles and positions. Could you explain that it is, or what purpose they have?
In 2008, in the midst of World War IV, my face was disfigured by a group of zombies attack, leaving open scars that never coagulate. The pads mask protects what remains of my face. While it was an attack on that radial world, it´s a symbol of what the world dominated by omnivorous human species makes invisibly in the life of a vegan person.
3 - What things did not you draw, not because it is difficult if not because you do not like, me for example I find it hard to draw cars is not “my strength” and I do not draw attention.
I agree. Apathy is the barrier to almost everything, and therefore the same happens in the drawing. I do not believe in talent, I think constancy as a way to refine the development of the drawing. In my case, I have apathy of drawing almost everything but The Woman. I do not usually get out of what in art called "comfort zone" and do not feel bad. So I am too lazy to draw almost everything else, from architectural or natural settings to objects and similar. And so everything that is not the woman is not inspiringly “my strength”." However, when it is inevitable, everything else has to be drawn.
4 - Can you mention some Colombian artists you admire and / or appeal to you?
I confess that I look more photos than illustrations. Sure there are many Colombian artists that I'm missing, but I like the illustration of Ródez and painting and drawings of Rossina Bossio Bossa. I know them personally; Ródez has been like a "tutor" and Rossinna as a discovery. Maybe that makes me feel close to the work of both of them.
5 - Can you tell me something that bothers you when someone discuss your artwork?
When are comments boringly in morbid tone, I delete it. If they are vexations of anonymity, I delete it and block the sender. Fortunately there are not many. In general, my work on flickr gallery is more observed than commented. I very rarely comment on other galleries or answer one at a mine, which may also discourage my public to comment. Several times they prefer to tell via mail or a chat, than leave it as public comment.
6 - What events of your childhood make you think did influence your art training?
7 - Favorite color, or one with whom you identify.
I dress in black, technically this is not a color, and it goes with my name. I also like the rainbow, ie, I don´t have a favorite: it changes from time to time. But if I had to give a list of other colors that I liked, in no order: the emerald green, scarlet red, aqua blue, and white.
8 - How do you get such perfect planning of the supra-reality, the subreality and apparent reality ?
Again, the credit is for the comics I read in my childhood. In the past decade, I knew Geoff Johnns, ’ work, writer of comics that "repaired" with a successful story, the return of Hal Jordan as a Green Lantern. Achievements like these are my inspiration to do everything in the radial worlds' sync of my work. It must be said that the “Apparent Reality”", it is, this dreamed by Omnivores’ world in which we are, is almost zero work that needs to be invented there, it is the world as we see it. In this case, synchronization is more a job as a journalist.
9 - Mention a TV cartoon you like.
I see none now, nor repeat chapters of already watched. I think my little consumption of animation is the same thing I see photographs instead of illustrations, as explained above. What I do every day is drawing, then in my "breaks" so I guess I must be turned to other things. For example, about three months I´m seeing again TV series: Lost, Dexter and Breaking Bad have been my favorite.
10 - Can you advise something good to serve as inspiration for artwork?
Unless you accept draw exactly what you are asked, as it’s the case, for example, of an advertising agency or similar-atmospheres that I avoid, we must draw from within. The venting and gratitude are my best source of inspiration.
1- A partir de qué, y/o cómo surgió la palabra “Innita”?
La palabra “Innita” surge en 1998 al buscar un nombre, con papel y lápiz en un escritorio, a mi esposa/compañera/novia, mi amor virtual/real, mi infinita “media naranja” femenina que me acompaña esté ella presente o ausente: un tipo de percepción del tono “My Heart Will Go On” - pero en versión lésbica y espacial. “Innita” fue una palabra inventada en una época que empecé a prestar más atención a modelos rusas en revistas, precisamente por una amiga de allá. La palabra “Innita” nace inspirada en parte en “Nikita”, la película que irónicamente no he visto.
2- En el álbum “no para innita” de Flickr me topé con muchas fotografías tituladas “Casualties of Rawwar ” en las que estás en un baño con la máscara puesta, están tomadas desde varios ángulos y posiciones. ¿Podrías explicarme de que se tratan, o que fin tienen?
En el 2008, en plena Cuarta Guerra Mundial, mi rostro fue desfigurado por un ataque colectivo de zombies, dejándome cicatrices abiertas que nunca coagulan. La máscara de toallas femeninas protege lo que queda de mi rostro. A la vez que fue un ataque en ese mundo radial, es un símbolo de lo que el dominante mundo omnívoro de la especie humana hace invisiblemente en la vida de una persona vegan.
3- ¿Qué no dibujas?, no porque sea difícil si no porque eso no te gusta, a mí por ejemplo me cuesta dibujar autos, no es mi fuerte y no me llaman la atención.
Concuerdo. La apatía es la barrera para casi todo, y por lo tanto sucede igual en el dibujo. No creo en el talento, creo en la constancia como forma de pulir el desarrollo del dibujo. En mi caso, tengo apatía de dibujar por casi todo lo que no es La Mujer. No suelo salirme de lo que en arte llaman “zona de confort” y no me siento mal. Por eso me da pereza dibujar casi todo lo demás: desde escenarios arquitectónicos o naturales hasta objetos y similar. Y por eso todo lo que no es la mujer no es inspiradoramente “mi fuerte”. Sin embargo, cuando es irremediable, pues todo lo otro se dibuja.
4- ¿Podrías mencionar algunos artistas Colombianos que admires y/o te llamen la atención?
Confieso que miro más fotos que ilustraciones y seguro hay muchos artistas colombianos que me estoy perdiendo, pero me gusta la ilustración de Ródez y la pintura y dibujo de Rossina Bossio Bossa. Los conozco personalmente, a Ródez que ha sido como un “tutor” y a Rossinna como un descubrimiento. Tal vez eso me haga sentir cercano el trabajo de ambos.
5- ¿Me dirías alguna cosa que te moleste cuando comentan tus ilustraciones?
Cuando son comentarios de tono aburridamente morboso, los borro. Si son enfados de anónimo, los borro y bloqueo al remitente. Afortunadamente no son muchos. En general, mi galería de trabajos en flickr es más observada que comentada. Yo mismo casi no comento en otras galerías ni respondo uno a uno en la mía, lo que puede desanimarlos también a comentar. Varias veces prefieren comentarme por correo o en un chat, que dejarlo como comentario público.
6- ¿Qué hechos de tu infancia crees que influyeron en tu formación artística?
7- Color favorito, o uno con el que te identifiques.
Me visto con el color negro, que técnicamente dicho, no es un color, y pues va con mi nombre. Además me gustan los del arco iris, es decir, no tengo un favorito: cambia con el tiempo. Pero si tuviera que dar una lista de otros colores que me han gustado, en ningún orden: el verde esmeralda, rojo escarlata, azul aguamarina, y el blanco.
8- ¿Cómo logras la planificación tan perfecta de la supra-realidad, la subrealidad y la realidad aparente ?
De nuevo, el mérito es por los comics que leía en mi infancia. En la década pasada, conoci el trabajo de Geoff Johnns, guionista de comics que “reparó” con un acertado relato el regreso de Hal Jordan a ser Green Lantern. Logros como esos son mi inspiración en hacer que todo se sincronice en los mundos radiales de mi obra. Cabe decir que la “Realidad Aparente” , es decir este mundo de sueño omnívoro en que nos desarrollamos, es casi igual a cero el trabajo que se necesita inventar ahí, pues es el mundo tal como lo vemos. En este caso, la sincronización es más un trabajo como de periodismo.
9- Menciona algún programa de televisión en dibujos animados que te guste.
No veo ninguno ahora, ni tampoco repito capítulos de los anteriores. Creo que mi poco consumo de animación se debe a lo mismo que veo fotografías en vez de ilustraciones, como dije antes. Lo que hago diariamente es dibujar, entonces en mis “descansos” por eso supongo me debo volcar a otras cosas. Por ejemplo, hace unos 3 meses estoy viendo de nuevo series de TV: Lost, Dexter y Breaking Bad han sido mis favoritas.
10- ¿Podrías aconsejarnos algo bueno que sirva de inspiración para hacer ilustraciones?
A menos que aceptes dibujar exactamente lo que te piden, como es el caso, por ejemplo, en una agencia de publicidad o similar, -atmósferas que evito-, hay que dibujar desde adentro. El desahogo y el agradecimiento son mi mejor fuente de inspiración.
17 Jul 2010
C'est ca, rien fait
a la busca faux
a jaune futures reform arabesque
canto des couleur
No promotion export fallacious
Cantus de la mode
empire de castillo dans la ciel
a natural disposition
Capoeira ferile, entwining cartography
a sudden sunshine
a la mode de rigueur
et lens per favore
under the dunes du choix
Tondu, a backwards step
4 clear thoughts
are ribboned in pink
Kunst; the language of dance
and reflection via distance
perimeteric screens 2
dice a fuelled, insistent portraiture
The fluidity of love
cannot be bought, only its
skull the shores are blunt
and u r my understudy
With money our sculptor
aesthetics are bones
air travel en masse
we should fuck each other senseless
precognize a renaissance
struggle under little despots
to interfere our journeys
This poem endeavors to capture the global, multicultural flux that many of us experience today. This is a worldwide phenomenon. Conceptually, I have reflected these concerns and, most notably I have mixed Indo-European languages to reflect these concerns, stylistically. For example; "a jaune futures reform arabesque/ canto des couleur". In the English, yellow futures reform arabesque/ song of colours. The words "jaune" and "des couleur" are French, while canto is Spanish. Grammatically, there may be "mistakes" simply because this is a novel approach to mixing languages (often mid-sentence) in poetry. However, I believe "mistakes" should be tolerated and seen as contributing to a global culture, rather than evidence of grammatical errors. I have also included some "text speech" or "Internet speech" to contribute to the intellectual, cultural, linguistic and actual uncertainty, that is today.
Briefly, I wanted to state that this "poem" is as much a form of Text Art, than a poem (artistic work of literature). All art forms are crossing over today and I don't see why poetry should be limited to the page and to public readings.
7 Jun 2010
Originality is not dead, after Modernism, only an idiot would believe that new ideas are completly dependent upon the whim of government or the resultant, mediocracy of capitalism. However, the nature of originality or avant-gardism has changed.
Far from the romantic introspection of Modernity, where the West defined "newness" in relation to Western ideas/thought, we now have to define avant-gardism in terms of an increasingly global arena. We in the West cannot deem art to be of intellectual and cultural value when we are exposed to a global culture, and we have yet to understand cultures that are new to us. Indeed, who is to say that, for example, Amazonian tribes or Brazilian people shouldn't see art through their intellectual/cultural values and prescribe values that art from all over the world should confom to, to be considered worthy of possessing intrinsic value?
Evidently, today's Avant-Garde is the meshing of Global cultures via new and informative ways. This leads towards a state of Global art, where ideally, art (or the arts) can be deemed to be of value because arts practitioners, historians and audiences from around the globe can find value in art works.
As cultures shift toward globalism, the effect upon intellectual thought, politics and economies may be startling. For sure, life will never be the same again!
Article originally posted on the "New Renaissance group" on Flickr.
8 May 2010
This is a photograph, not yet widely circulated, of experimental research into creating a cyborg. Unfortunately I cannot reveal my sources, for reasons that should be obvious.
Here, the process is incomplete. The human skin has not yet covered the metallic, robotic parts. There is evidence to suggest that human organs are used and remain largely intact, however a metallic-like substance has been "grown" using similar methods to growing crystals.
One source states that the metallic substance contains human gene codes and, therefore can be "grown" organically. This is probably done using nanotechnological methods, in a similar fashion to"organic computing".
I apologise for the quality of the photograph, but the photograph was taken very quickly at a location that I cannot reveal.
The ethical issues surrounding this discovery are monumental. However I can assure all viewers that we witnessed no signs of life, whether physical or pertaining to consciousness.
More infomation can be found by contacting me by email (on Blogger profile).
back at the life you lead like do re mi fa
do re mi fa the whole punch of the heifer
punts piston and of the strange scary
scape of the performance of a shopping centre
i i i can't re sa fa ti do ri mi expand
myself only by atmospheres ti do re mi fa so do da
music concrete arabesque by Selfridges
and ghosts in the car park shuffle
as if reminding us of Babylon
metal whistles its own devices
and the clerk to the court repossesses
buildings that could have been used
to house us, nevertheless, fiscally astute
carve our spiritual ambitions towards the untouchables
lest we be reminded that money flows
from hand to hand, this less
now, from trace to trace
to ask spirits to rise from trees
would be far too convenient
3 May 2010
17 Apr 2010
I'm a ghost I'm a ghost
in a weld in a mesh
a kernel or animal
My old man, air is full of caffeine and this inertia
as for global art; to shake post modernity
and find its only originality, its "sweetness and light"
would be testament to disconnecting your broadband
Do I know you?
If so then
who the fuck are you?
Bella! Bella Nella?
Bella Nella D'ella betwixt
the curtain and the stage
fright, night, flight of
tragedy and comedy (between, of her)
And don't you
I couldn't tell you knows
alright with out doubt
par journee pas jamais
any raison at all (ne)
(I) other than knowing of your
selfless brigand of Surrealism
pissed by numerical codes
shitting up the hole in art
clunky of it
and you don't!
Welkomme select a product to view
like a goat cackling erst its own(ership) coat
fuck off E
20 Mar 2010
Firstly, history should not be considered academic first and foremost. History is the recording of lived activity, it is the living of events that was and still is, of most importance. History is not some abstract, mental hypothesis, it is the accurate recording of actual events, as much as is possible. Hypothesis has its place, but this is secondary to the recording and communication of actuality. Writing as the raison d'etre of history, forces hyper reality, emphasising the power of the written word and those who record history.
Students of history (all of us) should realise the limitations of reportage, the responsibilities that come with supposition and the realisation that we are active participants in history. They should be encouraged to view archaeological sites and involve themselves archaeological research. They should be involved in local history projects - "living history". Seeing history as an academic or literary exercise makes it harder to communicate the actual events of history and their importance. This is particularly important today, when we are very concerned with the short-term and coerced into making snap decisions rather than considering the long term as well as the short term effects of our actions.
Secondly, Roman remains and their preservation have great relevance to today. As we know, Rome was a great power, much influenced by Greek civilisation. Roman society was intellectual, aesthetic, inventive and sophisticated. They also had a barbaric ad blood-thirsty side that helped them to extend their empire so successfully.
Today, our Greek-influenced, Western empire, lead by the United States, should learn from the history of Rome. No empire is too powerful or sophisticated to fall. We must make sure that corruption, like we have seen over recent years, does not cause the West to fall, as was the fate of Rome.
Leaving the awe inspiring ruins behind, gilded by Orange Trees, Cypresses, I watched the sunset behind the Colloseum and walked to a nearby cafe. "Bon sera, cafe americano per favore," I said in a French accent! "Coffee American coming right up Sir!" The waiter replied. "Grazie!" I said, hoping to tease some Italiano from him, "Preggo!" He replied almost like an after thought.
16 Mar 2010
27 Feb 2010
wears thin by technology and governed by politicians oh! false tyger, by this we conceive a place for humanity next to commerce
Turn your computer on
for religious compliance esoterica 72105 11-21.6 component 9 c'est rocks!
Our mothers were art moths cappuccino, myther glutinous vendors or windows carapace (you) delineate the forth stage of practice I am a shade of hue
Hang on I don't know you dominant do you live here? Well not in your flat! Really? 2 doors away... For 7 years! To think I've never seen you! Animal I thought you were a fucking painting something like what you get at Cyclops. I have one of those memorable faces. People think I am in adverts. Fucking! Yes, fucking! :-) Well friends cost money I can't afford it. Did you say that? Yes, it was me! Time is so expensive now. Yes, I know friends are much cheaper on the Internet.
Drinking causes damage that you can't see Autumnal driving causes damage that you can see but can't afford to preach as there is no evidence of cost-effectiveness. Mesmer do you remember before the partners and minors act? We weren't paid to oppose parentless minors... Do you remember? I can't seem to remember any more but music helps to fill in the gaps where ideas once roamed.
24 Jan 2010
16 Jan 2010
Mr.Elephant's formaldehyde is clover'd
it bust rust da goo goo Ganges (phonetics)
Way out ladyboy glockenspiel "pro"
objetif looks (Thia)
Giraffe stages, the 3 Stooges (premonition/promote)
Three themes hear, employ to
vacate emotion, practical tense (the denied is our next procession)
enrapture les animaux season d'etre
One moon one tide one creature in formaldehyde (arte moderne)
wiggles her soul through bra statistics
Clever she may
no herself from professionalism, the
art of how you say it, the wasp (feminine condition)
craves the butterfly's tongue
wrapped like a moth's cocoon, the idee fix
of minutiae, petite morte and petites objets (impractical present)
Open hand the style decries the species (legislative chivalry)
for bees dance and and ants milk greenfly
by the stream where faeries entertain
near galaxies and taxis (pre-op transvestite)
Subjetif follows her nose
like a crepe suzette lost 4 buns in the oven
intuition may now be purely physical (ontological foret)
like lust until we return spiritual
my cabby is a hippopotamus (ungovernable fable, apathetic humanity.....)
and you are a horse.
Dear Reader, you are Pegasus. (western misanthropy
find that reason
simply a useful
Simon Harris (Crescent)