nvr mnd blog
Los Angeles’ Benny Cardenas, Vice President in A&R at Cleopatra Records stopped by the NVR Haus to fill me on their latest announcement, that they were signing an artist named INHALT, German for “content”, who are the duo of European Natives Philip Winiger and Matia Simovich. Formed in San Francisco in 2009, the pair immediately recognized their mutual philosophy of sonic fidelity and creative integrity, rather than nostalgia.
Their first three releases—a split 12” for London’s seminal World Unknown Records and the “Vehicle” and “Occupations” EPs for San Francisco’s cult powerhouse Dark Entries Records— firmly established INHALT’s sound. What emerged was a well defined pop sensibility informed by European Minimalism and a sincere, yet playfully cynical sense of humor.
As much Kraftwerk as John Carpenter but with a pronounced drive of Moroder disco and obscure Italo 12”s, INHALT’s sound has found home in both studious personal listening and the crowded dance floor. Hot on the heels of the “Simulacra” remix EP for London’s legendary Emotional Especial record label, INHALT not only ravaged the dance-centric anglo beat (fueled by remixes from heavyweights Timothy J. Fairplay and Scott Fraser) but found themselves in their ideal creative intersection: the road between the lyrical response to a challenging world, a sublime and elegant production technique, and the never ending pulse of the transistor rhythm machine.
Cleopatra Records, Inc. Los Angeles Based Record Label Since 1992
11041 Santa Monica Blvd. #703 Los Angeles, CA 90025
If you haven’t gotten the opportunity to kick it with #NVRMND Priestess Phyllis Josefine, that is more than just a shame. Get to know her, but before you try and switch from being irrelevant to being a fuck boy, check out her amazing musical project known as D A D A, down below #NVRBLOG is showcasing her all new music video
:: 00018 CHANGE ::
“DADA ist eine digitale Erschaffung, sie besteht aus Daten und existiert nur in der digitalen Zeit. Durch Kabel und Screens kann ich DADA erwachen und wachsen lassen, habe die Möglichkeit, dass Menschen beginnen mich wahrzunehmen. Dabei werden diese Daten mein Leben und mein Tod bedeuten und der von DADA. Dieses Ich exisitiert nur dort und da gehört es hin.” – Phyllis Josefine
Dada Vs Data
NN: We are missing you, but we are watching you.
Phyllis Josefine: I am horribly sick at the moment *cough* I had a few [mental] breakdowns, over the last weeks, & I am finally able to breath, again.
NN: Describe the sickness to me as if it were a person in which you offered housing to but became an unwelcome guest in your home, and you then were in a battle to remove him/her from the premises
Phyllis Josefine: [hahah] Damn, this is confusing, I can feel my whole body is ache, my head is on the brink of explosion. i happen to be visiting my dad, in Hamburg. I am hardly able to even enjoy it. My concentration, is on unknown truths too much. A lot of people tend to reveal dreams of theirs to me and they always play out a similar scenario. Though on the day of my regeneration, I was dreaming that I followed a ball into the bushes, & a native american gave me snake out of gold & said that universe will provide for me. Although I feel the suffering of so much more to come.
Phyllis Josefine: “DADA” is creation and “DATA”, but in contrast to what we [believe] we already know now; through “DATA” I can construct “DADA” up. I can finally be perceived by people, but i know that it just exists in the digital end and that will be my beginning & my end.
NN: What are we to imagine when we view your newest piece ?
Phyllis Josefine: It is open to you, what you want to imagine. fears & borders can be seen in every direction, but what I wanted to overbring, was the vibe of feeling the birds sing, feeling the wind and the storms, the sounds of a RT unit, overbring announcements of very bad news, the sounds of the news coming from a radio station, the calming sound of the, nature living in the now, and the disturbing sounds of human, planning inside their selfishness and evilness. The attempt of feeling better with the nature and simultaneously be always confronted with news and how things reveal. i hope you know what i mean. always standing inside this duality of two powers. always having to decide. then this internal screaming – inside my own body in-between the decision to ignore it or open up again and inhale it. I wish I could leave my physical body more and more. living more in those thousand other dimensions and not in this. and still I am stuck and bonded to life too much. i am trying to heal myself with my own words and always in this contradiction of myself that i can help others but not myself. i can talk with the best words but am stuck in myself. knowing the future can be your cure and a blessing. you decide of how you will see it, and i say you, this is the hardest task i ever had in my life. this videos includes my deepest fears and at the same time my greatest relief
NN: Whats your favorite editing software ?
Phyllis Josefine: My favorite editing software: after effects with final cut!
NN: These songs you have created for your project D A D A, are they just songs to you – or is there more too them ? It seems – You have a bigger picture to paint, and its beginning to look beautiful, if thats what you mean will be your end, at least it will be beautiful
Phyllis Josefine: Back to my 1st point. D A D A, is my life because it is me. I am D A D A, D A D A – is all of us. It will be my beginning and my end, or possibly a beginning for someone else. There is never a beginning and never an end, everything is a process of something longer
NN: Thank you omnipotent child
Listen to D A D A, in its entirety.
† NVRMND †
Sounding like a futuristic Orbit chewing gum commercial, this wet oxyclean bath chemically drives its’ emphasis on this outrageously dirty boy! And in what sense I might add; I wonder is she referring to this boys cleanliness ? May it be that her emotions, and inclinations towards her attraction to him have persuaded her to call out said boy – The cause ? Who knows !? His conversational context could have excreted a filmy sort of filth, up into the air. Or maybe SHA SHA is on her #SINGLELADY // #MOMSWAG.
Whether it be she in the club #PIMPING some hot boy in the DJ booth, or is just a pro in the game, SHA SHA KIMBO is here trickling savage jawns @ US, because her will is that too leave your mental feeling insane, jaw dropped, and your body estranged to both the other two things. Keep rocking it Ms. KIMBO. We Luv Yu!
IF YOU THOUGHT SHE THAWED, THE ICIEST POP PRINCESS IS STILL SENDING CHILLS DOWN SPINES WITH NOT ONLY HER AESTHETICS, BUT HER WITCHY PRESENCE, CATCH HER AT VECTOR GALLERY FROZEN LIKE A KAWAII CUTOUT, OR STICKING OUT AT ONE OF HER GLACIAL PERFORMANCES. CLICK HERE TO LISTEN TO AN UNRELEASED TRACK BY JUBS WAYNE FT CULTTASTIC CALLED “DRRTY GIRL“
NN: What have you been up to ?
Culttastic: I’ve been DJing and performing live at DJ Phantasy Club and Blvckout at the Flat in Williamsburg with really cool artists like Machine Girl and Food Stamps and Negative Gemini and No Eyes. I’ve been spending time at Vector gallery with the Oracle and the Crown Prince of Hell.I’m producing and recording new dance music that’s minimal, energetic and nu-kawaii. I’ve also recently started collecting swag ass domain names by stumbling drunkenly with my credit card to friends’ computers in the middle of the night. I am the proud owner of www.yoloswag666.com and www.sellmysoulnow.com.
NN: You have such a wonderful voice. Where did you learn to sing?
CULTTASTIC: I’ve been playing the piano and studying music theory since I was 8 years old. I also studied at Banbury School of Voice with Kent Banbury and later at Berklee College of Music.
NN: Is this, the first project you have ever used your vocals the way you do here ?
CULTTASTIC: I started experimenting with this vocal sound in 2006 when Steven Clark and I created a project called Pseudonecrophile inspired by Fischerspooner and Uffie and Gravy Train and Peaches.
NN: How long have you been making electronic music?
CULTTASTIC: I’ve been producing electronic music for almost 10 years. You can classify my music as #Icepop!
NN: Your style is very “cool.” Where are you pulling that energy from?
CULTTASTIC: Literally! icepop is also the aesthetic. I’ve curated these pages about it:
NN: What can we expect to be seeing from you in the future?
CULTTASTIC: I’m working on an audio-visual hard trance mixtape with William Sarradet for an art gallery show. I’m DJing Blvckout on Tuesday, April 7th and performing at DJ Phantasy Club on Tuesday, April 21st at the Flat in Williamsburg. I’m working on the music video for the next Culttastic single God Control. I’m also working on a NVRM1X for NVRMIND.
BE SURE TO SCOPE CULTTASTIC AT ONE OF HER UP COMING PERFORMANCES TOMORROW NIGHT AND ON THE 25TH OF APRIL LIVE IN NYC
EA: You have worked with some very notable artists and producers including T.RAUMSCHMIERE, Paul Castle, and Andy Chatterley of The Droyds (ex Psychic TV), Mark Moore aka S’Express, and Punx Soundcheck. Can you tell me a little bit about your personal musical history and how you came to work with such respected personalities?
GS: I have always been musical. Since I can remember, I did my grades and techniques as a kid but classical music wasn’t for me really, not back then – the music on the radio was really what did it for me growing up. I first engaged with “dance music” in the early 90’s – I heard Papua New Guinea by FSOL and I was blown away. I knew it was BIG and that sound was going to stay. It was around then I rang up my top ten UK records’ labels and tried to see if I could sing with someone. Back then I saw 4 labels and tried out with 2.
That was when I first sang on electronic music in the studio proper. It was amazing. I have written a lot of songs. During that time the world of making music has changed a lot, so much so sometimes, it has been hard to keep up with it’s evolution. When I started recording music 23 years ago they still used 2 inch tape, you would have to get it perfect or drop in, totally perfect. Then came a-dat and soundscape, and before we knew it we could edit vocals digitally and put guitars next to a drum loop and it all sounded fantastic! Things are very different now…that’s the norm – and how gorgeous is that? Everyone has a chance at being perfect and brilliant – there’s no excuse … now it’s down to character and ideas. That’s the real challenge.
I have been really lucky, to have crossed paths with such talent, but I have fallen prey to the usual pitfalls too, I have made some classic mistakes along the way. Being an artist isn’t for the faint hearted, it plays with your dreams. Somehow for me, it has been at that those points, when I have thought I can’t do it anymore, it all takes too much and gives too little in return that someone, or something wonderful simply appears and leads me onto my next big thing. I met a couple of the people you mentioned above at those times. Sometimes I have approached an artist I really admire myself – see if they would like to collaborate, or I have been contacted by them, their label, whoever – usually its largely a part of time and place. I work to one rule really, and that’s never to make music with someone whose work i do not like. It has stood me well I feel and allowed me to release some very high quality recordings over the years. Music i still like. Really I just count my blessings for all I have learned from each person I have collaborated with so far.
EA: Back in the early 2000’s you used to record as Louise De Fraine why the change to GeneSerene?
GS: It wasn’t really intentional but it somehow changed everything. In the early 00’s I had a new collection of songs having recently split from a long term writing partnership. I wanted to perform the songs and I needed separation, as it was a very different sound to what I had been doing before. For a laugh I wrote a character, Gene Serene into “Wicked” a track I was writing with Billy Borez and Barry Ashworth at the time… It rhymed with silver screen – It was pretty tongue in cheek. I remember giving my first performance as Gene Serene and getting several bookings afterwards, and then it rolled on from there on for the last decade, my husband calls me Genie!
EA: You were right up in the thick of the Electroclash movement. What are your reflections on that time period?
GS: Music was exciting then and I remember there being a real buzz. The first real moment for me live, was a Fischerspooner launch party in a long tunnel – all I could see was their hair, but everyone was excited, something was happening, there were songs in dance music, I really liked that. Looking back it was a whirlwind for me; I met people who felt like family, People finally seemed to get my music, and me, which was special for sure.
EA: There have been some people on various social networks recently declaring a rebirth of electro clash. Do you think this will ever happen and why?
GS: i think rather than it dying a lot of its qualities have been imported into the mainstream. It really was a “scene” and I would be interested in how this reincarnation would take manifest. “Electro-Clash” was coined I believe by Larry Tee, and it was born in New York City. What was happening in London, and other European cities started to make a family of artists, people who would inspire each other, entertain and write some great songs – i feel a lot of it sits at the underbelly, unrecognized in popular music, but the roots go way back, back to the 70’s and 80’s. It was a phenomenon for sure. I hope and pray for the world to keep inspiring and daring one another, there were so many great artists that emerged through that scene at that time.
EA: Your song “All Over You” was used in the indie film Four Eyed Monsters, which I sadly have not seen yet. Have you had any other music in films or done any scoring work?
GS: I have only just really started to compose music again myself with this last project. It’s something I would love to do, all my family have worked in film. Fine art/television – I feel a strong affinity to cinema.
EA: Do you feel more of an emotional connection to one type of sound, specifically electronic over live instrumentation? Is there a certain style of electronic or live music you feel most connected to?
GS: No. I wouldn’t go as far as to say that, I certainly feel a connection to composed music, written with love, intention and meaning. I love electronic music, I have released dance records since 98 and so club culture has been a massive part of my life too. I grew up in great times for live music the late seventies – punk, new wave – I discovered Cardiacs very early on in life, I was about 14 the first time I saw them play The Whole Wide World Window live, it blew my mind and set the bar for live music experience very high. I enjoyed seeing bands like Pink Floyd and The Damned, Siouxsie and the Banshees, Colorblind James Experience, The Buzzcocks, Depeche Mode, The Ramones and the Butthole Surfers – I loved the sub pop releases in the early nineties like Mudhoney, Rev Horton Heat, the list is endless of the bands I loved in the 80’s and 90’s really…
I never really went in for Folk or Britpop, everyone loves Helplessly Hoping but I found the likes of Joni and Blur a little needy and emotional so round 92 I really turned my taste around and started getting into dance 12 inches and mixing, the first record I ordered on import was Accident In Paradise – Sven Vaith, Plank 01 was also one of my first amazing dance tunes. I suppose what I am saying is the sound that really does it for me is both together, live and synthesized instruments can make some beautiful places.
EA: You are about to release your new album, The Polaris Experience. What can we expect from the new album?
GS: Yes, this summer I will release the album. It’s a concept album, telling of 2 people escaping the earth forever. Its a journey and written to be listened to from beginning to end. Live it lends to cinemas, theatres and unusual settings. The majority of tracks are more downtempo than my previous releases, yet big, bold and beautiful. I am very happy with how it has turned out – even if it has taken so long, it’s been worth it, it’s finished.
EA: You posted a picture of one of your songs in the works on Facebook, what programs have you been using? How has your use of technology changed over the time you’ve been writing music?
GS: That was a particularly beautiful spectroscope used for visualizing sound in a mastering software i have forgotten the name of. There are tools you can really see what’s going on, a spectroscope forms a visual landscape allowing you to watch your music and catch things you may miss audibly with your eyes. I wrote the songs using a sample library Bob had created. After we decided to work with one another he sent me a file of loops he’d made, all different vibes, keys and speeds, some synth, drums and bass for me to work some musical ideas around. I used an Alesis midi controller keyboard and first recorded my vocals at home using a condenser mic – I then sent my ideas over to Bob who imported the project file into Pro-Tools and worked his magic. Bob designs and builds synth modules – his Penfold unit was used a lot on our album.
He also used a modified Alesis HR16 drum machine, that’s also on his page.
Bob’s quite the engineer, on several levels & truly a good guy. Our sound grew pretty organically and It was quite magical really – over months and months songs and stories began to develop, it became a conceptual piece.
EA: It’s very cool you have a remix by producer Fil OK of We’re in the Water (ex-Atomizer) on the new single for “Don’t Let Go,” from The Polaris Experience. Have you known Fil previously? Did you ever experience the classic Nag Nag Nag night that he, Johnny Slut and JoJo De Freq used to do first hand?
GS: I love Fil OK. We have shared some great times together. I went to some of the Nag Nag Nag parties and they were definitely wild! I think we first shared a bill in Bournemouth (or Liverpool) it was then we really hit it off and we were both already working a lot out in Berlin, so we saw each other a fair bit when I lived out there. He is a fantastic DJ and producer. He was my resident DJ for my Drop the Bomb parties, such an inspiring artist I have seen him get better and better. He’s very open-minded musically and draws from a really wide selection of influences – it makes his work really outstanding. He has introduced me to so much music I would never have heard. His mix is special.
EA: You have a track on The Polaris Experience called “The Singularity.” What’s the story behind that track?
GS: The Singularity in the Album is that moment the earth is toxic, the war is over – the intelligent machines are in control, it’s all about escaping with your life, with the one you love. Kurtzweil’s “Singularity”, Mars One, the Hadron Collider, Fukushima effect, HAARP, it goes on and on and it’s all pointing towards one thing – the need for off world escape. The singularity is not far from what I see currently happening here in the world really. Sure, It’s allegorical in many ways, telling the age-old story of a man and a woman. But living through these fast and dangerous times. Existing on a toxic planet and offered the opportunity to leave. My Grandfather, Terence Fisher directed Hammer Horror films and I grew up with those stories of tortured souls. Frankenstein created a monster, a poor tortured creature – that’s what we’re currently doing to earth with scientific experiments on our environment, energy and so on. I am sure in a hundred years we will see our attempts at AI to be incredibly crude, just as Frankenstein’s monster was simply body parts sewn together. The singularity is a fascinating concept, and can have so many meanings.
EA: Do you fear the possibility of a singularity in the technology takeover sense?
GS: All things considered I think I am probably a futurist, this scientific and technological revolution has been going on since the wheel and Aristotle, like – forever. As scientists advance in our age, I have experienced the benefits personally. My daughter has a metabolic disorder, MCADD. It’s genetic and can be diagnosed by testing for a gene in our DNA. Having that knowledge has probably saved her life, and so I am also beholden to the positives not just the negatives of our times and I subsequently do not fear the technological singularity as such. I feel I have a healthy interest in these things, and to me it’s not a just theory but “faction” and inevitability. In a “takeover” sense would it really be much different to the corrupt systems and warfare we are currently experiencing? I don’t know, I am exploring all these things in the album.
The Polaris Experience will be released this July.
EA: Thank you Gene for taking time out of your busy recording schedule to speak with us at NVR MND. It was a pleasure hearing your insights.
Julia Sinelnikova an installation artist, and also performance artist event organizer, and future curator/gallery director based out of Brooklyn, New York has been making more than just waves. She is making incredibly illuminating sculptures, that float in the air and resemble an arachnid sort of fairy creatures webbing. They are simply awesome to witness in person, and I recommend you visit one if not all of her exhibitions in the next couple of months.
Also known as none other than the Oracle, a name originating with her accomplices in the Vectorian government at NYC’s Vector Gallery. She can read your fortune, future, and has a foresight of her own about whats hot in terms of local events, DJ’s and performances. She is another one of NYC’s “IT” kids and has been working directly with curators of the NYC Rave Scene. Implementing her Installation skills in to a night club environment. Which is definitely a fresher take on going out; for a drink, or to dance, when you can experience such wonderful and intriguing pieces of art, you should really ask her about her next exhibition yourselves, I hear a ton of great happenings go on over the next few months!
NN: You have been a very strong counter part in the eyes of someone being involved in the goings-ons at Vector Gallery; tell me as the Oracle, what is it that you do at Vector?
The Oracle: I met JJ Brine days before we presented the very first public Vector Gallery event, and on that night he named me “The Oracle.” I had recently begun creating multi-sensory sculptural installations, and for reasons both spiritual and symbolic to my work the title fit perfectly, as if revealing another self within me. Since the summer of 2013, I have worked directly with JJ to present numerous visual art exhibitions, performances, and photo stories, with recent projects including an invitational show at SELECT Fair during Miami Art Basel 2014.
While I find a home in Vector due to my aesthetic affinities with spiritual and light-focused art, perhaps my greatest work with JJ Brine has been an ongoing dialogue of interactions, performances, online exchanges, and telepathic signals. We have developed growth within each other while we ourselves have transformed during the non-linear existence of Vector. We both source a great deal of creative power from interpersonal relationships with others, and given our mutual respect for deep, emotional communication, it is the basis of our artistic/spiritual relationship.
NN: How does that tie into your work as an Installation artist?
The Oracle: For me Vector is an outlet for myself as a channeler, sorceress, and performer. My installation practice has long been rooted in the otherworldly, with a focus on transparency and immersive elements. JJ Brine and I share a fascination with certain construction methods, and often share notes on materials that inform our related, but unique, processes. As an artist focusing on light, working to illuminate the cyber Faerie realm, Vector is a natural home for my numerous identities, a space where non-binary thinking, the spiritual, and multi-sensory interaction are the framework.
CC: Julia Sinelnikova
NN: You had a collaborative piece in the Miami Art Basel, 2014. Was the first time you had featured work?
The Oracle: In fact, I co-curated and presented artwork at the second public exhibition at Vector in 2013, entitled The Timeless Event. I installed immersive hand cut Mylar arrangements alongside JJ’s Shrines and worked alongside artist Christa Brunks to create the overall aesthetic for this show. My artwork has been included in a number of other exhibitions at the space, including Mirrorspace and Time Doesn’t Move, an exhibition honoring Nico’s death.
As the featured visual artist at Vector’s Miami Art Basel 2014 exhibition, LEMNIVERSE, I contributed a number of glowing “Fairy Organ” installations and holographic resin collages, alongside a host of handmade costumes. The magnitude of this project, in which Vector was sponsored by SELECT Fair to mount a large scale installation in our unique aesthetic, made it so that JJ, Lena Marquise (the featured performing artist) and I had to work closely and around the clock, especially once the project gained major media attention from the likes of ArtNews and Billboard. It was a resounding success, but not without blood, sweat, tears.
NN: What was your reaction to Usher, charging his phone out of your ‘sisters’ crotch?
The Oracle: It was absolutely inevitable that Usher himself would feel the need to involve himself in the CHARGING station. This is proven only further by how perfectly his interaction completes the concept of Lena Marquise’s performance piece, entitled “Body as Commodity.”
NN: If it were any other musical artist who would you chosen for her?
The Oracle: I think it would be quite ideal if Miley Cyrus or Bashar al-Assad could snag a charge from Ms. Marquise.
CC: Amy Lombard
NN: You seem to be so incredibly busy at times, can you describe to me in detail – what your individual process’ are like, in terms of your installation pieces?
The Oracle: Custom sculptural installations, video art, lighting and costume design are prominent aspects of my artistic process. I work in long-term series, often feeding elements of my work back into itself in a recursive manner. I have developed new techniques for sculpting with resin and plastics, which I am constantly perfecting.
Transparency and light are key elements in my sculptural work. I take photos and record video of light effects in nature both in New York and during my extensive travels, remixing the imagery and using transparent printouts as the basis for my hand cut patterns. My “Fairy Organs” series is born of my fascination with fragmented communication and constructed identity. These sculptures are comprised of intricately cut plastics and holographic materials, referencing the infinite, fragmented nature of modern modes of communication. In the modern day, we are free to create a fabricated identity through our online persona and extreme body modifications. I invoke these notions through the sinister magic of the Faeries.
Due to the meditative and experimental nature of my practice, travel, residencies, and collaboration are essential to its production. I am inspired by the international DIY art community, and have spent a great deal of time in Barcelona, an enchanted city brimming with both traditional and technological art. In spring of 2014 I spent two months in Northern Finland, working alone in a cabin on the edge of a frozen lake. This time surrounded by a pastel-hued, crystalline landscape in silence proved pivotal for me, allowing me the chance to work across sculpture, performance and video fluidly in my studio and in the serene Finnish woodlands.
NN: You are always working on a functional line of jewelry, I have seen some prototypes, I quite enjoy them to be frank, when can we be expecting a consumer release?
The Oracle: I am currently relaunching my jewelry and accessories line, OracleWares. The newest pieces feature iridescent crystal prisms, and I plan to incorporate more natural healing stones. While I never thought I would go into fashion, making my own costumes to suit my identity has become an integral to my artistic process. I realized that there’s something empowering about being able to wear a work of art, and am inspired by artist jewelry by the likes of Dali and Man Ray. You can expect the online shop to launch back up in May of 2015, featuring a line of crystal necklaces, headgear, and garments.
NN: As well as accessories such as headdress, we will be seeing more items like this put onto their respectable market place?
The Oracle: I have been creating sculptural, holographic headdresses to wear as “The Oracle” for several years now, and have refined my hand cut technique to create a durable, avant-garde prototype. I have been commissioned to create these for fashion photo shoots and the like, and would like to create more custom pieces. However, the nature of these pieces is that they are built into my ongoing performance piece and are very whimsical. As an artist, I prefer to focus on my conceptual practice, and so when I do take the time to create custom fashion accessories and props, it is usually for a special situation, where someone or something transcendental is involved…
NN: You were working on a video project that times we spoke, shot by a certain DJ, I hear very good things about, care to share anymore on that subject?
The Oracle: I have been working on a number of performance videos throughout the year, both in Finland and New York. My most recent piece includes footage of myself as The Oracle, layered over imagery of NASA’s Curiosity rover on Mars, created for projection mapping at a space-themed event in Bushwick. It is only natural for me to create video art pieces out of footage of my kinetic sculptures and costumes, revealing their movement and bringing out their multisensory qualities. My work is about interaction, rather than the object.
CC: Julia Sinelnikova
NN: You have been all over NYC this past handful of months, NYE installations, Installations at #POWERED curated by Issa Israel, Club Austerity, and just this past weekend at #GOODROOMBK, If I missed anything please tell me, but how do you do it ?!
The Oracle: I go through intense phases of public work framed by periods of meditation, introspection, and travel. The New York scene has been brimming with life this winter, and I have been riding a new wave of support for multidisciplinary, interactive art. It is very creatively and emotionally draining to be constantly exhibiting, so I find myself needing to pull back to formulate new ideas and installation techniques. I recommend that to all artists: ride the wave when it comes, but withdraw into yourself the moment you need it.
I am currently developing the framework for a series of videos and performance pieces. I also plan to delve into holography this year to expand my light-based practice. My next upcoming project will be a large-scale sculptural contribution to the “Enchanted Forest” installation slated to take place at Pace University on April 20th, led by Bushwick-based artists Diego Montoya and Cheno Pinter.
NN: Tell me more about your education, where did you go to school, what lead you to become the artist you are today?
The Oracle: I have been creating elaborate imaginary worlds in my mind since I began to have memories. I realized I wanted to pursue visual art seriously around age fourteen, due to my obsession with materials and passion for working with my hands. I have been exhibiting my work and organizing art collectives since around that age. I attended the Fashion Institute of Technology for my degree, where I studied visual art with a focus on sculpture. I believe my work with community based art collectives, traveling, and living in Brooklyn has shaped my practice and perspective more than my formal education.
CC: Michael Fromm
NN: Since then, you have traveled the world, staying in residencies and flowered very strongly and beautifully in to a powerhouse of hyper colored, surrealist art and hybrid atmospheres… what are you wanting to convey to your audiences through your mesmerizing art work?
The Oracle: I am calling my audience to reach within themselves for an emotional intelligence with which they can process the intensity of the modern technological world, and participate in it positively and creatively. This process can be painful, and visceral, and I have no interest in denying that. I am creating ethereal spaces for my audience to drift into their own dream world, but these spaces are not without surprises and extreme psychic energy that can be hard to understand – it is seen as alien. Multisensory interaction is as much God as is perspective. We live in an infinite loop, but everything is always changing. By immersing my audience in the otherworldly, I hope to free their attention towards this notion, that interconnectivity is a state of existence beyond the immediate self, and even the observable world.
Thanks Julia, its truly an honor to have you on #NVRBLOG, and I appreciate your time with us, #NVRMNDCRU. #NVRMNDKIDS be sure to take a look at this particular EP of @TMZ where you will find some interesting facts about USHER, Lena Marquise, JJ Brine, Vector Gallery, and of course the lovely Oracle. For more from the Julia Sinelnikova, check her up-to-date online HUB, here.