And so it was-an interstellar supernova, a blackstar imprinting itself on the cultural ether, forever usurping brands for sneakers and ratings.
I carved my little momento mori star from wood, in the same manner he carved himself, like a totem reaching for the heavens, a trees pinnacle piercing the moon. Perhaps if you put it on a turntable, you could hear Starman crackling through the rings grooves. Perhaps not. I imagine at the apex of some distant nebula, its only just coming through on a wave of phase anyway.
It’s 1972 forever somewhere, right?
And that’s a reproduction I made of Freddie Burretti’s Ziggy fabric in the well, the green circuit board design that Bowie had quilted to neuter the Clockwork Orange ultraviolence.
I filled the void as he did with his words- re purposing cut up lyrics from his immense catalog, so you can create an entirely new Bowie composition of your own.
By the end, I was as drained as if I’d gone up the hill backwards.
It’ll be on display for the Saint Bowie tribute show at Stephen Romero gallery in Brooklyn, from March 2nd at any rate. Follow the link.
Having recently read the bombastically titled “Most Dangerous Book in the world (9111 as mass ritual)” by S.K. Bain, I had great ambition for this one.
So when I was asked to do another card for the 78 Tarot project, I chose the Hanged Man. It’s a card that is one of surrender, a world turned upside down for a chrysalis caught in polarity. With all my work, I try to place anything I do within a contemporary context, evoke the Carnival of ancient rites as allusions to the broader stage.
So, referencing the original alchemical property’s of the Tarot, it is the sum of Agrippa’s human form divine, the Vitruvian man as the ultimate sacrifice recapitulated as a symbol for the events of 911. Who can forget that haunting image of the falling clerk, framed between the twin towers- a perfect approximation of Saturn’s harlequin- the fool hanging and paraded as a ritual martyr for some divine end. As above, so below, because all the world is a circus, and the chasm left by the escapologist is naught but the ring masters thrall.
Eyes Wide shut, or something like that.
With all that said, I don’t know that the piece was that successful in the way I’d hoped, perhaps the scale of the notion was one which is too large to contemplate.
Where the bigger questions are concerned, it doesn’t seem to stop me trying.
Arse end of a rough month, an endless parade of souls, friends and acquaintances passing on with alarming frequency and proximity it seems. Like the flood gate was suddenly swung open once the great man left for Mars, or the Blazing World, or Betelgeuse or wherever Demi Gods go. At times, it’s felt like I’m resided just short of the runway for Necropolis airport. Been reorienting my compass through shows and commissions since, all whilst peering in the rear mirror a little more cautiously.
At the signpost up ahead however, before I make a trip home to watch my eldest lad walk his lovely bride down the aisle, is a welcome stop gap in the none too insubstantial form of the Saint Bowie group show at Stephen Romano gallery. If I told you how many shows I’d been invited to since January 10th, you’d think contemporary art and culture positively resonates with strange fascination. (For suspect bandwagoning and how not to stage a tribute show to the greatest musician of the 20th century, please reference the Grammy’s)
Which is why it was such a relief to be invited to submit for a show at the Stephen Romano, a gallery in NY-former home and musical stomping ground of former David Robert Jones. Also fitting since it will give me the opportunity to produce something in a little different in spirit as the show promises to be “comprised of artist made devotional mementos, Ex Votos, Santos, Spirit Photos and other reliquaries which mourn the loss of the Starman, and also serve as a means by which to commune with Bowie on the other side. ”
The other and most notable reason for me at any rate, is it gives me the opportunity to pay tribute by giving back, since proceeds from the exhibition will be donated to support shadhika.org, an American organization which works toward breaking the cycle of poverty, gender inequality and education, empowering and trying to give economic self-sufficiency to girls – help them avoid early marriage, being forced into prostitution, or being trafficked. Anyone who doubts Bowie’s own allegiance to similar causes should look up his lyrics for Shopping for Girls.
Anyway, I’m honored, it’ll be grand eloquent, and tasteful and the show opens March 2 2016, 5 – 9 pm and you can see the full press release here: