Let's Not Talk About Me

New work up on my website. Check it out:

HERE

Tomorrowland!

CAUGHT! by the paparazzi! on SET!

Aint - Bad

A little tid-bit of a feature in this weeks Aint - Bad Magazine. Check it!

HERE

Street Light Interference Phenomenon (SLI)

Street light interference, or SLI, is an alleged ananomalous phenomenon where a person seems to turn off (or sometimes on) street lights when passing near them.

Although street lights can turn off by chance, cycling (turning on and off repeatedly) at the end of their life cycle, believers in street light interference tend to claim that is happens to them personally on a regular basis, more frequently than chance would explain. Some propose paranormal explanations for SLI, sometimes on scientific terminology, such as the explanation that electrical impulses in their brain interfere with the workings of electric lights.

Many times they do report, that it occurs with specific lamps and not just randomly shutting off street lights or electrical lamps in general.

Evans, Hilary, The SLI Effect, [Frome] : ASSAP, 1993.


This used to happen to me on Inverness St, where I grew up as a teenager, multiple times while walking home really late at night. The same street lights would go off when I entered their field of light, and I would think to myself that I was going to be "taken" by something uknown. I didn't know others experienced it. I thought it was the product of whatever I was smoking.

Big Eyes

I was recently asked to play the role of a photographer in Tim Burton's new film "Big Eyes." 

It's based on the story of Margaret and Walter Keane, who are infamous for these paintings of children with big eyes. Its a minor role, but hopefully I will get to meet Tim or Amy Adams!

"I was the world in which I walked, and what I saw

Or heard or felt came not but from myself:

And here I found myself more truly and more strange."

-Wallace Stevens

An INTERVIEW with SAD MAG

I have always wondered:

Dairy Queen Brazier

Stores serve a normal fast-food menu featuring burgers, french fries, and processed fried chicken products in addition to frozen treats and hot dogs. Due to the protracted rollout of the Grill & Chill concept, Brazier restaurants have been allowed to sell certain products originally restricted to G&C, including GrillBurgers.

The name "Brazier" originated in 1957, when one of the company's franchisees worked to develop a food system that would work for all Dairy Queen restaurants. A brazier is a cooking device consisting of a charcoal or electric heating source over which food is grilled. The term "Brazier" was the result of a brainstorming session with the franchisee's advertising agency.

The "Brazier" name has been slowly phased out of signage and advertising since 1993, although it has not been removed from all existing signage. Since the early 2000's, new or renovated locations which are similar to Brazier restaurants in terms of size and menu selection, but have been updated with the current DQ logo and/or exterior, usually carry the name "DQ Restaurant", although the DQ website's Store Locator still lists the non-G&C stores as "Dairy Queen Brazier" and the smaller stores "Dairy Queen Ltd Brazier".
However, the DQ website still considers their burger and hot dog lines as "Brazier Foods", according to the History section of the DQ website and some FAQ listed topics in the DQ website.

INDEX

INDEX

Five Emerging Vancouver Photographers

JUNE 7TH - JULY 6TH

Gallery 295 

Artists

Jeff Downer, Anna Kasko, Jennilee Marigomen,
Joel Stevenett, Joseph Strohan.

Gallery 295 is pleased to present five emerging local photographers. Index is the gallery’s first annual juried exhibition of emerging artists working within photography. This exhibition sets out to explore current trends and practices in contemporary photography, and also to act as a platform for younger artists to have their work recognized in a professional context.

The jurors for this exhibition from The Presentation House Gallery and The Vancouver Art Gallery selected the artists based on creative merit rather than on an overriding theme.

May Sketches

Vancouver Skyline

Print SHOP

Starting to sell some of my photographs to help fund a new project.
Take a look:

Print SHOP

Smells Like Bob Saget

"Smells Like Bob Saget"

Back in the day we dressed in plaid, combat boots and cut off shorts watching the latest grunge band on MTV, shows on Nickelodeon, or were collecting Beanie Babies, while the AIDS virus claimed lives, and the New York art center was being challenged by a more politically driven art. These days that we are nostalgic for, the 1990’s, are being rehashed in the New Museum’s current exhibition, “NYC: 1993: Experimental Jet Set, Trash and No Star” -- named after the Sonic Youth album -- on display until May 26th. The exhibition curators, of which Massimiliano Gioni is one, attempts to address the political issues that were apparent in the nineties such as gender roles, identity, class and race subjugation, through re-showing many of the art works featured in the politically driven 1993 Whitney Biennale. However, the politics that are being reworked in this exhibition are lost, and the selection of this show is a fragment of the omnipresent resurgence of the 1990’s mass culture we are facing today.

    Wolfgang Tillmans, John Curin, Felix Gonzalez-Torres, Elizabeth Peyton, Alex Bag and Paul McCarthy, are only a few artists who are stringed together in the exhibition that seeks to recapture the dialogue between the mainstream and underground, political, and DIY artist cultures that was definitive to the nineties. Massimiliano attempts this through curating well-known artists -- some featured in the Whitney Biennale -- along with those of lesser known artists who emerged in small commercial galleries or artist studios in 1993. The title of the show is another attempt to link “museum art” with today’s mainstream by using the title of a then underground 1994 album by Sonic Youth; a band that is now well known. This highlights the blending of forms and the cross-breeding between art and music heralded by Sonic Youth and in the general nineties. However, it has been used today as a marketing ploy: triggering our post-millenial urges to live in nostalgia and to get the mainstream into the museum. In conjunction to the opening of the exhibition was a nineties themed dance party that encouraged the crowd to wear plaid and their scrunchies while listening to the nineties top forty hits, demonstrating that today’s market requires a lot of “pop” with its “culture”.

    The potency of these art works seem lost, or belittled amidst the retro-craze that our current era of “collective experiences” via social media is purporting. 1990’s TV shows like “Doug,” “My So-Called Life,” and “Boy Meets World” are running amok on Youtube and Netflix, while nineties top-forty music, veiled ironically as “guilty pleasures” are being shared and re-shared countless times on Facebook. Major TV networks and music corporations have taken notice. MTV has a TV series of the movie “Scream” planned for the fall, Nickelodeon, a daily two-hour block called “The 90’s Are All That” showing “classic” reruns,  and the New Kids on the Block announced a tour with Boyz II Men. For those that have grown up in the nineties with the introduction of the internet are reliving their “coming-of-age” decade through fan-pages and Tumblr’s devoted to bands, actors and TV shows. As in the case of “NYC: 1993: Experimental Jet Set, Trash and No Star”, and in these examples, what we surmise is that our generation will be looked back upon without features of its own, but instead what will be apparent is a continuous cycling of modes and fashions of eras passed.

side project blog, woop de doop.