Thursday, June 14, 2012

Poetry: Shallow End

Shallow End

Our Community Illusion
has built primitive houses for homeless egos.
Random consciousness insists on using all the wrong tools.
Obligation to dreams
only exists
to remain stubbornly objective.

See, this underlying structure
barely supports our ideas.
Whole dirt lots wait in precious reality.
Information is collected in tiny envelopes.
Envelopes that are mailed out in mass to those who wait -
hands open,swaying to music.

Far away, our distinction has no relevance.
Unapproachable elite intuition
wastes ink on personal perception.

Individual feelings become variation,and cannot be argued away.

Preference has preformed a tricky joke on the evidence collectors.

The shallow end is forever envious of shadows.

Wednesday, June 13, 2012

Artwork: Dain Quentin Gore

Dain Quentin Gore "Orobouros, Leviathan and The Eternal Champion" Ink on paper, from a sketchbook

Friday, June 8, 2012

Artists: Giuseppe Arcimboldo

Giuseppe Arcimboldo "Winter"
 
After lapsing into obscurity for centuries after his death in 1593, Arcimboldo was rediscovered in the early 20th century by artists who relished his proto-surrealistic imagery.



Thursday, June 7, 2012

From The Archives: Heartfelt July 4, 2008

Artwork by Jimi Girdner and Annie Lopez

Deus Ex Machina was formed after the multimedia arts venue the Paper Heart closed. In July of 2008 Deus hosted Heartfelt, an exhibit of  Paper Heart alumni. This was the original press release from the time: 

HEARTFELT
THE PAPER HEART ALUMNI SHOW
It's been 6 months since that eclectic cultural hot spot, THE PAPER HEART, had to close its doors. Besides all the music, dance and indie film gigs that took place there, the Paper Heart was also about the visual arts. Painting, sculpture, freaky media, THE HEART pushed the envelope with its exhibitions bringing cutting edge, contemporary, urban art to Phoenix.

"The Paper
Heart was instrumental to the growth of the arts in Phoenix," says Richard Bledsoe, member of Deus Ex Machina. "The Heart's owner, Scott Sanders, labored for years, both as a board member of Artlink and as a business owner, to build the network that has become First Fridays. He brought people together. There is no telling how many personal and professional relationships had their start at the Paper Heart.

"Scott was open to the new and untried. He gave literally hundreds of artists, rookies and veterans both, the opportunity for their creativity to be seen. Validated by their Paper
Heart experiences, artists continued to work, and  in many cases, even went on to open their own venues. The Paper Heart planted a lot of seeds."

It has been said with every door that closes another opens. Grand Avenue continues to grow as a local art destination. DEUS EX MACHINA/Improbable Art opened on Grand the month The Paper
Heart closed. Picking up the torch in the cultural marathon that is the ever changing Phoenix art scene DEUS EX MACHINA joined the race. It's not as large as The Paper Heart was, but in a short time the space has already presented seven exhibitions and four alternative theatre performances. To date it has served as a forum for painting, collage, sculpture, photography, mixed media, installation, video works, alternative sound performances and spoken word.

"We want to continue the Paper
Heart's tradition of keeping the arts growing in Phoenix," states Bledsoe. "Hosting the artists who made the Paper Heart their venue of choice is a great honor."

For July, DEUS EX MACHINA brings back a few of the artists
whose works frequently graced the walls of The Paper Heart. Inventive, innovative and unusual - the work by these
artists continues to challenge and amaze the art audiences of Phoenix

FEATURED ARTISTS
:
  • Michele Bledsoe
  • Richard Bledsoe
  • Jeff Falk
  • Denise Fleisch
  • Jimi Girdner
  • Steve Gompf
  • JA Jurewicz
  • Annie Lopez
  • Natascha Payton
  • Greg Pentkowski
  • Wayne Michael Reich
  • Scott Sanders
  • Randy Zucker



 Artwork by Jeff Falk, JA Jurewicz (on wall behind sculpture) and Randy Zucker

Steamy July 4 Opening-visible on wall artwork by Michele Bledsoe, Wayne Michael Reich, Richard Bledsoe, and Jeff Falk

 

Tuesday, June 5, 2012

Notes From the Studio: Storage

There is also storage space in the rafters of Deus Ex Machina. Here Jeff Falk's oversized skull mask looms over the gallery.

Saturday, June 2, 2012

Artists: Maxfield Parrish

Maxfield Parrish "Enchanted Prince"

"The hard part is how to plan a picture so as to give to others what has happened to you. To render in paint an experience, to suggest the sense of light and color, of air and space." -Maxfield Parrish

Thursday, May 31, 2012

Poetry: Thin The Silence

Thin The Silence

Copy my heartbeat.
Sway easily in this moment,

your unconfined faith is necessary.



Today I am quiet inside, unmoved by physical translation.

Underneath somewhere, in the far away, silent speech tickles tired wings.

Outside, perception goes beyond performance,and will bend to my will.



Unruly,and uninhibited, progression wakes to consistent denial.

Costume changes unravel restraint -

slowly it slips into unconsciousness.

I AM suffocating slowly between panes of glass.

Emotion destroyed – shy memory pleads convergence.

Pleads...oh Please...



Inside gestures shock contrived obligation.

Allowed deeper, pulled by ancient currents.

Whirlpool proof of power.



This is where time stops:

Right above my left breast -

beneath my collarbone.

The only place.



Resistance underplayed in electromagnetic expression.

Violent echoes breathe reflex impatience,

as meditative lies – thin the silence.



Twisting in midair, permission shifts illumination.

Intent is whispered hard,as sharp blades carve promises in souls.

Secrets are slowly buried in skin.



This is where lust hides – in the curve of teardrops.

Elusive, and slippery this feeling.

Never to be trusted.

-Heather Smith-Gearns

Tuesday, May 29, 2012

THE WALK Part 7

Adam and I enter the little plaza adjacent to the Santuario. The lights are brighter here chasing the remnants of the yellow orbs of the candles of the altar from our sight. There are about twenty people standing, sitting around talking and resting. Walkers? Maybe. But it is almost Good Friday Eve and the locals will be coming at all hours now to hear mass.

I see the little cafe on the edge of the plaza is open. Offering coffee, hot chocolate and food for sale to the people. We head to the front of the church. I limp along even though I have my cane. We stand at the main entrance. I see canes and walking sticks leaning against the wall by the front door.  Not sure what this means. Are people with walking problems to be healed? Or is it bad form to take a stick inside? I keep mine so I can make it down the wide flagstone steps that lead to the main sanctuary. The darkness outside is soon eclipsed by the bright, warm, yellowness of the interior.

Crude wooden pews line either side of the aisle many of them filled up with people here for the mass. The ceiling above us is almost two stories high with dark, wooden beams supporting it. Primitive images of saints on wooden placards form the altar and accentuate the walls. This church has been here in one form or another since 1810. You can feel the history sink into you. I find it impossible that anyone being here could fail to be affected by the mystery of this place.

There are statues of saints hidden in niches. Red, black and white, and the dark color of the wood, is the color scheme. A medium sized crucifix hangs central above the altar a few feet up. It is a broken Christ figure. He sags more than hangs upon the cross. His flesh darkened by the smoke from many candles.
This smoke carries the prayers of the faithful, the hopeful, the needy, upwards. Adam and I scoot into
an unoccupied pew. I struggle. My legs don't want to work. We sit down and now see the priest whose voice we heard amplified outside. He is sitting down up near the altar table. He holds a microphone. He speaks with a spanish accent that is formal and classical in its sound. He leads the congregation in the prayer "...Hail Mary, full of grace....." repeating it over and over again. I keep hearing the phrase "...now and at the hour of our death...". Adam and I sit and pray, heads bowed for a few minutes. We look up and gently, quietly, stand to take our leave. Although this has always been a most welcoming place, we are still strangers in a way.

It is an international shrine but this church belongs to the people who live here in Chimayo. For in spite of the presence of such sacredness this village has a lot of troubles. Drugs mostly. They have been sold hereabouts for decades. There has been violence and death from the wars fought over the drug trade. Yet this church still stands as a symbol of that which transcends the flesh.

Now Adam and I make our way to the front, heads bowed, and walk through the little doorway that leads to a side room. It is here where the miraculous resides. There are homemade shrines to El Nino. The child Christ. People leave baby shoes for him as offerings and gifts.  The walls are covered in the photos of loved ones but also in discarded crutches and canes hung neatly on horizontal wooden rods. They offer testament to a faith I cannot begin to fathom. Do all of these crutches represent a healing of failing flesh? I don't know.

Adam and I wait now outside an even smaller doorway inside this room. It leads to a tiny room where El Pocito is. The "little well". Pilgrims wait their turn to enter to be where the holy dirt is kept. We squeeze inside when our turn comes. The room is about five feet by five feet in size. There are some altar shelves, more religious images, and a few candles that light and heat the room with their little flames. People are kneeling and gathering a brown, fine, silt like soil from a frisbee sized hole in the crude concrete floor. Ziploc bags and baby food jars are filled with the dirt. It has, according to belief, curative powers. Rub it on an affected body part and be healed. I have read of those who make it into a mud poultice to apply and still others who eat small amounts of it for its power. Whatever it does or doesn't do, this ritual always moves me. In the end it is about faith in a thing larger than ourselves and this world. It is a symbol of a mystery.

Adam and I make our way outside into the cool darkness. We don't talk much. We are still taking in the meaning of this wonderful, mysterious thing we will never understand.

Now we go into the little cafe. Besides fresh hot food and drinks, they sell small bags of Chimayo's famous, red, chile powder. I buy some to give to friends at home. Adam tosses a small hand wrapped cellophane package of biscochitos (cookies) onto my pile. The young girl behind the counter rings up our purchase. I gaze at the images hanging around the cafe. Then Adam says "Dad. Quick buy something else. Anything." I turn to look at the total listed in black and white numbers in the window of the old cash register. It reads 6.66. I grab another package of bisochitos and the chicana, oblivious to our alarm, rings it all up.
Wow. Satan's number. What did that mean? An odd, darkly poetic, coincidence? I have no idea but Adam and I laugh about it as we walk back down into the darkness to our car. There are more pilgrims arriving now. It is past midnight. The stars turn above us. The creek talks. We are both weary, but happy, in this moment. Soon this place will be the center of the world.
Quietus.

-Jeff Falk

Monday, May 28, 2012

Notes From the Studio - Ergonomics





I learned the hard way standing on concrete floors for extended periods of time is not a good thing-and I still have an occasionally aching knee to prove it. Now I stand on a thick rubber mat while painting-it's actually a re-adapted door mat.

-Richard Bledsoe

Saturday, May 26, 2012

Artists: George Condo

George Condo "Tell Her or the Terror Will Tear Her"

"I like people to walk into one of my exhibitions and say 'What happened?'"
-George Condo

Tuesday, May 22, 2012

THE WALK Part 6

PART 6
Now our final lap. Adam and I have been walking about an hour since we took the turnoff. We can see the lights of the homes in the village of Chimayo just below us. From here on out the rest of the walk seems to fall away. The details of it not as clear as all those leading up to these last moments. It is because we are tired but also excited by the fact we have reached our destination. It is just before midnight New Mexico time.

Through the darkness we see the outline of the Santuario ahead a few yards. It has a few lights on but its presence is made known to us more because of an antumbral effect. Its dark mass is outlined in a halo from the lights of the plaza on its north side.

We begin walking a steeper way down as we enter the little road that takes us into the parking lot on the south side of the church. There are many cars there. But the lot is nowhere near as full as it will be by Good Friday dawn which will be here in about six hours. We hear dogs barking somewhere. The marvelous singing sound of the creek that runs north to south along the east side of the church property can be heard. Besides its gurgling it makes you can actually smell
the water. An unseen coolness creeps up to welcome and surround us. My arthritic limbs balk at this intrusion. I have still not worn my coat. But now I will put it on.

There is the smell of plants and growing vegetation around us. Spring is coming to this place. In the dark Adam and walk along towards our car. We will leave some of our burdens in it. Our water bottles, fanny pack. I'll keep the cane.  And now as we head towards the church we see the outline of two large television trucks ahead of us. The crews are working slow but sure, walking and carrying lengths of black cable and extra light sources. The news people want to be ready for the dawn. Ready to interview members of the steady stream of pilgrims as they enter the gateway of the little garden at the front of the Santuario. They do this every year.

Adam and I high five in the darkness as our footsteps crunch on the gravel of the parking lot. He says something and then we hug. We made it! With each step up the walk that borders the east side of the church it is getting a little brighter. More lights.

The concrete walkway is delineated by a chain link fence. It holds several crude, wooden, crosses that people have made from the small pieces of cottonwood branches they find on the grounds. You can take two sticks and wedge them into a cruciform shape in the chain link. Simple enough. But when there are hundreds of crosses in the net of the fence the effect is very dramatic. I think I know what these crosses are. They are prayers.

Now we smell food cooking. There are a few pilgrims gathered around a crude little food stand to our left. It is selling some kind of homemade spicy food served in large styrofoam cups. I bet it is spiced with good Chimayo chile. The stand sells hot coffee and soda pop too.  Smells good but we keep walking up to the plaza. Now we hear an amplified voice reciting. There is a speaker mounted up under the eaves of the east side of the church. Is it a recording or live? It is an eloquent voice. Sounds like a prayer or scripture being read. At the top of the walkway to the right we now see the lights of many candles burning in the stone shrine there. I see photographs of what I assume are loved ones propped up against the glasses of many of the candles. Rosaries and religious scapulars are hung, draped among these offerings.

I see an image of Saint Michael in the shrine. He's my saint. I pray to him a lot. Can't hurt. He's the big kahuna of angels. He is an archangel and his legend can be found in Jewish, Christian and Islamic teachings. This is a big deal. He is the saint of protection for soldiers and policemen. He also protects all against darker, unseen more esoteric forces. You don't have to be a solider or a cop to make requests of him. Though a protector, Michael is also seen as a "psychopomp", a strange word, it means "conductor for the souls of the dead". Like a Walmart greeter for the afterlife I guess. The "Michael" named in the old folk song "Michael Row Your Boat Ashore" is purported to be him. He is rowing to shore to gather souls.

Now we are almost at our destination.

NEXT: Quietus

-Jeff Falk

Monday, May 21, 2012

From the Archives: Jornada Del Muerto 2008

Since our founding, each year Jeff Falk assembles an altar in the tradition of Day of the Dead commemorations. This is the altar from 2008. Patrons were invited to add their own contributions. 

Saturday, May 19, 2012

Artists: Malcolm Morley

Malcolm Morley "Dawn Patrol" oil on canvas 75" x 104 1/2 "

"The idea is to have no idea. Get lost. Get lost in the landscape."
-Malcolm Morley

Thursday, May 17, 2012

Article: Annie Lopez



From Phoenix writer and curator Robrt Pela's blog-Deus Ex Machina's Annie Lopez receives an award from the Phoenix Art Museum's Contemporary Forum.

Annie Lopez Mid-Career Artist Award

Wednesday, May 16, 2012

THE WALK Part 5

PART 5

Adam and I approach the north turn in the road that will take us down into Chimayo. Its hard to miss tonight. There is a very bright floodlight, with a generator running, on a tall steel pole lighting up the landscape for several yards all around. The rabbit brush and juniper clumps throw strange, angular, shadows in all directions.

The New Mexico authorities go to a lot of trouble to do what they can to help make the walk safe at night with patrols, signs and lights like this. While this light clearly marks the turn off for the pilgrims it is blinding. Seems to take away some of the, I don't know, sacredness of it all.
Then again a light is just a light.

Adam and I cut the corner on the left side of the turnoff. Instead of following the paved road we walk off onto the west sandy shoulder. We pass through a cattle gate, or stile, entrance through the livestock fence. Its a narrow opening, slightly angled, to prevent cows from walking through.
We make it through and begin the last leg of our trip.

Normally this portion of the road can be quite rigorous. Car traffic picks up the closer you get to the Santuario. Walkers are forced to edge along the uneven rocky shoulder to stay out of the way of approaching headlights. But this year the state has paved a wide shoulder to the left of the road. New guardrails have been installed as well. Man this is easy walking! Like our own personal freeway. But now we head downhill. Shins and calves begin earnest aching. No matter. We are almost there.

I have used a wooden cane as a support and aid all along this trek. I feel like a wuss. But on a hike like this arthritis in my knees, hips and legs gets nasty and uncooperative for steady movement. I understand why walking staffs have been in use since past centuries. The stick can help you move along at a brisker pace. You can cheat and make your joints and muscles behave in more of a way you want them to. Over the years I have seen walkers who seemed barely able to stand upright let alone walk. And as if walking alone isn't enough to challenge you I have witnessed pilgrims carrying full sized wooden crosses on their shoulders while others have large effigies of saints literally strapped to their backs. Burdens of choice I suppose. Those people are strong beyond my comprehension.

Adam and I trudge on through the darkness sometimes passing other walkers who are either slowing down or are taking their time valuing this experience step by step. Sometimes walkers breeze past us, their steps quickened by the knowledge that they are almost to their destination.  We pass walkers sitting on the new guardrail taking a break. They are silhouettes to us for now the moon is obscured by clouds again. We nod or whisper words of encouragement to them as we walk by.

As usual I can't let the simplicity of this walk be. I have always wondered what is it that compels human beings to do it. Not just to be moving on just this particular path but to walk pilgrimage trails all over the world.  Over the ages mainly religious motivations I guess. The annual thousand year old holy Hajj pilgrimages to Mecca, and even Chaucer's edgy Canterbury Tales, remind us that walking is the one thing we can do that no one can take away from us.

I think the Buddhists call it kinhin. Walking meditation. But you don't have to believe in anything to make a pilgrimage. A pilgrimage doesn't have to be done as an offering to God or to an ideal. So there the mystery begins. The act of pilgrimage seems like a wavelength that human bodies and souls can plug in to and share.

For myself an important defining meaning to a pilgrimage, for whatever reason it is undertaken, seems to be the fact that it is a voluntary act. Its a personal choice. If your walk takes you where you want to go, or ends badly, fulfills some inner need or not, it is/was your choice to make. It is a way of saying "Whatever may come I have chosen to do this." Lets face it, for many people, there are little or no choices they get to make in their lives.  Some folks have it made. Others never win.

The strange inequities of this life seem to sweep us all along in directions we would not wish to go.

But on a pilgrimage the pilgrim makes the choice to do it. Its freeing in that it feels as if, for once, we get to choose our direction on the big path of reality.

I'll shut up now.

NEXT: ARRIVAL