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Vestiges at Prøve Gallery

Here is some work from Prøof Magazine, a literary/art production in conjunction with a gallery exhibition at the Prøve Gallery in downtown Duluth.  I actually stood in front of crowded strangers, clutching a beer for courage, and read my story to kind reviews.

 Artist Darren Houser reading his literary work

I Am Here Because You Are Here

     That colossal skeptic Christ home, had no lamp-stands unfolded, added no tattered who ever chime.  A cubicle of attention, I appear looking; preparing the primary repeating occult moon.  Performing religions in a Votadini track.  Comics tail its pagan factories to historical Abyss, then ashes sense disdain. This royal preparation painting a Being, its passion my faith bellflower - all a her his fuel-store.  I react, talking complete gladness down old sacrifices that cue around everything.  Second performances begin perishing; the bones you crush to redeem death from pooling wet heaven.  My grave humor exists as defense against man, a vast language promising imagination and uncertainty.  My dust would have your will sing devoted praise.  These cultural art stars present cumulus archetype to man’s messenger chariot with unspeakable broad radar ideas that blur multiverse law in wind of truth and hail of folly.
     Mesmer, the intermediate today, scales work and owns me and a tenth in wrongness. Adjacent and well best of Earth writing, the one hand Lord knows that natal chakras breakdown again through the south king and go in language of Gathering.  His her incorporated body examining unknown Yoga, possessed of post-death blood.  This identified stage tripping meant our debates sometimes outlawed love.  Building a harder irreverence of auditorium powers, traditional 17th common lizards,  phylum oppressors, and a roast wicked God all benefit by describing appealing violence.  I traced terror often but told not of occult proverbs to humble recall prisoners.  Jacob reveals hand-me-down essentialism although universe abduction is heaven’s judgment and leaden matter floats higher in monstrous fire.
     Most reference alchemy into expression at things assembled, as system envisioned reality.  Extensive special gland technique can wreak ripening moist voice desecration, and later envision improved changes.  Suddenly expelled substances relate to the purple sister of haematite male numbers, whose childhood science concerning the diverse origins of us arose radiated currents.  Insight has shapes and currency.
     Writing chairs sometimes know classic thought matter, all upside up and not having fusible vengeance in books.  Pages, rather Time Dungeons, pound literary birth chalk in confined chaos patterns; bowling emotional forms submitted as a complete living language demiurge.  Early translation drugs, once devoid of art brain, created spoken jewelers rather than magical Liber.  Baudelaire permitted prophetic epileptic beliefs, nonchalantly being hyperdimensional and appearing converse.  Lo, Jack Kerouac prefered events rather than Algeria or Taplow houses. Wherefore Gysin and Crowley saith secret ‘natures’ experience Magick, likened to re-contextualized flour-paste themselves.  Machen dusts these into important sexualities without reasonable landmasses and makes the set of houses recite UFO visits. 
     These arrows I boast and tilt with a standard that years ago happened, aware, running down suns to job and sources.  Heed another century to salvation, for Hermes proves whose language gun works superior.

  Virus , 2015, Collage 

Virus, 2015, Collage 

Over the course of one evening, this work was created.  The image, Virus, was created in response to the story, I Am Here Because You Are Here, which was crafted using a 'cut-up' technique explained by W.S. Burroughs and Brion Gysin.  I was reading 6 different books (The Holy Bible, Alchemy, A Disease of Language, Book of Lies, Mutants and Mystics, and the Kybalion) and cut the sixth word, from each page of each book; arranging from piles randomly six times.  Very devilish stuff!  Clearly a sympathetic or associative creative process.

The image really came together on its own, in remarkable fashion- the synchronicities across process-generated text and collaged image are striking.  I walked down to the drawing studio and happened across a selection of various art magazines and National Geographic Magazine  which provided collage materials.  The 'Jesus on a biscuit' word bubble I had intuitively selected earlier that afternoon is from a collection of random printed material cut-outs, and the 'slashed face skin diver' background is an old digital printer proof that I was itching to part with.  Everything, down to the  auditorium background image, fits together as  by some unknown intention, complete with a hidden binary message and an excerpt from the genuine word of God.

  Virus  detail, collage and graphite pencil