Sunday, November 30, 2008
Friday, November 28, 2008
Saturday, November 22, 2008
Thursday, November 20, 2008
Tuesday, November 18, 2008
Monday, November 17, 2008
Friday, November 14, 2008
Thursday, November 13, 2008
John Thursday California Adventure
Now Available: VILE BLUE SHADES, 12"vinyl:
John Thursday California Adventure released on
Wantageusa.com
featuring Cover artwork by Sri Whipple & a coloring poster byPatrick Weeks
While Supplies Last-
$12.99 at Slow Train
location:
221 E Broadway
SLC, UT 84111
(200 E & 300 S)
contact:
801-364-2611
info@slowtrainmusic.com
Thank you for supporting local music makers & dealers.
Monday, November 10, 2008
Thursday, November 6, 2008
Sam Weller's Zion Bookstore photos of show
http://viewmorepics.myspace.com/index.cfm?fuseaction=user.viewPicture&friendID=180571120&albumId=1524213
Tuesday, November 4, 2008
on the ball A. Off The Wall Q.
To: rethinks@hotmail.com
Subject: Off the Wall questions
Date: Mon, 20 Oct 2008 06:27:16 -0600
Patrick,
I enjoyed seeing your work at Sam Weller's bookstore. Would you mind answering a few
questions about your pieces there? Brian Staker for City Weekly
well, Presently I'm in Brooklyn (at the time of which this was wrote) with friends, most of whom originate in the Salt Lake vicinity, but have found their paths here.Hopefully the vantage of such a removed perspective shall accommodate an open relation toward what was done & how it seems...
Q 1. How did you get to be involved in the show? What background do you bring to the show: what other work have you done & other exhibits/also university studies? Do you have a website/artists statement/resume of your work?
A 1. The involvement with the show began around the end of September after Stephanie Leitch called me. She asked what I had planned for October & being able to visualize the work she's familiar with my having done in the same space of Sam Weller's for a Haruki Murakami Book Release event; Stephanie & Shari Zollinger were inviting another go, with new themes & seasons. Not having gone to school, but seeking whatever I'm inclined to learn while navigating the Wasatch Front on foot, bike or bus; I enjoy different approaches which may require patience until an explosive sprint-like maneuver is a' propos. Although possible, writing an artist's statement has thus far not been priority for the intention & purpose seeming quintessentially needed when drawing whatever dominates a certain look or words from my surroundings.
Q 2. How did you gather and assemble materials for your work in the show; what kind of decisions went into that process?
A 2. Since buying professional tools such as pens/paper is relatively inexpensive, the habit of using those is strong & combined with collage elements of any items gleaned throughout the city's curbside piles of trash (that actually represent, to me, an insatiable abundance of products people decide not to creatively realign for use in any way desired). Also, most of the papers used in the piece were gifted by my Mom who works in a school that (again:treasure vs. trash) had no need for it. Said implements were then formed into their new status upon a commandeered Ping-Pong table in the tri-studio space of Cein Watson, James Randle & Patrick Munger of Captain Captain Studios on 825 South 500 West SLC, UT. Those people know how to be who they want & graciously accommodate fellow makers of better/different worlds.
Q 3. How did you decide to use the space of the bookstore and how did that thought process go into creating your work in the show? What did you learn about hidden spaces of the building or 'ghosts' that you brought to light?
A 3. Assembling spawned from the above mentioned occasion of displaying Haruki Murakami inspired drawings, that became site-specific work in May of 2007, gave precedence & knowledge to my imagination then referenced during process of the present piece & subsequent title: Rising Fall Landing. The possibility of open-ended statements & unknowing conclusions together offer, in my opinion, rather interesting ways of engaging people while being expressive. So, when I say the words, conjure intuitively an interpretation of breathe, stairways & autumn resoundingly transpires. However, it's potentially anyway for whomever's doing the guessing and defining. Just as apparent seems the use of space on Main Street in Salt Lake City, Utah. The building itself has known several roles & layers. Time already spent simply reading with a coffee & wandering about the basement of Sam Weller's informed, quite unconsciously, how I personally relate with the space. Then a whirl-winding walk through all corridors sequestered below street level & quite obstacle ridden, revealed by Stephanie, dimensions unknown & probably even other existences that inhabit prior & present partitions of a night club reverie & many decaying wall paper patterns.
Q 4. How do your works interact with those of the other artists in the show?
A 4. Interaction of (what became four people's ideas realized independently) are, I believe, entirely dependent on how someone were to walk into Sam Weller's Bookstore then look beyond shelf's, employees, gimmicky knick-knacks (i.e. book lights or big pens) while logistically following the concourse towards division of empty architecture in the air-Strings & Nails by Jakob Hauge. At this point the option to traverse up stairs in the farthest from door end up positioning a person where they would, viewing East, see the red wall on the North side, being the boundary for stairs ascending to Fiction & the Rare Book Room. This portion of area is surface supporting what evolved into an unbound book/disembodied hand. From North to South or left to right the Posterior Radius/Ulna begins with sequence of next: Carpals & Metacarpals, ending upon Phalanges. Walking along the Mezzanine one will view works by David Rhulman. Both original & reoriented manners of compartmentalized colors & blue chalk board panels seem evocative of free forming ephemeral impressions
as well as that which has a definite enclosure. Descending the stairs brings within reach drawings reconnoitering autumn emblems & present positions of that quality books personify, such as transportive realms. Across the way now is another vantage for strings bearing segments of ceiling. Then facing North below the basement stairs/ above their landing; panels constructed, painted- even lighting up by Edward McKenna. Their synchronicity inkind with the unassuming palette produced by David & myself reveals, i feel, an uncanny point of departure we three hadn't contracted previously, but somehow channeled into it's fated presentation. Lastly some chalk lines were drawn spontaneously upon the falling stairs wall. This portion is erasing rapidly & renewed images will be periodically executed in place.
Q 5. How was response to the show on opening?
A 5. Response to the show felt very appreciative towards all of those at Sam Weller's from Tony to Liz, Shari, Stephanie & several friends attending. The Gallery Stroll evening itself releases many revelers upon our city's sidewalks. Some say hello, good work, where's the wine or nothing at all. However, when not seeking social enclaves the ability to stand amongst wonderful books in a local impassioned community, brought a smile to my experience. Tomatoes from the garden, of a house shared with Steven Larson & Killy, accompanied by the neighbor's tree dispensing black walnuts I roasted and other varieties of snacks Sam Weller's provided gave as good a dinner to Book Worms & Art Squirrels could want.
I look forward to returning home and knowing theirs a great place for maybe more than hanging hats & having pats on the back.
Thank you for your interest
Sincerely,
Subject: Off the Wall questions
Date: Mon, 20 Oct 2008 06:27:16 -0600
Patrick,
I enjoyed seeing your work at Sam Weller's bookstore. Would you mind answering a few
questions about your pieces there? Brian Staker for City Weekly
well, Presently I'm in Brooklyn (at the time of which this was wrote) with friends, most of whom originate in the Salt Lake vicinity, but have found their paths here.Hopefully the vantage of such a removed perspective shall accommodate an open relation toward what was done & how it seems...
Q 1. How did you get to be involved in the show? What background do you bring to the show: what other work have you done & other exhibits/also university studies? Do you have a website/artists statement/resume of your work?
A 1. The involvement with the show began around the end of September after Stephanie Leitch called me. She asked what I had planned for October & being able to visualize the work she's familiar with my having done in the same space of Sam Weller's for a Haruki Murakami Book Release event; Stephanie & Shari Zollinger were inviting another go, with new themes & seasons. Not having gone to school, but seeking whatever I'm inclined to learn while navigating the Wasatch Front on foot, bike or bus; I enjoy different approaches which may require patience until an explosive sprint-like maneuver is a' propos. Although possible, writing an artist's statement has thus far not been priority for the intention & purpose seeming quintessentially needed when drawing whatever dominates a certain look or words from my surroundings.
Q 2. How did you gather and assemble materials for your work in the show; what kind of decisions went into that process?
A 2. Since buying professional tools such as pens/paper is relatively inexpensive, the habit of using those is strong & combined with collage elements of any items gleaned throughout the city's curbside piles of trash (that actually represent, to me, an insatiable abundance of products people decide not to creatively realign for use in any way desired). Also, most of the papers used in the piece were gifted by my Mom who works in a school that (again:treasure vs. trash) had no need for it. Said implements were then formed into their new status upon a commandeered Ping-Pong table in the tri-studio space of Cein Watson, James Randle & Patrick Munger of Captain Captain Studios on 825 South 500 West SLC, UT. Those people know how to be who they want & graciously accommodate fellow makers of better/different worlds.
Q 3. How did you decide to use the space of the bookstore and how did that thought process go into creating your work in the show? What did you learn about hidden spaces of the building or 'ghosts' that you brought to light?
A 3. Assembling spawned from the above mentioned occasion of displaying Haruki Murakami inspired drawings, that became site-specific work in May of 2007, gave precedence & knowledge to my imagination then referenced during process of the present piece & subsequent title: Rising Fall Landing. The possibility of open-ended statements & unknowing conclusions together offer, in my opinion, rather interesting ways of engaging people while being expressive. So, when I say the words, conjure intuitively an interpretation of breathe, stairways & autumn resoundingly transpires. However, it's potentially anyway for whomever's doing the guessing and defining. Just as apparent seems the use of space on Main Street in Salt Lake City, Utah. The building itself has known several roles & layers. Time already spent simply reading with a coffee & wandering about the basement of Sam Weller's informed, quite unconsciously, how I personally relate with the space. Then a whirl-winding walk through all corridors sequestered below street level & quite obstacle ridden, revealed by Stephanie, dimensions unknown & probably even other existences that inhabit prior & present partitions of a night club reverie & many decaying wall paper patterns.
Q 4. How do your works interact with those of the other artists in the show?
A 4. Interaction of (what became four people's ideas realized independently) are, I believe, entirely dependent on how someone were to walk into Sam Weller's Bookstore then look beyond shelf's, employees, gimmicky knick-knacks (i.e. book lights or big pens) while logistically following the concourse towards division of empty architecture in the air-Strings & Nails by Jakob Hauge. At this point the option to traverse up stairs in the farthest from door end up positioning a person where they would, viewing East, see the red wall on the North side, being the boundary for stairs ascending to Fiction & the Rare Book Room. This portion of area is surface supporting what evolved into an unbound book/disembodied hand. From North to South or left to right the Posterior Radius/Ulna begins with sequence of next: Carpals & Metacarpals, ending upon Phalanges. Walking along the Mezzanine one will view works by David Rhulman. Both original & reoriented manners of compartmentalized colors & blue chalk board panels seem evocative of free forming ephemeral impressions
as well as that which has a definite enclosure. Descending the stairs brings within reach drawings reconnoitering autumn emblems & present positions of that quality books personify, such as transportive realms. Across the way now is another vantage for strings bearing segments of ceiling. Then facing North below the basement stairs/ above their landing; panels constructed, painted- even lighting up by Edward McKenna. Their synchronicity inkind with the unassuming palette produced by David & myself reveals, i feel, an uncanny point of departure we three hadn't contracted previously, but somehow channeled into it's fated presentation. Lastly some chalk lines were drawn spontaneously upon the falling stairs wall. This portion is erasing rapidly & renewed images will be periodically executed in place.
Q 5. How was response to the show on opening?
A 5. Response to the show felt very appreciative towards all of those at Sam Weller's from Tony to Liz, Shari, Stephanie & several friends attending. The Gallery Stroll evening itself releases many revelers upon our city's sidewalks. Some say hello, good work, where's the wine or nothing at all. However, when not seeking social enclaves the ability to stand amongst wonderful books in a local impassioned community, brought a smile to my experience. Tomatoes from the garden, of a house shared with Steven Larson & Killy, accompanied by the neighbor's tree dispensing black walnuts I roasted and other varieties of snacks Sam Weller's provided gave as good a dinner to Book Worms & Art Squirrels could want.
I look forward to returning home and knowing theirs a great place for maybe more than hanging hats & having pats on the back.
Thank you for your interest
Sincerely,
Monday, November 3, 2008
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