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They Shot Eddie, But We Still Got Knives

5/29/2015

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Dog tired on a Friday night. Nerves crackling like fuse wire anxious to burn.  Sid cranks the stereo loud enough Paulie starts dripping blood out one ear.  He laughs it off, or seems to, no one can hear the sound over the music.  Tell-tale thrash metal anthem proclaiming the dead have risen to rock 'n' roll, cut fools for trying to keep us down; and who is this us?  Anyone who feels electric run through their veins at the sound of rusty notes chugging a murdering train 180 mph. 

 

Paulie passes a vial of coke into the backseat.  Like I said, dog tired, but I'm doing fine with music and coffee so pass it over to Chris.  He inhales enough for both of us. 

 

Been a long time since I saw either of these guys, and I'm remembering full well why we don't hang out.  Paulie and Chris always bear bad news.  Some people just have that kind of talent. Problem is I think these two enjoy it, especially considering they always make things worse.

 

Right now is probably the best example.  Heading to Mr. G's after work Sid and I see Paulie and Chris already at the bar.  They're standing out front.  Haven't been allowed inside since that attacked Mike Beaver with a box cutter.  Mike maybe had it coming, sure, but fuck-all, two cokehead rhinos against one sarcastic squirrel is some cowardly bullshit you ask me.  Thing is Sid and I know, the second we see them, the two are waiting for us.

 

Before we even say hello Paulie says, "You guys hear about Eddie?"

 

Shake my head, "Nope.  What about him?" -- and hate myself for asking.

 

Chris chimes in, "He got shot by a couple of Russians over by the river south, in the Wasteland."

"Why'd they shoot him?" I ask.

Paulie shrugs, lights a joint, "Some bullshit."

Exactly the none answer I expect.  Knowing Eddie the way I do he probably brought it on himself.  Aware I won't ever get the true story I ask, "He okay?"

"No, he ain't.  He got fucking shot," Chris says.

"I mean is he in the hospital, or dead."

Chris says, "Oh, well, he's in the hospital.  3 bullets in him, but he gonna be aight."

God just can't help saving the losers.  Feeling thirsty, not caring a tick, I start inching towards the bar.  Sid notices the trajectory, follows suit.

Paulie, looking stunned, says, "Where're you goin'?"

"To get a drink," Sid replies.

Paulie rolls his eyes, "I don't believe this.  Dudes, Eddie got shot.  We gotta do something."

Pointing back and forth at Sid and myself I say, "We don't have to do shit."

Chris says, "You owe him.  Eddie saved your ass back in the day.  Remember when he drove you to the hospital?"

"Yeah, after poisoning me with his shitty drugs."

Folding his arms across his chest Paulie says, "Then I'm calling in a favor.  You're coming with us."

"What favor?"

"You banged my sister, and I never killed you."

"I banged your sister?"

And the conversation circled that point for a few more minutes until Sid declared we were never going to get a chance to relax until we helped these two idiots with whatever madness they intended to perpetrate.  So we piled into Sid's car.  Paulie acted as navigator though the Wasteland is easy enough area to find.  

Head east until you hit the river then go south.  When everything looks water damaged and decayed like the whole town got transplanted up from the bottom of the river yesterday you've arrived.  Populated by an assortment of river rats, gators, and meth addict rabbits, the Wasteland is a guaranteed glimpse into humanity's darkest region.  Cruising the main drag a pimp slaps a sixteen year old mother of two into the back of a purple Caddie, while Ukrainian women hurry off a nearby apartment stoop to collect the kids before they too vanish.  Glancing down an alley I see eyes shining in the dark, though that doesn't mean they belong to animals.  On the corner a liquor store is burning down.  Firefighters battle the flames to the expensive booze then rob the place before ditching out, letting it turn to ash.  A junkie sleeps in the gutter two needles stinking out her arm.  

Paulie spies a neon sign advertising Nevskoe Imperial.  He says, "That's the place."

Sid pulls up in front of the joint.  It's the only place untouched by graffiti.  Broken glass litters the street like snow except in front of this place.  The name above the door reads Strelka.  

"Now what?" Sid asks.

Chris laughs, "We give 'em hell."


Reaching into his coat he pulls out four large knives like Tyranosaur teeth.  He hands us each one.  

I feel the need to say, "So we know these guys have guns, and you want us to stab them."

Paulie sneers, "They won't be expecting us, and if we all hit hard and fast, it'll be over before anyone knows what happened."

"Sounds like a plan," Sid says.  I give him a You-Gotta-Be-Kidding me look.  His response is, "Don't be a pussy.  Trust me."

Chris punches Sid in the shoulder, "That's the spirit."

As we get out of the car I whisper to Sid, "Are we seriously doing this?"

"Just follow my lead."

At the front door Sid suggests Paulie and Chris head in first.  The two rhinos think it's a good idea.  They want first blood.  After dusting up, they go in white nosed.  

Sid says, "Let's go." 

He's back in his car before I realize what's up.  I jump in the passenger seat, and Sid peels out before I even close the door.  We speed out of the Wasteland never to hear from Paulie or Chris again.  Hell of a start to the weekend.

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Falling Through the Night

5/23/2015

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I:

Dagger stiletto heels digging deep into the sack offer no sense of giving slack.  The promise of plummeting towards the Sun ironclad impervious to any assault seeking to undo the possibility of it happening.  She hooks a cheek with her thumb -- taste of latex -- and treats the skin like a rubber band slingshot to hurl the head off world leaving the body behind to find it can do worse than go brainless.  She casts sparks by tapping alligator clips against a battery.  No way to know where to send the thank you card.  Never asked her name.  She just showed up one day. 

II:

Climb to the roof

In search of proof.

Switchblade tongue

Sprung. 

Lick-carve a slit.

Chomping at the bit

Fit through it

Into the sky.

Fall or fly?

III: 

In a dry lake stones are still moving, drifting every winter on thin layers of ice lifting sometimes 700 pounds.  The ice comes annually, vanishes quickly; and every year dozens come to watch the sky for signs of aliens who apparently have nothing better to do than travel light years just to nudge stones like intergalactic pranksters.  No wonder they miss how the stones move -- eyes up instead of down. 

IV: 

Shuttle woven silk brocade

Made to adorn

Flies

Before the start of their lives.

Colored silk patterned

Ahead of births

With hope merely suggesting

Yet seemingly

A predestination

Staining the lens

So only one view comes clear

Except on starry nights

When a glimpse of infinity

Implies possibilities

Beyond the tapestry.

V: 

He sat at the bar.  Served up the usual seven times he asked for an empty shot glass.  Chewed his thumb until it bled.  Leaking ink he fetched a fountain pen from a pocket he forgot his pants had.  Filling the scribe's best friend, he set to tattooing blank sheets with reality's aspects the likes of which few ever knew.  How the sun is really green; the motion of planets outside Newtonian logic; microscopic galaxies drifting between their oversized cousins; the means to draw all the clouds from a gas giant.  The paper completed he did like every weekend, soaked the pages in liquor, and set them on fire.  No sense in sharing what no one's ready for, despite how it might prepare them for more -- an appetizer discarded.   

VI: 

Falling Through the Night



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Heard You Been Looking for Me

5/15/2015

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Things have been a bit crazy for me this week, but somehow that all resulted in this.  I made some music and put it together with a video featuring art work entitled Ghost in the Room and Fire Child.  Enjoy!
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Coded to Be Anything but Blank

5/9/2015

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Picture
Harlequin skinned testifying of puppet wires mirrored in blood ties.

Broken bones pinned rectifying failure too long neared.  Whispered dyes

Paint a veil that opined sanctifying sins feared, blessing all wise

With a reasoned pacifying belief it's not at all weird to prize

The sense of fate derived from the course paved genetically.

Nearly too late, the fact arrived no longer a sinner eternally;

The clean slate never survived a conclusion so revelatory;

That a lack in one's stash isn't finishing

Demanding embrace the ever-black -- ash snowing from fuse wire diminishing.

The infinite caused to contract in a flash more a refinishing

Of the human abstract, narrowed to a cache of distinguishing

Features, capabilities, and all around possibilities.

You can be whatever you want, within varying probabilities,

Though are already disposed to variant degrees of disabilities.

A fact once recognized, everything thereafter is hostilities or propensities --

Inclination toward, or opposition to

The basic elements of you.

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Inspired to Organize Chaos -- the works of Piet Mondrian -- An Artistic Challenge

5/2/2015

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Finding inspiration is a tricky thing.  Mainly that's due to the fact one wants a concept to imply a trajectory rather than dictate a course.  For instance, there are a great many ways to get from Chicago to Los Angeles.  A person might fly, drive through the Rocky Mountains, or even head East rather than West, going all the way around the world if so inclined.  In other words, the destination is not the most important aspect of a journey; just because one is inspired to go somewhere doesn't mean they need to follow the same route as their inspiration.  What I'm getting at is that artistic inspiration is often a balancing act of mimicry and personal style.  Case in point, I've been looking at the works of artist Piet Mondrian (1872 - 1944).  A Dutch painter, Mondrian belonged to the De Stijl art movement, helping to evolve a non-representational form he called neoplasticism.  At first glance Mondrian's work appears to be little more than grid patterns laid over a white background.  However, when looking at his pieces, Broadway Boogie-Woogie, and the unfinished Victory Boogie Woogie, it's easier to perceive the abstract geometry at play.  

Simplicity in art is often decried, believed not to be subtlety but rather lack of skill.  The same is sometimes said of abstraction.  This calls to mind the classic rebuff that "anyone could do that" which arises almost instantly.  Yet, though there may on occasion be truth to such insinuations, they don't apply to Mondrian.  In order to understand why one must first consider the dynamics of the De Stijl movement to which Mondrian belonged and influenced.  

The movement centered on what it deemed ultimate simplicity and abstraction, relying solely on horizontal and vertical lines producing rectangular forms.  Their formalized vocabulary consisted of only 6 colors:  red, yellow, blue, black, white, and grey.  Considering these rules, they become more challenge than simplification as one is charged with the task of producing an image that will strike a chord in the viewer using only these elements.  The artist is almost dared to make a statement armed with next to nothing.  In addition, De Stijl discouraged symmetry preferring instead an aesthetic balance through opposition.  

For my own part, I look at Mondrian's work and see mosaics implicative of the organized chaos we call existence.  Granted, the beauty of abstract art is the ability to allow the painting to be whatever the viewer sees, a kind of Rorschach test; however, quality abstract art, in my opinion, always has a purpose.  It isn't a blank stimulant meant to induce just any cognition.  The choice of colors, the nature of shapes, the size of a piece itself, all serve to conduct one's thoughts.  Though that said, the work remains open to interpretation which, in the end, is its greatest strength.  We could go on for hours about the influence of De Stijl's inclination toward neoplatonic philosophy, and the idea of the One, a term for an ineffable, absolutely simple, unknowable creative source that is the "teleological end of all existing things."  But that isn't the point of this article.

As I said, I look at Mondrian's work and see chaos ordered; the universe reduced to simplistic representations.  From this starting point, I set to work on a set of art pieces intended to play with that notion as well as borrowing stylistic elements from Mondrian and the De Stijl movement.  Like I wrote earlier, artistic inspiration is a balancing act.  So below I offer my mimicry balanced against my personal style. 

For more on Piet Mondrian visit Artsy's Piet Mondrian Page.



(The following three pieces are, in this order, Chapel, The City at Dawn, and The Market Place of Ideas.  To access larger versions go to the Visions section.)


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    Author

    J. Rohr enjoys making orphans feel at home in ovens and fashioning historical re-enactments out of dead pets collected from neighbors’ backyards.

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