50 FAKE BANDS.

So, I reeeeally love band posters. The illustrations and the innovative styles really speak to me. I also love the fact that most of the time, the images on the posters have very little to do with the band. These little gems of propaganda are just indicative of someone's twisted imagination splattered with haphazard care onto a piece of paper. The moment that they endeavor to promote is only for a few days...maybe even one night.  The promo-poster is the only remnant save whatever tokens a fan can save from that sliver of their lives.

On my way back from a lecture in St. Louis,MO; my friend Damian and I were perusing a book I bought (at Starclipper...one of the most awesome comix stores ever!) called GIG POSTERS (www.gigposters.com) and where blown away by the beautiful posters.

So, we decided to create 50 FAKE BANDS that would/did play at 50 FAKE GIGS. This was supposed to be a creative exercise that we could do between projects (yeah right). I loved this idea of the poster being an authority on an authentic event. People immediately believe the rhetoric of the poster because we are programmed to do so. However, like the work of Cindy Sherman, these posters represent a non-event by non-entities and thus, becomes hypperreal. This "event" totally supplants reality for a second..until you realize the event was fake and that the band does not exist.

Above are the first few attempts at capturing a "non-event". 

CELEBRATE PEOPLES' HISTORY!

Check out the posters at:  http://www.justseeds.org/

This is a collective of designers, artists, and activists dedicated to shedding light on areas of American History that is overlooked by the traditional history book.

The images above are a few of my efforts for this very worthy cause.

AKA FUTHAMO!!

This blog will be dedicated to looking at Hip Hop culture and its various elements as a rhetorical construct, image making methodology, and epistemology.

Futhamo is one of my newest identity. Futhamo (or "futhermore") has a habit of seeing images past the picture plane..and as a result..feels compelled to draw what he sees. He can't help it. He knows that there's something else beyond the mediated edges of the screen. Just beneath the surface, there's a new kind of truth; something we ignore on a daily basis.

The idea of the SEE-JAY, of course, comes from the aural remixer of sound and texture called a Disc Jockey. The seejay collects images and visual texts. Then the seejay composes new images with new meanings through juxtaposition, repetition, bricolage, and other methods of visual culture production.

Every one is a seejay. They just don't know it yet.