Friday, April 30, 2010



Opening May 6th 2010 6-9PM
Closing May 27th 2010 6-9PM

Featuring new works by:

Erik Wilson
Chris Ritson
Shalo P.
Shemoel Recalde
Josh Roberts

Shalo P.

Shalo P. is a San Francisco audio/visual artist interested in emotions and ways of describing feelings. His projects, spanning out into various media, including installation, live performance, drawings and video, seek to intermingle explosive form with dazzling light shows charged in the desperate energy of longing, desire and hope. When asked what he does in particular he usually says he's just "surveying the digital apocalypse and embellishing it with rainbows".

With WINDOUUS, Shalo will be unveiling AWESOME STUFF 2 during the third week - a special screening of vibrant eponymous material and performing a special suite of music at the show's closing (along with his musically inclined companions featured in the show) as FRIENDSHIP FRIENDS FOREVER (rainbow band), a musical project that defies simple description.

video link:

Erik Wilson

Erik Wilson is a Bay Area Artist working in video, animation, and sound. His work explores early motion graphics and the synthetic re-creation of naturally occurring systems. He has recently gone back in time with consumer grade technology in order to create new interfaces for experiencing video environments.

Shemoel Recalde and Joshua Roberts

Shemoel Recalde is a multi-media artist based in San Francisco, specializing in creating live rainbow interactive dream experiences, in sound and video. Joshua Roberts is a San Francisco based artist working in sound composition and sculpture. Through using found pieces of wood and rocks from the earth, Shemoel and Joshua create a harsh, yet delicate relationship between electronics and natural elements through interactive sound and video. The duo also performs together quite often, as the 2-piece electronic band Shimomitsu, which integrates audio and video with physical computing to create live interactive experiences. Their newest piece, Stone in the Sword, will be a gentle, tactile experience in the hands of a highly visceral, psychedelic tsunami.

Chris Ritson

---Mimesis (a critical/philosophical term pertaining to the ideas of mimicry, representation, copies, the act of expression and the presentation of the self)

Historical usage (traditionally) starts with Plato's distinction of mimesis as a mimicry of nature in the arts (mimicry in the sense of showing, rather than telling (see diegeisis). Conceptions of mimesis run through the cannon of western philosophy and become particularly relevant with the advent of reproducible mediums (from classical painting, print and photo - see Walter Benjamin's The Work of Art in the Age of Mechanical Reproduction)

Mimesis is more relevant than ever when we look at the relationship of art to digital mediums, where the possibility for infinite reproductions (with no loss of quality) is possible for the first time in history. Post-colonial/feminist theorists have claimed the term in relation to "strategic essentialism", which refers to a strategy that nationalities, ethnic groups or minority groups can use to present themselves against oppression.

Most relevant is the relationship of mimesis to our conceptions of the self in terms of "the act of expression and the presentation of the self." In sociological terms, this translates to impression management: the process through which people try to control the impressions other people form of them. It is a goal-directed conscious or unconscious attempt to influence the perceptions of other people about a person, object or event by regulating and controlling information in social interaction. Thus we have the dynamics of social networking sites on the internet, emails and the whole cloud of digital auras we shroud ourselves in everyday.

This is a dynamic that humanity has constructed to reproduce an idea of NATURE in a way that seems more real. One example constantly reused to express mimesis is the architecture of the Parthenon. The columns are not built straight, but instead, built in a way that makes them appear optically straight - a standard perceived as truer than its reality.

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