Shalo P is a SF based audio-visual artist who recently exhibited a selection of 14 drawings at Ever Gold Gallery coinciding with the recent release of his self-published “LOVE IS SUCH A DANGEROUS GAME”. The zine, containing work created in a two year period chronicles memories, longing and catastrophic situations in post-modern copy/past collage fashion. They're meticulously wild drawings and really deranged ones at that. The zine comes in two limited versions and are available at the Ever Gold as long as supplies last. It's an absolute gem, so make sure you get yourself a copy. It’s probably the best $8 I’ve ever invested. -Alex Braubach
AMB: I’ve known you since our school days at SFAI and had plenty of opportunities to see your work evolve in the past years. It’s really interesting to see how you have developed from "The Tormentors" paintings you exhibited at Meridian Gallery years ago to what your up to with your video-based performances at New Langton and elsewhere. Your current show at the Ever Gold is an exhibit of drawings. It’s like you’ve come full circle with “Love Is Such A Dangerous Game”. Please describe your current work, the drawings, and how they relate to your previous work.
SP: The work is a barrage of symbols and signs. It’s dense stuff that also seems fit to just be “in the moment”, not only as some mutilation of the bizarre nature of things but also embracing the ways of seeing to varying degrees. You know, as drawings, comics strip and other visual forms. My current works are like celebrations to living at the start of a very weird age.
My conceptual framework hurtles into these different directions and they always seem organic and mine. I’m producing floorshows and farewell concerts with the FRIENDSHIP FRIENDS FOREVER (rainbow band), making videos under the TELEVISION FOR GHOSTS / 2084 FLOORSHOW umbrella, and making images that relay the totemic themes behind all the other work. I shuffle around in formats but the big difference is how close they are to me, personally.
Before I moved to SF I was just a writer, and words just made so much sense to me. Then they seemed phony, manipulative and limited in a world with hypertext in it, a world with so much goddamn subtext to what was lurking under in it’s big storm of changes, in its unconscious birthing of memes. Words were meaningless in the face of the connections between them, in the changing face of how books were produced, in the questions concerning the changes in information retrieval itself. This was big to me - the new ways of experiencing “stuff”, from how we communicated these changes to the part that images play with culture and memory. So I went from writing dialogues to making data maps.
Then I got into imagery again, especially the Medusa, the representation of the incomprehensible. That’s what got me into The Tormentors – relationships - the walls between things breaking down. It was car crashes. Have you ever seen one? It's like that Raymond Carver story "Popular Mechanics", it's a raw moment of chance and horrible corrupted beauty. Things change irrevocably. Well, the drawings... They're my landscape of these feelings - the innate vile beauty of car crashes, the taste of sweat, the medusa's gaze, sexual fantasies, self representation, time and memory - that whole gag. What's the personal side of a good sinner?
AMB: Freddy Krueger.
SP: Hey man, are you going put some cool hyperlinks?
AMB: I can try. I don’t know.
SP: It’ll make it all so much clearer.
AMB: Well, maybe just that last paragraph.