Music:
Member Since: 2/15/2008
Band Website: soulorsystem.tv
Band Members: Soul or System is Chris Harbach (beats and rythms), Vince Wong (circuit bending), Ricky Rasura (harp), and Michael Allen (visuals/samples).
Influences: The story of Nolan Void is called 'and our earth will outshine the sun'.
Nolan Void is an artist, an inventor, an innovator - on a quest to make the world a better place. He's a painter, a sculptor, a philosopher - responsible for developing a new thought process that is going to change the course of the entire HUMAN RACE.
Nolan Void controls all of reality - USING ONLY HIS THOUGHTS.
He created a machine that makes the IMAGINATION VISIBLE.
He understands things that nobody's understood before...
But his mind's a mess...
He takes TOO MANY DRUGS...
He's used illicit substances for years - and they have taken their toll...
He's eccentric.
He's a madman.
He's Nolan Void.
He changes reality using his thoughts. He understands that everything we see and experience comes from within, and he lives his life accordingly...
We human beings need to change the way we ARE - we need to change the way we THINK - we need to change the way we EXIST, and Nolan already has.
He knows - WE CREATE OUR UNIVERSE...
He knows - we devise the very FABRIC of everything we know of as REALITY, using our minds...
"There's nothing without mind - mind makes it all", according to Nolan Void.
Everything real comes from the thoughts we think...
There's no TRUE reality.
ALL EXPERIENCES, GOOD OR BAD - ARE CAUSED BY THE PERSON HAVING THE EXPERIENCE. LIFE IS NOT JUST A CHAIN OF COINCIDENCE - IT'S MORE LIKE A MENTAL CONSTRUCT.Following is an excerpt from the book 'our earth will outshine the sun', by Michael Allen:
Sounds Like: THE PAINTINGS, AND FINE ART DISPLAYED ON THIS SITE WERE PAINTED BY THE RECENTLY DECEASED L.A. ARTIST JUNE YUER (1918-2007).
THE FOLLOWING IS REPRINTED FROM THE PROGRAM FOR HER 2003 EXHIBIT 'THE DEFIANT WAIT', ORGANIZED BY THE OTIS COLLEGE OF ART AND DESIGN:---THE WORK OF JUNE YUER---
IN JULY OF 2003, JUNE YUER WILL TURN 85 YEARS OLD. THE DEFIANT WAIT IS HER FIRST SOLO GALLERY EXHIBITION.
The first time I met Yuer, she told me a story about a figure modeling class that she had taken at Otis College of Art and Design in the early 1960's. While the naked male model stood in the center of the class, the students diligently pounded and prodded their clay in an effort to create a likeness of the young man. For her part, Yuer worked quietly on her sculpture. The other students whispered among themselves, staring at her piece. As Yuer tells it, she hadn't really been thinking - just sculpting. Her sculpture, however, didn't look like the model. She had instead sculpted a voluptuous woman. When the students and teacher questioned her about the piece, she responded, "That was just what came out."
This vignette seems an apt metaphor for Yuer's larger artistic life - a life in which she has quietly, yet defiantly, worked in her Echo Park home for more than fifty years.
In the early 1950's, at the urging of her Jungian psychoanalyst, Yuer began to draw. Initially resistant to his suggestion, Yuer moved quickly from drawing into oil painting and sculpture. When asked about her psychoanalytic session, Yuer explained:
"It was something you did then. Like eating something good for you. I wasn't desperate. I didn't have a problem... but it was a time when there was an opening up of things we hadn't looked into before. And in that [time], I found him [Carl Jung].
After undertaking extensive study of Jungian thought, Yuer attempted to incorporate Jung's theory of dreams into her artistic practice. Jung had noted that dreams were the key to the unconscious psyche and that a problem insoluble in the conscious mind could be resolved in the unconscious.
Many of Yuer's works employ Jung's methodology for translating the unconscious (what Yuer calls the "inner space") into a more tangible form. In doing this, Yuer is less invested in the finished product than she is in the process itself.
"You see, doing my art isn't done to even see [the works]. They come out of my dreams, I don't mean just in the night dreams. I mean things that are going on with me. Worrying me. They stay with me so I have to get them out... [They] come from my unconscious and the depth of my being."
According to Yuer, this introspective artistic practice ultimately took its toll on her.
In 1955, Yuer felt that she was too emotionally drained to continue working. She speaks of her works from that time as if the act of creating them had purged her of something unbearable - something that she could not bring herself to revisit.
During this same difficult period, Yuer's husband, who had studied art, decided that he would teach her how to paint.
According to Yuer, "He thought I had talent and he thought he could help me... His teaching was stuff they taught in magazines, you know. He wasn't able to express anything. All the paintings and drawings of his were not very good. Not very interesting... I felt sorry for him, because the minute I came in, He was gone. I mean by that, people paid attention to my work and not his... [but] I finally realized what was happening to me. [His teaching] was absolutely killing me."
Yuer always struggled with the idea of being taught art, whether by her husband or in an art class.
"No one could ever stop me from being myself. My teachers tried. I couldn't stay and do something I was told to do by a teacher... It has to be that something that is going on inside of you tells you to do something. Oh, it doesn't tell you to do anything, you just do it... I never did what people told me to. I could never pick up anyone else's idea of what I should do and live and act in this life. I admired what they [did], but it wasn't me... That's why school wouldn't work for me, because it seems to me school is in here (pointing to her chest)."
In the early 1960's, Yuer began studying Tai Chi with a Chinese master, Kuo Lau Shir. He was a potent figure in her life, a strict teacher, who expected his students to follow his commands precisely. Although she was initially taken with Lau Shir, Yuer's disillusionment with her teacher is clearly reflected in her paintings of that time. "Que Lin Yang (Tai Chi Master) Is he leading me to the light or preventing me from finding it?" was the title of one of her paintings, among a group of paintings from the late 1960's - completed before she took a ten-year hiatus from art. Throughout the 1970's, Yuer devoted herself to Tai Chi, teaching out of her home, which left her neither the energy nor the time to make art.
After years of absorbing and teaching Tai Chi, Yuer came to see that for her, this practice was not about following rules, but was rather about a "mind-body connection."
"I got to the point where, when I did my Tai Chi, I did it my own way. When your arms go a certain way it isn't [your] arms that are going a certain way, it is something [you are] feeling in [your] hand that is freeing it up to move. You are feeling the hand. You are thinking only of what goes on in you as a result. You see... the longer you become united with the total movement, it becomes very, very powerful. You see, though, you are supposed to do it perfectly, right? So they say. But it takes me to some very strong places, but I am not obeying the rules, [I am] just doing something that is happening to [me]."
A parallel can be seen between Yuer's Tai Chi practice and the way she thinks about her art. In both pursuits, Yuer believes that she is led by an inner voice.
Yuer's insistence on this "semi-conscious" way of working follows a particular modernist paradigm which claims that the "true" inner psyche of the artist can be found beneath the surface of work. In his essay "The Death of the Author", Roland Barthes explains this model of authorship as one in which "the explanation of the work is always sought in the man or woman who produced it... the voice of a single person confiding in us." But it is another model - one in which the text or work is activated in the moment the viewer encounters it -that needs to be employed when looking at Yuer's work. In this model, it is not the author but rather the viewer who generates a text's meaning. Barthes privileges this more contingent and fluid form of authorship, insisting that a text is more than just an index of its author.
Although Yuer acknowledges that her work is not solely a personal language, she remains unconvinced that it can be fully read by the viewer. However, no work can exist solely in the personal realm. When looking at Yuer's art, the viewer is confronted with more than just the artist's intentions. As much as Yuer believes that her art is simply a mirror of her life, it is also very much a reflection of the social and artistic conditions in which it was produced."When I see something that I have done... long ago, I think, Jesus Christ, what I've been through, I can't believe it. I went through all this. It was all real. The pain, the not pain, the opposite of pain. The whole thing is real. And I guess maybe that is why I never tried to get my stuff out... You don't want to put it out there. It is something that has really happened to me... I don't care if you like it. It was important to me. I did it. It came from me and I couldn't stop it."
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Record Label: unsigned
Type of Label: None
