Tip of the Knife, Issue 9

I was, am, and always will be a surrealist.  Strange juxtapositions, automatic writing/drawing, the power of dreams, zero reason.  These elements don’t make up my work, they make up my life, so it’s only natural that I would use them in my role as editor of Tip Of The Knife.  If a painter came to me for advice, I would tell them to be a writer.  If a dancer came to me, I would tell them to be an architect.

The contributors to TOK 9 have not come here for advice; they’ve come as peacock jewels and butterfly priests, enlightening us with a blazing purple sun.  We offer a circus of pataphysics, from calm zen reality to frightening mental disruption, from comic book dada to religious ecstasy.  Breton, Ernst, Bunuel, Dali:  our forefathers.  There’s no way to explain it, nothing to describe it.  As de Chirico said, 

“What shall I love if not the enigma?”

___________________________________________

CONTRIBUTORS

Adam Braffman
Trevor Pawlak
David Chirot
Bobbi Lurie
John M. Bennett
Paul Pacak
Nico Vassilakis

___________________________________________

Adam Braffman

 TheE

capital_but_stop2 

grease 

harmonic_mappings

raph

Trevor Pawlak

Trevor Pawlak is a 12 year old  nonverbal artist affected with Autism Spectrum Disorder and an overwhelming desire to paint, write and create.  Because he is denied body movement and speech, his tools are not brush and pencil, but soul and love. He focuses on Abstract Impressionist art because that's what his body can manage. His emotions burst out like an atom bomb, and like the bomb, which reaches down to the nuclear level, Trevor reaches down to his own nuclear core and returns with the golden fleece (I love the way he uses that gold in his paintings). Enjoy these works- they're pure, and they make us pure again.

Desire

Happiness 

 My Mind

 The Love of Christ

Never Leave Me

David Chirot

I have and work with a profound faith in the Found.  I work with materials directly on site/sight/cite in the environment or, smaller, carried home, using a lumber crayon for "rubBEings" or clay for impressions spray painted on paper.  Touching paper on one side, materials touching on the other, work is a collaboration, an uncanny enounter out of which emerges a "Third Mind," "I is somebody else," the Other." Visual Poetry is a way of life, a continual revelation amidst the ongoing flux everywhere around one, hidden in plain site/sight/cite,"getting in touch" with materials and artist meeting at the site/sight/cite of the paper, side to/by side.

For Heraclitus--The Most Beautiful World Emerges  in a Dying Copper Mine in Vermont

Prisons, Inc

Death from this Window #1

And the Afternoon Wore/War On

Enigmatic Being:  For the Human Shadows Forever on the Walls of Hiroshima

Bobbi Lurie

John M. Bennett

JMB 10 2011_0038

JMB cardboard 11 2011

JMB cardboard 11 2011_0003

JMB cardboards 11 11_0001

JMB cardboards 11 11_0003

JMB cardboards 11 11_0007

Paul Pacak

reeds and water #1 

reeds and water #2

reeds and water #3

Nico Vassilakis

AN ARMOIRE IN THE
TYPEWRITER’S BREAST POCKET




There is a smooth
distinction here, one that warbles inside the conduit.

Rapport continues
blamelessly in the stutter of dance steps well taken.

The placid deception
of sculpture parks hinders ones right of way.

Conversely, during
shifts, a proposal requires the high terrace of attraction.

An elongated subway of
erasure only cleans one calamity front to back.

Desertion acquires
silent coils that wring out the moisture of the left.

The card read lunar
hemorrhage brings a figurine next to the saltshaker.

__________________________

DRAW BLOOD OR GO HOME

__________________________