Wyrd Daze Five : ReVerse Butcher

Wyrd Daze Five is live!
Best experienced with the PDF zine
which you can access here.

ReVerse Butcher

Pair of Portraits (1/2) – Self Portrait (2017)
Ink, acrylic, gold leaf. 
Pair of Portraits (2/2) – Kylie Supski (2017)
Ink, acrylic, gold leaf. 

ReVerse Butcher is a multi-disciplinary artist with focuses in making unique artist’s books, collages, visual art, writing & performance. She will use any medium necessary to engage and subvert reality until it is less dull and oppressive. When she grows up she wants to be a well-read recluse. She currently lives in Melbourne, Australia.

ReVerse Butcher performing at COLLAGE live event 27/01/2019
photography by Kylie Supski 
ReVerse Butcher performing at COLLAGE live event 27/01/2019
photography by Kylie Supski 

“Here is a timelapse (2019) of ‘Songdom of God’. Used as live projections for COLLAGE (our live multimedia collage group). Made from cut up parts of the bible:”

“The Revenge” (appears in “Somewhere Dismembering”, Artists Book 2012.
Analogue collage, cut-up & erasure poetry)

When did poetry first find you and what was your reaction?

Poetry found me in my teens. It found me via music, theatre, and public libraries.
I had an early love for it.

Collaborative collage between ReVerse Butcher & Kylie Supski (2018)
“Black (W)hole Swallow”. Digital Collage, illustration, photography, calligram. 
   

When did you first begin expressing yourself with poetry
and how did it affect your life?

I started writing in my teens, which lead to attending local poetry readings. The way it most affected my life was finding a network of new things to read, listen to, go seek out.
It also put me in a strange position where the majority of my social group were, at minimum, 10 years older than me. I had clocked poetry as an excellent medium for disruption, because it was, at that time, largely unmediated. It seemed like the closest thing I could find to one of Hakim Bey’s “Temporary Autonomous Zones”. Nobody was watching, which meant anything could happen. So it also affected my early life in that it gave me a great playground to start experimenting & creating weird art.

I read in a previous interview that you used to sneak into open mic poetry nights at bars before you were of legal age. Can you tell us about some of your experiences around that time?

I started going to poetry readings when I was 17, so just before my 18th birthday. Some of them were in bars in afternoon sessions, a few in cafes later at night. I lived in a slightly isolated place at that time – so getting to and from some of these events was harder than gaining access! I wasn’t interested at all in drinking, so – as long as I didn’t approach the bar, or drink anything, I didn’t run into any trouble, and didn’t cause anyone any trouble.
I just wanted to listen, and perform.

“Here is the bandcamp for my spoken word/noise project,
called 
“Slow Process” (2014)”

“Our Lady of the Visionary Way” (2018)
 Analogue Collage, illustration, ink, acrylic, gold leaf.

Then you embarked upon your first international tour when you were 25 –
what was that like?

I wrote extensive journals during that period of my life. I have since burned the journals.
It was a thrilling & very isolating period of time. I learned a lot about misogyny first hand. But, as to specifics… what happens on the road, stays on the road. 

You work in a variety of mediums and enjoy collaboration:
what is it that drives you toward experimentation in this way?


Language is magical, it builds every aspect of our identities, world(s), control systems, relationships, power(s), as well as all the ways that we qualify and quantify how we know anything. Writing is slippery, it’s not native or static to any one form(at). My goal in my creative life is to break language. I want to see what happens to power, and consciousness, and the status quo when we shatter language.  What would different methodologies for building literally everything look like? What could we achieve, or feel, or learn, or share if we had access to something like that? This is why I will use any medium necessary to subvert reality until it is less dull and oppressive.

If you could collaborate with any person, living or dead, who would it be, why, and what would you do?

Your heroes will disappoint you every time. It’s a rule in life. Don’t have heroes, follow the lines of inquiry. But I’m collaborating with some pretty dreamboat people right about now! My partner in art and life Kylie Supski is my #1 favourite collaborator (so aren’t I lucky?). I’ve also got a pretty great line-up of regular collaborators at the moment, including Josh Pollock, Chris Wenn, COLLAGE (a multimedia group in Melbourne feat. Roger Alsop, Yoram Symons, Sophie Rose & others). I’m working on a collaborative accordion style artist’s book with James Knight at the moment called Discordion. Basically, if we are both on a similar line of inquiry (or ones that intersect in an interesting way), you are quite possibly that person. Get in touch.

“Bacterial Girl”, 2018. Digital Collage.

How would you describe your art?

A multi-modal, highly-focused, very-meticulous, total mess.

How would you describe your process?

An attempt to silence a barrel full of bees, 
drunk, with a hammer, under water

How would you describe yourself? 

What,today? Or yesterday? Future-ReV? Alternate reality ReV? ReV as she is to me?
To Her? Or to you? Different every time.

Would you say you are more structured or free-form in your creative process?

I create complex structure(s) to provide adequate containers for free-formed work.

Do you like your creative space cluttered or tidy? Do you work with quiet or music?

I like it organised. I don’t know if my definition matches either ‘cluttered’ or ‘tidy’.
It depends on the project, or what I need to make it. My computer files are meticulous, but I superglued my fingers to a desk last week, and I currently can’t get paint out of my purple wig. Make sense? Music always.

How would you describe your relationship with words, with language?

Symbiotic.

How would you describe your relationship with sound, with music?

Nebulous. What even qualifies as music? Is it a language too? Can I disrupt it? Can I paint it? Does it want me to? Yes.

How would you describe your relationship with image, with art?

Bold. Exciting. A brave & irreverent new voice raging against a culture of vapid mass-production. Multi-layered.

Is there a spiritual or mystical yearning in your work?

Yes

“The Whole Cut Up Woman”, 2018. Digital Collage.
Collaborative album “Osmosis” (2019)
Graphic score by ReVerse Butcher
Music interpreted, played and recorded by Josh Pollock.
(Listen)

To what extent does a sense of place affect your creativity?

I’ve learned that my best art is done in a place where I feel safe. That being said, I don’t really leave my house unless there is a very compelling reason.

Collaborative album “The Garbage Fire vs. The Fainting Couch” (2017)
 Graphic score by ReVerse Butcher. Music interpreted, played and recorded by Josh Pollock.
(It doesn’t have a ‘right way up’ – it can intentionally
be played/interpreted from any angle/direction)
(Listen)

Is there any specific connection or thread that runs between your works?

Disruption. Experimentation. A sense of playfulness. A sense of rebellion.
An invitation to join in or start your own.
I hope, a sense of joy. If not a sense of joy,
at least a touch of tough love.

Front Cover of “Wild Tongue Vol 2.” (2018)
Hand-painted artists book,
text a collage of lines from content from the zine.
Available from (Wild Tongue Zine)
 

How would you describe the art scene and culture in Melbourne to someone who has never been there?

Please don’t make me.
I have to live here right now.

I understand you’re working on a multimedia project called
“The Illuminated Manuscripts?”


Yes. It’s a giant spatial poem. Think an illuminated manuscript gone feral in Virtual Reality backed by a badass rock band. Think burning books that never ash. Think living bookworlds that are 40 feet above you, and 40 feet below you and you’re floating in space. Think a writhing glitterpoem the size of a football field. Live and recorded poets doing original works, breaking language, re-contextualising meaning, unwriting books, and remixing & collaging texts.

I’m starting to livestream the creative process of making all this on Twitch from
March 2019 (https://www.twitch.tv/reversebutcher).
Tune in if you’re into it.

“The 5th C” is a videopoem published 28th January at Burning House Press

 A timelapse of ‘A Visionary Outraged’ (2018), an erasure/collage poem

“Here is a v-log of me talking about altered books
(my own and that of Christine Strelan, Nimbin-based artist) in 2014.”

“Here is a track that I did guest vocals with band
“Third Sky”, called “Meow Inhibitor” (2011)”

Video of live performance from the 
“On The Rod, An Artists Book” launch in Nov 2018

pp. 20-21 from “On The Rod, An Artists Book” (2018)
Portrait of Circus the Interdimensional Prince(ss). 
pp. 116-117 from “On The Rod, An Artists Book” (2018)
Analogue collage, erasure & cut-up poem, ink, coloured pencil, acrylic, glue.
 
pp. 174-175 from “On The Rod, An Artists Book” (2018)
Portrait of Australian feminist poet, Liz Hall-Downs.

Illustration, ink, paper, glue, acrylic.   
pp. 206-207 from “On The Rod, An Artists Book” (2018)
Portrait of Kerry Loughrey. Ink, paper, glue, acrylic. 
 

What else are you working on in the moment?

1. An experimental multimedia production of John Cage’s “Lecture on Nothing“. 

2. COLLAGE happens LAST SUNDAY of the month at The Burrow in
Melbourne, until at least March.

3. An ongoing performance poetry/experimental music project with Chris Wenn.

4. ‘Pinhole Theory’, a collaborative collage chapbook with Kylie Supski.

5. ‘Mad Boy’ is my next solo long-form collage book, which scissors up
Gustav Flaubert’s  ‘Madame Bovary’
& Louise Colet’s ‘Lui: View of Him’.
Poets have been talking shit about each other since time began, but these two stand in for a very formidable oppressive patriarchal dynamic I’d like to attend to.

6. I’m working on live-streaming more of both the making and the performance of my analogue and digital art adventures so that I can engage with a diverse & international range of creative communities.

You’ll be able to see & support developments on ALL of these projects online.

Come check me out here: (https://www.twitch.tv/reversebutcher)

or come find me on twitter www.twitter.com/x_rVb_x

ReVerseButcher.com

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Wyrd Daze : Four

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Wyrd Daze : Four

Featuring:

Temple ov Saturn

an audio visual project by

Joan Pope

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Wyrd Daze : Four 

includes two unreleased tracks 
 + a live recording from

Temple ov Saturn

1: La Mer
2: Venus Cathedral
3: Stellar Collision (live)

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Also featuring:

Buddleia on the Threshold

an essay about urban magic by Fortean journalist, ‘cunning man’
and former professional combat magician 

Ian ‘Cat’ Vincent

A horror short story

Melanie’s Choice

 Leigh Wright

and a triptych audio collage

 Samhain Séance Seven:
A Very Dark Place

The Ephemeral Man

Click here to access
Wyrd Daze : Four

 

 

Wyrd Daze : Two

WD Two Cover art

Click here to access
Wyrd Daze : Two

 

Featuring the marvellous art & conversation of Zeke Clough

ANDREW LILES MONSTER

An interview with ANTLER OVERLORD and author RJ Barker

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Lightning and the Onu ~ a Zenith’s Edge short story.
With an introduction by the author, Leigh Wright

Zenith's Edge

 

Click here to access
Wyrd Daze : Two

 

Bacchus Beltane 5 The Owl Service

Featuring music from the album Penny Slinger: Out of the Shadows by Psychological Strategy Board available now from Front & Follow

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Also featuring music from the album עשר by John 3:16available from Alrealon Musique.

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Music Has the Right to Teletubbies

Music has the right to Teletubbies

Music Has the Right to Children by Boards of Canada released 20th April 1998
Teletubbies episode 1: Ned’s Bicycle 31 March 1997
+ episode 217: Colours – Orange 6 October 1998

Wyrd Daze One

Wyrd Daze One cover art

Greetings Wyrdians, and welcome to a new era of Wyrd Daze!

Click the link below for free access to this issue. (a PDF and an mp3)

 

WYRD DAZE ONE

 

The cover art for this issue was provided by The Implicit Order – there are more haunting images like the one below to be found inside…

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Hookland Guide cover

The Phoenix Guide to Strange England: Hookland by David Southwell returns, and there’s also a Hookland wordsearch, a “Where’s C. L. Nolan” game, and some classic quotes and writing extracts from C. L. Nolan as well.

 

Revenant Winds

I am delighted to present an interview with Aurealis Award-winning fantasy and sci-fi author Mitchell Hogan. His Sorcery Ascendant Sequence is one of my favourite fantasy series, and he took the time to answer my questions in depth. There are some great lesser-known reading recommendations too!

 

Zenith's Edge

An introduction to the Zenith’s Edge multiverse can be found in this issue, including three lost tales that have been cut from the first novel…

 

23a

23 is an special mix by The Ephemeral Man for Wyrd Daze. Harnessing the mighty power of ordered chaos, the number 23 was integral to the mix. Whereas usually all audio clips and tracks are meticulously placed to ensure their optimum position, this mix was enigmatically optimised by placing each track using the number 23. For example: the second track comes in at 2:23 of the first (and the second track, by Coil, is 23:03 minutes long), and the third track come in at 6:23 mark of the second track.

The result is a mix that is as well crafted as any The Ephemeral Man has done, much to his amazement. Hail Eris!

Also worthy of note is spiralling synchronicity with The Justified Ancients of Mu Mu – I use an extract from a recording of A La Fu Live at Burn the Shard 23-11-17 in this mix. There is much to be discovered for those who want to explore the connections. Fnord!

You can download an mp3 of the mix from within Wyrd Daze One or stream below.

WYRD DAZE ONE

Wyrd Daze is free!

If you enjoy what you experience here and would like to become a patron of the arts, please consider supporting Wyrd Daze for as little as $1 per month at the

Wyrd Daze Patreon.

Wyrd Daze believes that artists should be paid for their published works.
We would like to create a community of support and enthusiasm for independent artists. The more people support, the more art can be made and appreciated.

Art makes us think more deeply, strive more intently, and feel joy more profoundly. Creativity in all it’s forms brings further meaning to our lives, allows us to explore existence and communicate our explorations to the world.

 

Thank you for your time – I hope you enjoy Wyrd Daze: One, and I wish you the wyrdest of dreams…

 

ZENITH’S EDGE : an auditory experience

An addition to the Wyrd Daze: One – a music mix / audio drama / audio collage hybrid based on the Zenith’s Edge multiverse. Crafted by The Ephemeral Man.

You can download a copy with the rest of Wyrd Daze: One or stream below…