“I’m a Fucking Artist, Guys.” 12/14/12. Pen. 2×3″.
I was sitting in someone’s coin-out [rehab graduation ceremony] and feeling a little upset over a girl [shockingly out of character, I know] and trying to do something productive. I had zero ideas though. I mean, once you’ve made ten or eleven pieces, what is there really left to do as an artist? “What do other assholes draw?” I thought.
Campbell’s soup cans! Because it’s like… really clever, right?? Really, I just figured it was one of the few things I stood a chance at drawing somewhat recognizably.
When I was done, I wasn’t upset anymore – which means that this cartoon has basically the same story as HALF OF THE OTHER stuff I’ve made.
Which is cool…
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Just recently, I realized that I stole this caption from Dear Landlord. Right before Dream Homes came out, Zack posted something online about the tracklisting being changed. The song “Bong Hits” was instead going to be titled “Rosa” because – as he put it – “We’re fucking artists, you guys.”
It’s Tuesday – my one day of routine. I got home from my session and my meeting and found a package waiting for me.
Rumspringer’s “Staying Afloat” LP and split 7-inch with Sister Kisser. Low Culture’s “Screens” cassette.
I’m pretty sure that the colored vinyl has been sold out for a good while now, which would mean that Chris (of Dirt Cult Records) sent me one of the copies he had set aside – unprompted… because he’s a sweet, wonderful human being and probably figured that it’d make me smile.
Also, I know this is silly but (even though I’m sure it has nothing to do with me) it makes me happy that Rumspringer still use my handwriting on their records, inserts, and other stuff.
Low Culture is the new(ish) band from Chris and Joe of Shang-a-Lang. “Screens” is their debut full-length (CD/LP on Dirtnap; cassette on Dead Broke) and it was produced by Mark Ryan of The Marked Men, which is a really excellent pairing for them.
Here’s a stream of the Sister Kisser / Rumspringer split as well.
And here’s the only other piece to slip through the cracks early on (like “Dear Diary.”) It’s the fourth painting in “The Weak End” series and the text says, “WHAT YOU DO IS.”
“Valuable Feedback.” 2/16/13. Acrylics, resin sand, and fabric dye on cardboard. 16½x18”.
When I threw this online before, I just noted the title and the text in relation to lyrics from “48 Doublestack” by Rivethead (We’ve rejected what you’ve got to show for the trade-off: a life spent just waiting for orders and taking the shit from the parents, the bullies, and bosses. The fault’s no one’s but your own ’cause you couldn’t stand up and say no). Which makes me feel a little… um… redundant, in light of “Stand Up and Say No,” “Mowgli,” “Whatevermind,” and (probably) a few others that escape me at the moment.
Anyway, this was an expressive process. I played with colors and shapes, then looked to them to lead me forward. I saw this slug-type character, reclined, which brought to mind someone who (so far as I could tell) did little but recline. And criticize. And had been offering a lot of advice lately. Which has always struck me as funny: the way that thoroughly unhappy people tend to give advice.
I won’t say whom I had in mind when I made this. Only because I think the negativity that’d come with the disclosure outweighs the value of the honesty and release that I’d get from it. And I don’t want to hurt anyone’s feelings. This is, after all, a mean painting. And I was feeling mean when I made it. Because my feelings were hurt.
That’s the way it goes. Someone’s hurt. They respond with anger, to hurt the other person. Who then responds in the exact same way. It’s a sad, ridiculous cycle.
I can honestly say that I could make the disclosure (without ill will) at this point, but I can’t control whether this person would recognize that. And I’d rather not fan a flame / keep the cycle going.
“Success rates” for slit wrists and knives to the heart are surprisingly low. I didn’t want to go to a hospital…
Forty-eight hours before “No Accident” and the moment when I started to finally “get better,” I was in my room – researching suicide methods that didn’t require anything that couldn’t be found in my apartment at Tranquil Shores. I was going to kill myself because a girl was mad at me. A girl that I wasn’t even sure that I liked.
Earlier that afternoon, we did an exercise in group. We had to pull a couple items out of a basket and relate to them. I declined to say anything aloud, but when it was time for art therapy group, I started writing.
The fortune was absurd, the paper it was printed on was dirty and crumpled. Together, they were useless. This pencil is not useless. It has incredible potential. It is an instrument of a higher purpose. In the right hands. It is comforting. I like holding it in my hand. With paper, it can save me from almost anything. And it is forgiving. It has an eraser. If I make a mistake, it allows for correction. Or at least undoing. The mistakes I make with it are rarely entirely forgotten. I don’t know how to apply this to my life. Is it by chance that the trauma I addressed [in group] this morning, that I was supposed to see is not happening anymore (but which I claimed could and would (and sort of was) still taking place) – is it by chance that just hours later it pretty much is [happening again]? Or did I choose that memory because it had already begun? Yes, that’s it. It’s just more clear now. Because I realize I’m no longer willing to be honest which means I can’t get better. I can’t be helped. So there’s no reason for me to be here. Except that to hope that things will change once more. I no longer believe that I’m a drug addict. Sort of. I know I can’t use drugs (or that it’s not worth the risk in any case). But I’m not going to pick up. Fuck that. I’m over it. It’s not appealing anymore. But I’m miserable. Like I realized on my first weekend here, people are unhappy for countless reasons other than drugs. Me? I have no legitimate reason to be unhappy. It’s all in my head and it’s illogical. Is that recognition enough to get help in getting well without disclosing my irrational stressors? Celexa is an SSRI. Cymbalta is an SNRI. Which means that it does the same thing as Celexa, plus more. Adding Celexa to my prescription [regimen] adds little to nothing. And it will be another 3½ to 5½ weeks before we even know if it’s having any effect. I need something different and I need something faster. I am chemically imbalanced. I need chemical balance. Abilify might work. It’s too expensive. It’s less expensive than inpatient treatment. Maybe I’d be better off with Abilify and outpatient treatment. Here or elsewhere. At this point I’m not afraid to leave.
I don’t like art anymore. I don’t like treatment anymore. I don’t think I’m ready to get better anymore.
“Clarity.” 12/10/12. Pencil. 12×18″.
This piece is called “Clarity” because that’s how I actually felt in this moment. I thought I had nailed it. I was deluded enough to think that my primary issue was chemical, thoroughly confused as to whether or not I needed any kind of mental health therapy or substance abuse treatment, yet I was somehow lucid enough to know that those feelings (and my written rant) were totally insane. The title is “Clarity” because I thought it was hilarious. I wasn’t laughing, but I knew it was funny. Even then.
Later that night, I made a half-hearted attempt to kill myself by asphyxiation. (Success rates are in the seventy to eighty percent range).
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When I handed over the Traffic Street inventory to Kiss of Death, Glenn gave me a few new KoD releases. One was The Slow Death’s first LP. I listened to that record a lot while I was at Tranquil Shores. My name is on the thanks list even though I didn’t have any hand in its release. (Though I had been a big fan and supporter of The Slow Death and helped them out in other ways, so it wasn’t totally shocking). Still, I wasn’t expecting it and it was a really nice surprise. I had become so far removed from the world that I had lived and breathed for so long… Little things like that helped me feel connected in those days. It meant a lot to me. It seems appropriate that my first experience back in that world was the little tour with Rational Anthem this month, up to the fest that Jesse (of The Slow Death) organized. Here’s a song from that first LP that came to mind while I was writing this entry. And here’s a second song from their brand new record.
“We’re Not Hiring (or: A Like Bats Fan Walks Into an Office).” 8/28/13. White-out, marker, and pen on cardboard. 11×14″.
“You’ve got a five star enterprise here, and it sounds like a great opportunity, but – what, with huffing gasoline in mom’s basement and wearing out my Like Bats cassette, my schedule just can’t accommodate anything new right now. Thanks for letting me use your bathroom though.”
I thought of this cartoon back in March when I was planning on reissuing Like Bats demo as a cassette. Anyway, the Like Bats cassette hasn’t happened yet for a couple of reasons, but I requested a new quote on it today and decided that it was TIME TO DRAW THIS CARTOON! (The plan was to get it printed up on a poster that’d come free with the cassette). Maybe we’ll still do that. I don’t know! (I haven’t talked to the kids yet). In fact, they’re hearing about/seeing this cartoon for the first time just like everybody else.
I put off smoking cigarettes (and eating/drinking) all afternoon just so I could get it done. I think it came out well. I like it!
In 2011, I was still turning up to shows and fests but, each time, it would be more obvious that I was deteriorating into heroin shit. At that year’s Fest in Gainesville, I remember standing with a big crowd of friends outside Durty Nelly’s. I forget the context, but I declared myself to be “the coolest kid in the world.” Servo corrected me: “No. You used to be.”
While in rehab for the first time, he sent me an email and reminded me of that moment. “What I forgot to add,” he wrote, “is that you will be again.”
A few months back, I was asked to help out with some stuff for Rational Anthem’s new record. One of my tasks was to get the high-res logos for each record label and forward them to Bill Pinkel, who was doing the album art. One of the labels was Servo’s. When I asked for his logo, he asked me if I’d draw him a new one.
Here’s one of many great songs (“So Happy For You” by Lipstick Homicide) off of one of Bloated Kat’s many great releases (LH’s new full-length, “Out Utero.”)
Sick of paintings? Today’s piece is a SHORT FILM. Well, it’s a video… But the video isn’t the art – it’s just how I’ve chosen to document and present the art) to anyone that wasn’t fortunate enough to witness it firsthand at Dave Strait Fest last Saturday. Enjoy!
http://youtu.be/eIGRMSNPLF8
“Art Intervention (in the Life of Kendra Sheetz).” August 17th and 25th, 2013.
Update (five hours after posting):
I’ve now been called “douchey” for this video. If anyone thinks this comes across as “frat boy bullshit,” you obviously don’t know me and haven’t taken the time to read anything else on my site. This *joke* is at Chris’s expense. I frame this as a sex thing (rather than a schoolboy crush) to belittle Chris – not Kendra. Because that’s what’s at the root of any crush developed before really getting to know a person. He didn’t come to me and say, “I wanna fuck Kendra.” He said that he had a crush.
I know where my heart’s at. I know what my intentions are. I’m not objectifying anyone. This is a funny little social experiment, inspired by a female friend’s plan to do something similar. If you think we’re sexist, let me assure you that I’m really happy for you. Congratulations on constructing a black and white world to live in as a humorless butthole.
I hate that I’m getting defensive, but I’m frustrated. Who knows? Maybe I am wrong. Maybe I did cross some line of propriety. I don’t know! I’m imperfect. Is it possible that what I thought was funny and satirical wound up being exactly what I was trying to poke fun at in the first place? (The whole enterprise of “hitting on” girls). It’s possible! Like I said – imperfect!
But I stand by this. Either as exactly what I wanted it to be – or as evidence of my own defects. It is what it is. I’m happy to say though that – thus far – all these questions were sparked by the dissent of just one person. Everyone else that’s seen it (that’s expressed an opinion anyway) has enjoyed it. I hope that continues to be the case. It was meant to be funny – to make people smile. Not to bum anyone out. Hopefully this statement will mean something to anyone that’s on the fence, not knowing what to make of it.
“Tola’s Approach to Demons.” 7/21/13. Acrylic paint and ink. 16×20″.
The text at upper left: “That was amazing,” Vincent said. “How do you feel?” “Like garbage.” I went back out on the dock with Tola. We sat out there for the rest of the night. “I don’t really mind demons,” he told me. “So long as they’re not actively trying to fuck my shit up, I just keep my distance and everything is cool.”
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Tola had been drinking and I don’t know exactly what he meant when he said “demons,” but it made sense to me either way. Everything he said to me that night made a lot of sense. And meant a lot to me. That conversation was exactly what I needed that night.
I don’t believe in evil. I don’t believe that there’s such a thing as bad people. I have to think that way ’cause if I’m wrong, then I’m most certainly evil – I’m definitely a bad person.
But I try really hard. So I give other people the benefit of the doubt. If someone does something fucked up, I choose to believe that they’re doing their best. (Their best just happens to be pretty terrible relative to average/acceptable standards). I try to keep that in mind whether we’re talking about some asshole on the sidewalk or someone like that kid that shot up Sandy Hook. It’s hard to give everyone that credit – that empathy – but I try. In return, I hope to get the same.
With all of that said, some people are not entirely well. (I should know; often enough, I’m one of them). And if you play with fire… if you fuck with a demon … that demon is going to burn you alive. Nothing good ever comes from it. When it comes to people who are sick – people that aren’t even interested in being well – stay the fuck away. This is a lesson I have learned the hard way, but am still having a little trouble applying.
I need to learn to more closely adhere to “Tola’s approach to demons.”
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Everything you just read was written right after painting this. It was two days after I wrapped on “No Real Than You Are.”
July 4th (the night referenced in the piece) was my first night of filming. In the hour or so before we actually shot the scene, my co-star and I were not getting along. In fact, we weren’t even speaking to one another. And this scene we had to film – let me put it this way: the director told us that it was the scene in which it was most important for the audience to really see just how in love these characters were with one another. Suffice to say, I was not feeling any love for this girl on that evening and I’m pretty certain her feelings toward me were about the same. In hindsight, she was probably a scapegoat, but that didn’t change my feelings in the moment.
I still haven’t seen the footage, but – from what I’m told – we pulled it off. It took everything I had in me to not say FUCK THIS and just walk away from the set and quit. I was miserable and I was angry. But I didn’t walk away. I shook my shitty feelings the fuck out of my body and for [however long we filmed that night] I played and pretended and made myself alright. If that footage is at all believable, then I gave one fuck of a performance. More of a performance than anyone watching would ever realize. As soon as the director said “cut” though, I fell right back into it. Suppression and healing are two very different things. I can’t actually force myself to be okay. I don’t think anyone can. “Holding it together” and “getting it together” are two very different things. Real healing takes a lot of work. I think that this painting was one step of a walk in the right direction though.
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During the month I spent working on “No Real Than You Are” (and scooting around Sarasota on my little thrashBike) I listened almost exclusively to the songs on a playlist that I made shortly after getting into town. The first song on the playlist isn’t online anywhere, so here’s the second. “Eviction Notice” by Riverboat Gamblers.
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Signed and numbered 12×15″ prints of “Tola’s Approach to Demons” are available in my webstore.
Hit me up if you’re interested in purchasing the original piece.
