![\"\"](\"http:\/\/www.artloversnewyork.com\/zine\/wp-content\/uploads\/2012\/10\/neon-and-candles-at-Mr-Fine.jpg\" "\\"neon-and-candles-at-Mr-Fine\\"")
<\/a><\/p>\nNEON AND CANDLES featuring the work of: BENJAMIN De CHANTERAC, JAMES ELLIOTT MOORE, and TIMOTHY STANLEY. SEPT 13, 3 days after still-dark 9-11 terrorist memories burned in as yet-unsoothed NYC, and 3 days after … we had all watched with horror as the American embassy lit the very sky with flames. 4 Americans killed, as it burst into outrageous violent flames – in that matchbox of a hell: BENGHAZI, LIBYA. <\/p>\n the night was even more marked. more harrowing, more theatrical, more dark & treacherous than usual, even on top of NYC’s 9-11, and the human toll\/flames rising in Libya. if heading into the deep fringes of Chinatown on such a firecracker of a night didn’t spell: post-apocalyptic, MAD MAX \/ MOEBIUS futuristic & doomed underground . . . to see a show titled, ‘NEON AND CANDLES’ – and with absolutely no artworld pedigree, I don’t know . . . what would. <\/p>\n once up the steel gray and cold, four or five long flights of stairs, you opened the ‘faceless’ door upon a forsaken scene . . . of total blackness. total black-out. <\/p>\n the very first thing my eyes could discern, was this totally black-light-lit – scenario of human death . . of hell on wheels, and I mean, specifically . . . on florescence tubes. it spoke to the . . . AFTERMATH of VIOLENCE.<\/p>\n it spoke to the finality of the bio-condition, except for the slow-to-degrade, bone of the skull. <\/p>\n it spoke to PROFOUND SADNESS, DESTRUCTION, EXPRESSION, and ironically: FUTURE VISION. it was like coming upon a campfire, except instead burning wood,it was fabricated raw white plaster, neon, and candles. that was . . . on fire.<\/p>\n it spoke to young men attempting to make profound statements. if Mr. Moore’s startling works . . . stood for a dismal future final, and I’m saying ‘future’, instead of past … because of the florescent tubing !! MR. STANLEY stood, literally<\/em>, for the present. note the candle burning “in the present” – on the chair, beside him.
\nSEPT 15-28, 2012
\nMr. Fine Art<\/a> – 105 Bowery, 3rd Floor, New York City (Lower East Side).<\/p>\n
\ncurated by: THOMAS ARSAC.<\/p>\n<\/a>
\nMr. Fine Art is found on the almost top floor of one these buildings. actually, the one closer to the left, over the orange awning, on a deep dark and dank downtown strip of the Bowery, just off Canal. <\/p>\n
\nto get to Mr. Fine Art – a space, abso-friggin-lutely right OFF the art world charts, the wannabe visitor had to find a way through the teeming and untamed rowdy masses that feverishly consumed the blocked-off area – for the SAN GENNARO STREET FAIR. <\/p>\n<\/a>
\ninside the old industrial loft building, the long steep hallway was conversely as bizarrely faceless and minimal – as the streets outside were rife with humanity, threat, and evil. this felt evil too. like being inside the . . . matrix.<\/p>\n<\/a>
\nARTWORK BY JAMES MOORE.<\/p>\n
\nthe future – as freak-out.
\na huge human skull illuminated like a science fiction version of a fast-forward illuminated manuscript . . in a temple of doom.<\/p>\n
\nas opposed to the hollow production that you mostly get to see, coming out of your ‘over-worked mainstream art world’ machine.
\nthat predictable . . . listen to that cash register ping. thing. thang.
\nwhatever. you know what I’m asayin’, and even if you don’t. you can guess.
\nbut if you do, know . . . please don’t<\/em> pretend that you don’t. <\/p>\n<\/a>
\nin the dark. this is how the room truly, looked. and glowed, deep purple and black.
\neerie. deathly. you can just make out, the show’s curator, at left, THOMAS ARSAC and one of the artists, he of the skull and black light above – JAMES MOORE.<\/p>\n<\/a>
\non the left, the show’s curator, THOMAS ARSAC. with artist, JAMES ELLIOTT MOORE.
\n(through the magic\/power of digital photography & auto-focus light flashes !!).<\/p>\n<\/a>
\nin the foreground, hulking, life-size, black-light lit, animalistic ritualistic sculpture by JAMES MOORE.
\nin the background – you can just make out performance artist: TIMOTHY STANLEY.<\/p>\n<\/a>
\nTIMOTHY STANLEY . . .
\nplus: dig those ‘degrading’ pipes along the top. just like as if in a ‘leaking’ old spaceship – lost !! <\/p>\n
\nnobody could hear a damn thing he was saying, over the gallery din, and even if they could, they didn’t care and weren’t listening.
\noh yeah, if that isn’t a metaphor for the PRESENT, I don’t know – what is. <\/p>\n<\/a>
\nBENJAMIN DE CHANTERAC was not present, he was in his homeland, FRANCE. (hello, PARIS !!)
\nthe curator, also from FRANCE, THOMAS ARSAC was using this opportunity to debut his work in NYC. it was one piece, it was fresh off the factory – and it was awesome.
\nit was eloquent, it was mysterious, it was a road map to the unknown, and deviated (!!) future.
\nit was a time trip.
\nscience fiction, CLOUD ATLAS ? . . . . though way more mutated, hello . . . planetary future shock !!<\/p>\n<\/a>
\ndetail, ink on paper unique drawing by BENJAMIN DE CHANTERAC.
\nit’s amazing what a little, ‘quelle’ deviated light source . . . can do !! <\/p>\n<\/a>
\nthe eyes – have it.
\ngraphic detail, in an exquisitely detailed, science fiction-like ‘map’ drawing by FRANCE’S …. BENJAMIN DE CHANTERAC. <\/p>\n