GREEN KILL

Green kill will hold a very specal Saturday night event on April  22, 2016  at 7pm—Beware of the Year 7000.

As we consciously experience a monumental shift in our planet’s evolution due to
climate change, GREEN KILL presents the film Beware of the Year 7000, where
installation artists Janice Mauro and Joanne Pagano Weber ask the question, if
corporations are people, too, what if they lose their humanity? The film narrates Mauro and Pagano Weber’s artistic collaboration exploring these issues.

Art lovers, thinkers, prophets, or gamers, if you prefer Facebook or Twitter to the latestreport by the EPA, be forewarned, and look no further: Beware of the Year 7000, byJanice Mauro and Joanne Pagano Weber Screening at Green Kill, Sat., April 22nd, 7PM,with weekend exhibit of art work.

Corporal 199 is on view at Art Walk at the Silvermine Guild, New Canaan, CT

Man from Branchville

Mystic Ancestral Ship

Mssss. Venoxia Bulbous-Bulbous and The Tidal Decade of 2040. Mssss. Venoxia Bulbous-Bulbous, ca 8950, verified the studies of Dr. Ixton Verton on the Tidal Decade of 2040, which were dismissed as quackery in later years. Bulbous-Bulbous believed that she could prove the existence of the Tidal Decade, and Dr.Verton’s theories, by finding art that was created by the period’s survivors. Dr. Ixton Verton, NYU, 6005, discovered the crypt and remains of the Man from Brancheville, a member of the Corporate Elites, shown here along with the remains of one of his assistants, the Lesser Motos.

Army of Semis. Lynwood and Jeremiah survived by avoiding the clutches of the Corporate Elite leader Captain Rodney Boeing – the “Grand Inquisitor”, and his minions, the raptor-like Semis. Semis who attempted to defect from the Elite army to the humanoid side were cruelly punished. This semi was displayed on a cross by the roadside to discourage others of the same persuasion.

Elite Logo. While this bombastic logo is emblazoned upon every Elite construction, it is ironic that the only known art of two steel-willed young men was born upon a material that was once ubiquitous and is now obsolete. Lynwood and Jeremiah’s letters refer many times to the Second Melting of the Polar Icecap, for them an ancient event which released a frozen continent of plastic bags through its floodwaters – the detritus of our humanoid past became the medium for these surviving artists.

The Plastic Bag Paintings. In his paintings, Lynwood attempts to capture and hold the creatures of the known world, as well as others that have gone extinct, and whose descriptions or tattered images have come down to him, before they are lost forever. Jeremiah’s fragile geometries assert the deepest will of all living things – of being. I have begun a new series of Subjective Absolutes – symbolic manifestations of nature’s triumphant fecundity against all odds – and the one true goal of art – to heal – in complete defiance of the Elites’ corruption of s acred geometry. “ — excerpt from Jeremiah’s correspondence. ”…It is true that the sight of incomplete skeletons of our lost animal kingdom, (entrapped and taken in the floodwaters of the Second Melting,) brings home the magnitude of our humanoid failings, and it is right that we honor them in our art before we bury them with dignity.” —excerpt from Lynwood’s correspondence

The Plastic Bag Paintings. In his paintings, Lynwood attempts to capture and hold the creatures of the known world, as well as others that have gone extinct, and whose descriptions or tattered images have come down to him, before they are lost forever. Jeremiah’s fragile geometries assert the deepest will of all living things – of being. I have begun a new series of Subjective Absolutes – symbolic manifestations of nature’s triumphant fecundity against all odds – and the one true goal of art – to heal – in complete defiance of the Elites’ corruption of s acred geometry. “ — excerpt from Jeremiah’s correspondence

The Plastic Bag Paintings. In his paintings, Lynwood attempts to capture and hold the creatures of the known world, as well as others that have gone extinct, and whose descriptions or tattered images have come down to him, before they are lost forever. Jeremiah’s fragile geometries assert the deepest will of all living things – of being. I have begun a new series of Subjective Absolutes – symbolic manifestations of nature’s triumphant fecundity against all odds – and the one true goal of art – to heal – in complete defiance of the Elites’ corruption of s acred geometry. “ — excerpt from Jeremiah’s correspondence

The Right Side of the Cross

The Encryptocon Artists Lynwood and Jeremiah, transmit correspondence through negative violet rays via the Encryptocon, a device that was decoded in 9014, to reveal original legible script. We learn that color negative violet is the only wavelength invisible to the oppressive Corporate Elites

Memory Cells. In awe we discovered them, spread like fields of stars within vast transparent sheets…. Housed in this substance were what seemed to be energy centers; tiny, circular nerve networks of various kinds. If we could remove but a fragment of these “Memory Cells” as I call them, it is our hope that we find a means of overcoming our oppressors. —excerpt from Lynwood’s correspondence

Captain Rodney Boeing

Corporal 199 (cover and back) Corporal 199 was a military member of the Corporate Elite class, whom had abandoned humanoid nature in favor of robotic efficiency and enhanced power. During the Elite’s period of resurgence around the year 7000, they considered mannequins sacred relics of their commercial humanoid past. The Elites retooled the shells of mannequins for their highest ranking, most intelligent robotic soldiers, like this one.

Beware of the year 7000

It’s the second melting of the polar icecap. The power of the few dictate the blueprint of a resurgent planet depleted once again. All resources are up for grabs as the human race divides along biological /robotic fault lines. While multitudes transition becoming semi-human mechanisms under the control of an artificial brain, two artists continue their work in hiding, corresponding by the only thing they have left – their creativity.

Photo credits: Corporal 199, Photos by Chris Scherban. “Ice” as Mssss. Venoxia Bulbous-Bulbous make-up and photo by Susan Waldman. All other photos by Sam Linarducci