ABOUT MERCURY CAFE
Mercury Cafe offers locally roasted direct-trade coffee. Our single origin coffees are from Four Barrel Coffee and our blends are from De La Paz Coffee. We also offer small-batch baked goods, made-to-order sandwiches, and house-made soups. Our food is as local and organic as possible without becoming unaffordable. Come on by. A bright and comfortable spot with good coffee and food awaits.
On exhibition from
JUNE 14 to AUGUST 14, 2016
Mercury Cafe located at 201 Octavia Street, San Francisco
FRIDAY, JULY 15, 2016
7PM to 9PM
14 Black Poppies is a non-profit project that presents contemporary artists from diverse backgrounds and practices at venues accessible to the public throughout the San Francisco Bay Area. Past exhibiting artists include Elisa Chu, Kirthi Nath, Rebecca Schultz, Ginger Snap, Bousa Concepts, Steve Piasecki, Taped Metal Canvas, Rhiannon MacFadyen, Jason Wyman, and many more.
14 Black Poppies is fiscally sponsored by Independent Arts & Media.
ABOUT THOMAS BLEE-CARLYLE
Born January 7th , 1966 in San Diego Ca., childhood in Caracas Venzuela, Southern California and Alaska.
Attended the University of Arizona in Tucson and the School of the Art Institute of Chicago, ultimately graduating with a BFA in modern Dance.
Worked 5 year as an assistant artist with Chuck Fischer studio in NYC
1997-Current, Has been a successful and internationally published decorative artist since 1990. featured in publications like:
Tom began painting and making art under his mothers tutelage at about 5 years old.
He began drawing and painting pretty obsessively in grade school, first elephants, then dinosaurs, old cars, human body’s and body parts, then in middle school surrealistic environments and cubist forms, which led to a fascination with cubistic non-euclidean layering of prophetic symbology within paintings and drawings. Which led to the current work, Synesthetic Protosymbolism: forms which deal with the idea of a unified nontemporal consciousness within all forms, and specifically the investigation of artwork as not a symbol of consciousness, but a conscious entity in and of itself that transmediates between dimensions and consciousnesses.
The current work is the exploration of technical esthetic problems that are part of a larger goal of creating work with positive epigenetic qualities, which he currently defines as the most basic impulse and function behind the creation of art, both as art maker and participant. This inquiry was inspired from a conversation with a scientist friend working on the fission reactor at Lawrence Livermore laboratories in 2010. The idea of Unigmi was born, in which the soul was conceived as a fluid energy that moved constantly thru all sentient beings, and that the idea of the continuity of a single separate soul within each being was a trick of memory. As their can be no empirical evidence of separate and distinct souls, a series of over 1500 electronically manipulated drawings were created over the course of 2 years to explore the esthetic and moral implications of this subversive self conceptualization.
The primary goal of the current esthetic experiments, is to create forms that do not have temporal or symbolic stigmatization, that can fluidly alter their internal relationships based on the projections of the viewer. To invite dynamic conceptual interaction on the part of the viewer, which is personal, nonlinear, and promotes spontaneous whole mind , whole body integration.
One highly original element of the work, is its multiple coherent reconfigurations, in some works over 25 coherent groupings of seamlessly connected forms. intended as a way of mentally and physically involving the viewer into active conceptual participation with the works, highlighting the role of the viewer as conceptualizer. Inviting the viewer to explore the idea of shared consciousness between the art and it’s participants, and highlighting the arts function of transmediation between dimensions of consciousness. In an attempt to release egoic constraints that are part of traditional assumptions of our limited interaction with artwork as ‘observations of nonsentient symbolic forms’. Instead the Synesthetic ProtoSymbolic works, are created from the assumption of art and indeed all forms, as dynamic sentient extensions of our own unified consciousness.