Paul K. Tunis – Omphaloskepsis: #10
Paul K. Tunis is a graphic-poet.
His work has been featured in The Rumpus, Bateau, Drunken Boat, TheTHE Poetry, Loaded Bicycle, and elsewhere. He’s a kangaroo rat and likes mac and cheese. Selections of his work are currently on display as part of a group show at The Poetry Foundation’s Verse, Stripped: A Poetry Comics Exhibition in Chicago through September.
Paul K. Tunis – Omphaloskepsis: #9
Paul K. Tunis is a graphic-poet.
His work has been featured in The Rumpus, Bateau, Drunken Boat, TheTHE Poetry, Loaded Bicycle, and elsewhere. He’s a kangaroo rat and likes mac and cheese. Selections of his work are currently on display as part of a group show at The Poetry Foundation’s Verse, Stripped: A Poetry Comics Exhibition in Chicago through September.
Paul K. Tunis – Omphaloskepsis: #8
Paul K. Tunis is a graphic-poet. His work has been featured in The Rumpus, Bateau, Drunken Boat, TheTHE Poetry, Loaded Bicycle, and elsewhere. He’s a kangaroo rat and likes mac and cheese.
Paul K. Tunis – Omphaloskepsis: #7
Paul K. Tunis is a graphic-poet. His work has been featured in The Rumpus, Bateau, Drunken Boat, TheTHE Poetry, Loaded Bicycle, and elsewhere. He’s a kangaroo rat and likes mac and cheese.
Paul K. Tunis – Omphaloskepsis: #6
Paul K. Tunis is a graphic-poet. His work has been featured in Bateau, Drunken Boat, TheTHE Poetry, Loaded Bicycle, and elsewhere. He’s a kangaroo rat and likes mac and cheese.
Paul K. Tunis – Omphaloskepsis: #2
Paul K. Tunis is a graphic-poet. His work has been featured in Bateau, Drunken Boat, TheTHE Poetry, Loaded Bicycle, and elsewhere. He’s a kangaroo rat and likes mac and cheese.
Steven Leyden Cochrane – Untitled (A place that is not a place)
[Moonshot #3: Secret]
Steven Leyden Cochrane ☛ Untitled (A place that is not a place)
Lead white oil ground and fluorescent oil paint on various objects, stretch velvet
Artist Statement
Our “instinctive” approach to works of art—which of course has little to do with instinct, being a learned behavior reinforced by habit—is to suspend disbelief, to confer upon them potencies that they can’t reasonably be expected to possess. Without thinking, we accept certain paintings—actually stationary marks on one or another surface—to be “windows” looking in or out upon whatever they depict. An assortment of mass-produced objects (a reproduction Venus of Willendorf, a letter-opener-cum-“dagger”) can be “rededicated” as the ceremonial tools of a modern-day witch’s altar. We expect artworks to communicate something beyond themselves, to effect changes in the world, if only in ourselves or our thinking, through straightforward transactions of presentation and reception, of making and looking. This is objectively weird. The actions or gestures that I undertake as an artist tend to be simple: I collect, reproduce or re-present, obscure or even destroy real things in an effort to make obvious their inherent weirdness or the weirdness of how we’ve come to understand them. “This is a time that is not a time, in a place that is not a place,” a turn of phrase of murky provenance that has nevertheless taken root in the homegrown liturgies of contemporary witchcraft, delineates a metaphorical “space” in which a letter-opener can be a conduit of magical energies. It’s a proposition that also seems to aptly describe what artworks purport to do, or, rather, what we expect and ask them to do. It’s a lie, to be sure, but it may still be a useful one.
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Steven Leyden Cochrane is a multidisciplinary visual artist from Tampa, Florida. Working in a broad range of media and exhibition strategies, he seeks to problematize received understandings of art objects as repositories of meaning and vehicles for personal expression. His research interests include Conceptual Art practice, constructions of artistic identity, theory of mind, problems of narrativity, vernacular design, fan art, home décor, pre-modern painting technique, stained glass, Minimal sculpture, and Mariah Carey. He earned a BFA in painting at the Maryland Institute College of Art in 2006 and in 2009 completed his MFA in studio arts at the University of Windsor. He is currently based in Winnipeg.
Moonshot Magazine X PULP Projects
Moonshot Magazine is collaborating with PULP Projects, an independent curatorial practice, for our upcoming issue, Secret. Each artist accepted into Secret will have the opportunity to participate in a short–term exhibition that will run concurrent with this issue’s release. Selected works may also be featured in all applicable press materials and social media campaigns to promote the release of the magazine.
Although we still accept work through Submishmash (see our submission guidelines), we encourage artists to read the requirements on PULP Projects’ site and submit directly over there.
PULP Projects is a curatorial practice that seeks to promote a hybrid of artistic production and creative dialoguing. The founders are dedicated in their promotion of emergent artists not only as a means of visually representing contemporary cultural production, but also as a means of cultural navigation. PULP Projects is resolute in their belief that it is only through the transcendence of mediums and a sincere dedication to cross-collaboration (what others might deem the seemingly shapeless mass of material, i.e. “the PULP”) that we are able to access the core of artistic production and achieve an increasingly integral sense of collective conscious.
