"It’s very rare to meet someone who knows about VortexHealing,” Simon tells me as I lay on the massage table in the living room of his six-floor West Village walkup. “There are only nineteen ‘Merlins’ (Vortex teachers) in the world, but you’ll see, in ten years it will be as popular as Reiki.”
When I think of Kehinde Wiley's paintings, a couple of affiliated effects come to mind. In his work we look at history juxtaposed with a really unstable relationship to realism. But I don't want to start an essay with quotations from history – after all, that's what Kehinde Wiley's paintings are already doing. The essential issue at hand is to give some context to portraiture, hip hop visuality, sampling, collage, and quotation. I want to unpack some of the issues that Wiley engages in his work.
[Daemonic Dispatches] • An introduction to the column "Daemonic Dispatches," which aims to describe with the cartographer's discerning eye and interpret with the mythographer's spirited clairvoyance the new daemonic lands breaking in upon human consciousness. . . in the spirit of the classic cartographers Samuel de Champlain and Charles Fort.