I like what hat’s your preferred light**? leaves stains seeps between branches, what at’s hard to of shadows on faces of men, wh ts; as the sun catch in the depths of the fores ubt about the circles the sky, leaving no do of things, sittransience and impermanence uld you go/ uations, moments. **Where wo tion from time be beyond time**? The libera you start igis a process of perception. Once n I don’t cling noring time, it disappears. Whe different from to moment—fearing next will be o now. Focus this—I then go beyond time, int . **Which is on now and so manipulate future e healing**? more beneficial: the injury or th s no either/or, Shamanic path teaches there’ codependent: everything’s coexisting and bad, problem light and shadow, good and re wouldn’t be and solution. Without injury the s; without sufhealing, and the lesson it bring g of love as fering and loss, the understandin do the things solution. **What allows you to aracter (Capyou do in life**? My stubborn ch grandfather ricorn style) inherited from my e to overcome and father. It takes a lot of tim gives me the the problems it brings but, also, at. strength to succeed no matter wh
s rationalism inherent**? No, rationalism’s just one of many ways of looking at things. **How has photography contributed to your understanding of reality**? It’s made me follow the ligh. My first name, Swiatoslaw, means one who praises the world. But in Slavic languages, light and world—as well as holiness—have the same root. The world is light, and it is holy; and by life spent in meditation on its beauty, seen in the light, I’ve come to understand its sacredness. **How do you rejoice in death**? My life is constant training in crossing and dissolving frontiers, and that helps one to notice that this final frontier may be illusion, too. Then you experience it, and even if there’s tremendous fear, the experience heals that fear and opens you to the joy of the realisation that there’s just another voyage beyond that gate. **Have you ever met a strang-
er**? When I was a stranger to myself: I met many strangers, and many were my enemies. Since I’ve gotten to get to know myself better: I’ve met less and less strangers, and more and more broters and sisters. **How do you utilize time to your advantage**? I adjust and practice flexibility. Like right now, it’s raining in the Amazon, so I can do this interview. There are so many things to do, and I’ll never be able to do them all, so I might as well just let go and enjoy this one particular thing that I’m doing now. **Have you found what you were looking for in your search within**? I didn’t know what I was searching, perhaps I didn’t know that I was searching for anything at all. So if I assume all are searching the same universal values (meaning peace, love and connection), I have found it all and more. All is within. **Has isolation been beneficial to you in life**? Isolation’s yet another way of stepping outside of society. So the initial transitioning period can be hard and lonely, but then there comes a moment when you see and understand. **Are you doing what you love in life**? Ys.
ow has your path led you to exactly where you need to be**? It seems to be magical process, where the essential term’s synchronicity. It’s difficult to explain to someone who’s never experienced it, but evident when you have. Now, being more aware of the script that’s being written somewhere for me, I follow the words from the Books of Bokonon, “Peculiar travel suggestions are dancing lessons from God.” **When, where and how do you lean into your own programming**? To understand is to be able to change. To change the code you have to see it. And to see it: step away. That’s what the shaman’s doing, what the traveller’s doing, altering states of being to see your options. **What role does the shaman provide for you, the participant**? Each shaman’s a trainer who’s travelled these paths many times before, and will serve as my guide as I travel these paths, too. **What keeps you with nature**? My body, it’s part of nature. I want my body to be in nature. I wasn’t designed to spend life answering interviews on computer keyboards. I have hands designed to pick fruits from trees and feet to run across open fields. Nature’s my home. And, most of all, nature’s my temple.
reed, lust, vio lence, death and despair: b ut that’s only right, right**? R ight. **What if it’s all pointles s: what would you do then** ? If there’s a point: then I’m fucked. **How have you learn t to do what you’re doing in life**? My folks are a mas sive influence and have alway s had my back with drawing. W hen I was 4, our mum would n’t let us play anything ‘M15+’ on Sega, so my dad bought *M ortal Kombat* secondhand an d blacked-out the rating with a Skerple. Anyway, I still try to freak her out with my drawin gs, and tell her I turned out this way because she wouldn’t le t me play violent games. **H as art made you a more-hea lthier individual**? Yes, to th e point that I don’t even need to sleep.
re you as free IRL as you are in your work**? I do like to get a bit loose when I’m out in the world. **Is life ever not enuff of an influence**? It’s a big part of my content, but it’s also elusive and difficult for to me to identify through my work. I don’t consciously try to translate life into my pieces, and I’m more interested in developing my own style and fiction. In that way, I get more switched on from things like cartoons, comics and other artists’ work. **When’d you make it a habit to kick-fucking-ass at drawing**? Since I was a kid: I’d make these massive monster battles; pretty much what I draw now—but with not as many tits. So I guess you can say my work has *really* matured. **How does new work happen**? Lot’s of drawings, and when something jumps out at me, I’ll see where I can take it.
beforehand o you visualize the entire piece itself out. I what’s going on, so it kind of paves strations**? go. **Where are you in your illu I want people ing more new work**? For sure. freh and cre new work helps me to keep things nt with you audience in unanimous agreeme d what’s st my curs. **Could you be better an g and evol a universe that’s constantly changin g new excit stale, which can stop me from findin you the sam Drawing what it asks of me. **Are
gle character and I’ll get a feel for d**? Usully it spawns from a sin ure out ways of joiing things as I I add other elements and try to fig new work beneficial to makOff-frame jerking off. **Is showing t and where it’s going. Showing ou ab ’s art my at wh rn lea d an e se e to mythology to it all. **Is your g lvin evo an s re’ the t tha g lin fee eates the e as important as the next**? It’s u**? I ouldn’t know… **Is each lin t to push my drawings and flesh ou topping you**? I’m always trying wn over a piece and things become lving. Sometimes I get bogged do responsibility to your content**? ur yo t’s ha **W rk. wo my in t en tem t I have moe tentacles. bu , ch mu tty Pre **? ms ea dr in o me Cal Sin
hat would you care to impart most to an audience with *Traditional Balkan Witchcraft***? The project specific approach on beauty and ugliness, on mystery and horror, and a forgotten past, is what makes it interesting for the audience. It also gives insight into the differences between female and male witches, and their different approaches. **Care to elaborate on the sacred aspects of this project and their meaning to you**? The sacred aspects of this project served as guidelines to its visual style. **What more can be found through research and understanding**? For this project, research and understanding has erased some widespread myths about witchcraft, and provided logical explanations to some irrational beliefs. **How much of Balkan Witchcraft is kept as oral tradition and why**? Witchcraft, in general, is kept mostly as an oral tradition, and the written scripts are only known by a few people. Specifically, Balkan Witchcraft, has a very small number of documents, scripts and recordings, so it’s very much kept in certain circles and passed on orally. Only a few authors have a written anything about it, and even they have no considerable knowledge of it.
ol influenced ow has an illusion of contr ses**? Conyour decision making proces n, but a certrol’s probably always an illusio control gave tain belief that something’s in rational decime the strength to make more found/do you sions. **How often have you ding beauty in find beauty in ugliness**? Fin that are conugliness, or at least in subjects ractive/interventionally not considered att enging task esting, has been the most chall in goals. Inin my work. This is one of my ma ugliness, you spiration’s everywhere, even in ow you’re a just have to look. **Don’t you kn ve have you witch**? *Am I*? **How long ha aft**? Witchbeen involved with witchcr ne for about a craft has been an interest of mi year now.
*? antasy* f e b y t i red an real ys colo a w l a Reality’s sy; at least for ta with fan ople. Since I’m pe out for creative k o o l e h on t nd fanalways a y t i l a e on, r d. nspirati entwine y l t s o m a tasy are o keep t t n a t r o . It’s imp of both e c n a l a b healthy ut your o b a t i is **What you gos p e e k at feeling work th c i f i r r e t ’s a ing**? It to do what you le to be ab ’s a blessing to d it love, an . The cre k r o w e iv satisfydo creat a s i s s e c ative pro d *nothing* can an ed you l ing one, t a h W t. ** beat tha path**? My reis down th the dark arts, of lsearch t and Ba r a d e r i p dark ins ious her g i l e r / l a ur kan cult his spet o t e d m itage le
cific theme to work on. **Are you pleased with the results**? A pleased artist is a retired artist. It’s very hard to stay pleased since there’s always so much more to do. But with the current state of my projects: It’s definitely going somewhere. **Why’s death natural**? Anything that begins has to end. It’s all part of the process. Nothing lasts forever or, at least, so it seems. My research has helped me to realise that death can be cheated by extending memories of oneself through creation. **Have you found home in your work**? Definitely. My work’s my home because I feel very comfortable when working, and it’s what I enjoy doing the most. It helps me to keep my peace of mind and to explore my potential. **What have you learned of yourself from others**? It’s always a urprise to hear from others. **And how does this correspond to your preexisting knowledge of self **? It’s sure made an impact.
hat makes royalty**? Usually inb reeding, but I’m not a fan of royalty or the concept of hierarchy. **How much does the beat dictate conte nt**? A lot. Each beat brings forth the rap demon wit hin me as it so chooses. I have no control; I’m just a vessel. **In having killed it with Kool Keith, what ha ve you set your sights on now**? On creating a live scenario that wil complement the work we’ve done so far. **What of your shadow self scares you the most**? My shadow self is a shadow of its frmer self. And by that I mean it’s darker. The scariest part is the fat back. **Where do instincts reside inside your mind**? I think they come from my guts, and my mind transforms them from emotion into not ion. Pass the lotion. **Is winning just a mindset, or is it more**? I wouldn’t know… It’s not a concern of mine. I’m not competitie in my music, only in the bedroom. When I make love, I’m like Roy Keane or Ste ve Cram. And in that sense, it’s mind, body and soul, all combined like spicy, creamy seafood linguine with an ice-cold glass of crispy, white Viognier. **Is it some times your like a completely different person**? I’m the same person, only sometimes I’m mostly—mo re or less—completely diffrent. Sometimes I’m mo re different than when I’m being the same as I was, but often it’s the complete opposite. **Is there anyth ing smoother than a *Suede Comet***? Apparently the smoothest animal skin used for clothing comes from the foetus of a lamb, but that just demonstrate s how despicable the human race can be.
o you ever really feel like paying for shit**? I don’t mind paying for stuff—I *stilll* buy music. I don’t expect shit for free. I’m a working man, so I wouldn’t like anyone not paying me. I do like to swap sometimes. Sometimes I wonder exactly what the fuck I’m paying my taxes for… **What’s never spoken**? In my house we never speak German. I do a good German accent, and I have a tiny bit of vocabulary, but we really don’t speak it. Apart from that, I think your question may have another meaning, but I can’t think of a goood answer. Never let it be said that Burgundy Blood “avoids the question.” **Absolute power corrupts absolutely**? Absolutely goddamned right. **How do you prep for a show**? There’s no specific routine, but I like to have a few drinks and get into the vibe a bit. I like coming on stage to some music while singing along with it. I try to avoid eating too much. And, evvery now and then, I look in the mirror and tell myself that I’m worthless. **When’d hip-hop makes its way into your life, and has it ever been the same since**? A long time ago, and nothing’s been the same since. Hiphop is the concentrated form of our globalized cultural unconsciousness reborn through the endless cycle of forever. **Have you ever been fired in doing right for self **? Many times. That’s why I’m self employed. **Are you superstitious**? Only if I’m really hung over, or if I’m feeling a bit weak and scared. But, mostly, I pretend I’m not. I’m a Piscean, so I don’t belieeve in all that kind of stuff. **When will you finish**? When I’m done.
ltiple con u m e h t om to that of drawn fr k e r b o s w l r e l u l yo s an para uented in verything’s alway q e r f s n figuratio time**? E g the way I think. n i d n i m your own d evolving, includin hat reality and t an explores ing k r changing o w y m n. **In be f io o t t a c v e r e p s s g ob This a rs as an atest thin e e r h t g o e o h t t t’s e offers it ers, wha That we’r h t o ? * o * t f l e e c rs of servi eeds and bout you n a e d m e a n s r a e e th s you’ve le e, and hav ilities as human ik l a h c u b all very m our capa ? Truth’s defined o d w o H * ** ink desires. * n of truth o i t p . I don’t th e e c r r a e s p ie r it u ne abil limit o being do sonal cap r h e g p u y o n m t e . s by wha ven close for all. **I e h t t o u r N t ! e o n N . *? there’s o big issue of Earth* a e c h n c a u n s e g’s in maint l warmin o. I tried… a g a b o g l n g o l y h ne That’s w e been do ’v d l u o h s e Lots mor
wide range of influences are exhibited thro your work, how ugh ’s this a reflecti on of your app ation of each** reci? I’ve never bee n interested in fo ing on just one custhing. All of my work influence my other work. s all of It’s all art: no m atter if it’s bein played as a bu g disilding, a chair, a photo or a sc **What are yo ulpture. ur tools**? De pends of the p roject…
Digital camera for the photos, basic power tools for buildiing stuff , and I make physical models of most of my architecture, furniture, and sculp ture, which are usually made of plastic. **What of yours has yet to be built that you would like to the most**? I would love to see some of my wineries built . **What do you see when you close your eyes**? Usually the project I’m work ing on, and/ or my next project. **What’s on your agenda while awake**? Living as fully as I can. **Why does progress take time**? Sometimes it does n’t, but usually it’s because people are too programmed as kids to play it safe and follow the path of least resistance. **When will foldable, fabric structur es become commonplace**? Already are: tents. **What do you get out of your work**? An awarenesss of the way things work—and could work—in my world.
utside of this plane of existence, what else is there**? A whole lot more, but I can’t describe it, yet. **What’s the word in modern, sustainable design**? Lots going on; some really good work. Very interested in the potentials of 3-D printing and virtual reality. **Is this planet even ours to begin with**? We don’t own it, but it’s ours to take care of, or die. **What’s the meaning of life**? To be as creative as possible and, in doing so, make the world a better place for all of humanity.
hat do the m asks repres ent**? The masks repre sent a trip I’d taken or, really, the resu lting experie nces of that trip. I was tra veling from C alifornia to Mexico; just meeting rand om people and taking their picture s along the way. One of th em was a Na tive American named Simonewe, w ho was lost in Flagstaff, Arizona, and had been stripped of a ll his culture . The masks represent th e emotion a nd soul of these individ uals I met w hile on the road. **Doe s miscomm unication occur in pre sentation of *Nework* to an audie nce**? I gue ss whenever you create something in teresting, miscommun ication can occur. And I appreciate th is because it ’s a sign of positive chan ge. This is cu rrentl I’m looking to accomplish th y what rough my work. **Has anything ev e r vanished right before your eyes**? My childhood. Now I’m trying to enjo y life more as a child w ould. **Whe n have your beliefs betr ayed you**? Anything anyone’s told me related to the word “believe” has been a lie.
any asre you currently in denial of mpletely pects of nature**? Nope, co discoverthe opposite. I’m open to ture, all ing any and all aspects of na liday in the time. **How was your ho like gypSpain**? Amazing! We felt king for sies living in caravans loo ain and waves in the north coast of Sp a weird France. Afterwards I went to ulptures Chateau that was full of sc le were and tapestries where peop inspirapredicting the future. Very fluenctional… **What were your in and my es for *Nework***? Travel, re have leading a simple life. **Whe hen I’m you found happiness**? W nt of the surrounded by trees or in fro comes ocean. I know true happiness ent, I’ve from within but, at the mom found peace in nature.
rossing over to what exactly**? Crossing borders, of course. **Is your best work (as far as you’re concerned) done fast or slow**? I’m trying to live my life in a cool, caalm and collectted manner, so I like to take my time with things. **Where does dark matter fit in with your understanding of the cosmos**? I understand the cosmos as something that’s expannding, and that we’re only a teeny-tiny part of. And this gives me hhope, because we cant fuck up something so vast with our dark matter. **How would you like to expand**? I want to sstart working with looms and creating carpets. **Why’d you choose natural materials for *Nework***? In an attempt to connect society with nature. I was in a place in Mexico where all the people were using raw materials—and I had an inkling to do the same. The Palm treee husks were so beautiful that I just kneww I had to take them back to Chile to work with. **Can you control this fundamental change anymore than you have already**? I can’t control it, yet. I’m simply exploring. And each time around I feel closer to something that I don’t quite understand. But that’s the fun part: lose control and get lost. **Have you committed your life to your work**? From the moment I awokee, everything that I’ve done, looked at or thought, is an element of my work. **What brought you to Berlin, Germany**? I visited a musician friend of mine and noticed that the lifestyle in Berlin was amazing, so I ‘lost’ my rreturn ticket, and I’ve been here ever since.
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