Femmeldehyde 2012


 

EXTERNAL LINK http://www.femmeldehyde.com/

EXTERNAL LINK 2 http://issuu.com/femmeldehyde/docs/issue03-singlepages1/21

LBL MIRROR http://www.lilybutterland.com/home/femmeldehyde-2012/

FEMMELDEHYDE issue 3 PDF MIRROR http://lilybutterland.com/PDF/femmeldehyde03.pdf

 

ATTEMPTING TO COPY TEXT OFF AN ONLINE PDF

 

LILY BUTTER

Technology and technological advancements are made possible through the magic of science, of course. So when a
friend referred me to the very technological and highly revered Scientartist Lily Butter, I thought, who better to consult for this issue? Miss Butter not only makes scientological art, but is also deeply immersed and affluent in the discipline thanks to Popular Science magazine. She was “perfectly articulated, elucidating her verbiage/ bordering on logophilia,”  and I emerged from the interview feeling rather enlightened and a little mentally drained. Her delightful drawings are an appropriate intersection of art and technology in form and process as well as subject matter, which directed the dialogue that you will find here.
[erika balint]
art feature22 23

EB: So were did Lily Butter come from?
LB: Ottawa. Sometime in the 80s or 70s or 60s or something
like that … I’ve just turned 70 this summer, and I just perfected
vacuuming right now. In fact I even own a vacuum.

EB: And how did you go from “Sybil” to Lily?
LB: Haha, well I am a sibilant. A sibilant, I think, is – I’m gonna
quote from the Oxford English dictionary, which I do not own
a copy of at the moment – a sibilant is someone who seems to
speak prophetically- however calling someone a sibilant is not
a judgement on whether their sibilantism is any good or not.
It’s just that they say things that seem to forebode of the future.
So they seem to know something about precognition maybe,
and, I try and totally own that.
But yeah, Lillian… Lillian is just my middle name. And I stay
under the middle name and Butter is a joke about… remember
the movie Paris is Burning? No no its not that one it’s the other
one- Last Tango in Paris! (it’s not as good as Paris is Burning)
but it has a scene with butter in it. And that’s sort of a joke. But
I just tell everybody my last name is Bloodgoat. Which you can
kinda shorten to Butter. Bloodtter.

[We talked a lot about Butter from here, which lead into speaking
of her artmaking process (but don’t ask me how), and we looked
at an enormous gel-medium collage piece as example.]
LB: This is a collage of about 8 different illustrations – most
of which are hanging up around here – and then I take all of
the drawings in the computer, stick ‘em all together into one
giant epic piece, and at the same time just keep drawing. Both
of these started out with me printing out a giant piece like this –
which once again, is like 8 different drawings all stuck together
in the computer, printed out in these sheets (about 7 inches),
and I just did the math for how it would sit on this thing.
I’m pretty sure a lot of people’s techniques in arts these days
are – you know, you get a bunch of images by just typing into
Google what you’d like a picture of, you get it, and you can
kinda just flip ‘em together – and yes, there’s art with seams
– and people are like printing their art out or getting it at the
print shop, and your task as the artist is like, framing it and
getting a really good coat of protective spray. And that’s the
stuff that sells, too.
The work that I throw into these pieces – the goal isn’t to
complete this giant 11 foot painting and sell it,  but just to keep
shopping it. Its as Asset as my Source Material.
Keep shopping it and working it and having new
permutations of stuff coming out. And its fun to go back into
my catalogue and use all these reproduction techniques, and
like, slop chemicals around in my kitchen and make a mess.
And it’s just fun to pull out a drawing from 5 or 10 years ago
and work it over again and give it a new body over and over
again.

EB: Do you often manipulate digitally, or do you just take the
digital reproduction and manipulate from there?
LB: I do a bit of my work digitally. I’m doing more and more
digital refinements too. I have a lot of images online – collections
of images that have I’ve created, that I’ve been stockpiling
online – and I consider the images constantly evolving, and the
image becomes what I push it to; give or take how good the
backups of the previous image are. Like, almost everything I
have from before 2007 I don’t have a hi-res copy of, I’m lucky to
have a colour copy of.
Once we got to the end of the 90’s the Internet started getting
good for something. Previous to that, you had to log onto
something, it was all in green calculator font, and you’d get
onto your like, list server or directory of text files on how to
make a bomb….

[We then discussed an image of Lily’s giant spaceship, made from
a giant landmine the size of a house that runs on clockwork and
crystals. This lead us into our discussion of Scientart, and the
tremendous influence of publications like Popular Science and
Popular Mechanics.]
EB: Would you consider yourself well versed in scientart
history?
LB: Hmmmm…. Well, I’m a voracious consumer of it, but I
don’t know if I’m completely well versed.

EB: Who are your scientarthistorical influences?
LB: I am very enamored of Mr. Hogarth, I believe that’s his name
– the guy who invented Tarzan, and the whole Tarzan drawing
technique. Burne Hogarth: he is a scientological expert of the
human form, and he’s all about applying theory and graphics to
the human form, and he’s got like 6 or so books out. And you
can get anything – like this, (flipping through one of his books)
just the science of how an eye lines up. Also, Popular Science –
they had a some great full colour drawings on their covers for a
bunch of years. I self taught a lot of technical drafting by getting
hold of a bunch of books from Goodwill at some point.. circa
the 70’s. Mostly instructions like “so you want to be a radiotron
designer”

[We then went on to look at an instructional booklet created by
Lily herself.]
LB: This is a self-promotional piece about how I’m scientological,
but it’s disguised as an informative little handbook on how to
build your own inter-dimensional modulator. Which I totally
know how to do. As you see, this is an interdimensional
modulator. And this is a bunch of junk from around the house.
You could do this, and this would work!

EB: Can you sub things in if you don’t have those exact items?
LB: Yeaaah, well, depending. You don’t need the super abilities
of any kind of physics, or a degree to build one of these. But
if you can assemble Ikea furniture, and kind of get it together
without the plans… that’s about what I’m offering here. Except
for the part where you need a hexahydronomical space radio.
But if you had that, it would work. And these things were very
big back in the 1920’s. If you got a hold of that, and an alarm
clock, a pink rock, a jar with a jar inside of it, a roll of string,
a watch, an apple, and some pins, and about a handful of wire,
we could punch a hole in space-time. In the interdimensional
modulator, there’s a pink rock because you’re creating a
reference for yourself in relation to the rest of the world,
otherwise, if you went back in time like 6 months, earth would
be like 270,000 miles from here on the other side of the sun!
And if you add onto that time and the whole universe shifting
around… So it’s all in relation to the pink rock. And this thing
is built for travelling within the life span of the pink rock. And
you can travel to near either end of it’s life span and then get
yourself a new rock.
{edit:  I know full well the orbit of the earth is 98000000 miles in radius. IF YOU READ Femmeldehyde 3 in her entirety you will understand that the secret theme of the issue was interviewing artist while they drink Leftover Red Wine and NyQuil}

EB: And is this all explained in your guide?
LB: No! It’s not explained very well… this is all just secret stuff.

EB: Have you built many yourself?
LB: I’ve built plenty of these- how do you think I got here?
The first version of this that we got working… we had as many
watches as we could get off of people, and we just sandwiched
them all. So, you’d put a dime and a nickel, or a dime and a
penny, in between every one – so then you’d have 2 different
kinds of metal. So the metal becomes di-electrical, and what

Did you hear that everyone’s
favourite thing in science right now
is that we might not be real and we
might be a computer simulation? 24 25

that does is it creates a different metal for the electrons – or
in this case, tachyons – from a whole bunch of watches. So it
polarizes it. I forget how tachyons are positively and negatively
polarized to copper versus nickel. Did you hear that everyone’s
favourite thing in science right now is that we might not be real
and we might be a computer simulation?

EB: I hope that’s the case.
LB: Aaah, I dare them. And they’re starting to think right now
that they have compelling evidence that nothing is real because
we can’t get past the bottom layers of the universe. And they
found the smallest unit of measurement: the smallest length
of measurement is the planck length which is something like
1.0 × 10 -35 meters across. And nothing is smaller than that.
That’s it. Beyond that space and matter falls apart. And space
creates itself around matter and matter is energy… And then
there’s the smallest unit of time too which is the amount of time
it takes for light to travel planck length. So if I took my sock,
and thought why is this even here, and then threw it across the
room… you could take a photo of that sock half way across the
room, and then you could take between me throwing the sock
halfway across the room, and it being halfway across the room,
and get pictures of it a quarter of the way, until you got these
tiny little pictures of it moving all the way…. Well basically
there’s a lot of plancks between here and there. Plancks are
smaller than angstroms.. I have a book coming out soon- The
Lily Butter Land book. Art books are gonna be my new focus
for the year.

EB: It’s kind of funny that you’re moving in the direction
of books and publishing, just cause we often think of books
as these very physical, tactile objects that are kind of oldworldly in a sense.
LB: Totally. Well you know, with Internet and as mobile as we
are, you’ll still never get rid of the metro magazine, and the
tabloid magazines we read. A form of the paper will always
prevail.

check out more lily butter at http://lilybutterland.com