The artists in Free Love Gods are contemporary visionaries, whether or not they care to admit it.
In their own way they draw from personal mythology, sacred or secular,
otherworldly ephemera, and utopian vision to invent a world or worlds
where such concepts thrive with neither resistance nor deception.
Wondrously quirky and idiosyncratic,
shorn of irony and self-reference, their work is characterized visually
and influenced intellectually by elements culled from the Wild Seventies,
from the supernatural, the religious, the Edenic, the mythological,
the haunted, the sublime, and the ridiculous.
As a group their work exudes energy,
mystery, with a powerful tendency towards entropy and chaos. Like
Emma Kunz these artists concern themselves with shape, form, and transformation
of figure and principle.
The work presented in Free Love Gods manifests on paper though these artists often work in a myriad of media
freely exploring this transformation through sound, installation, ceramics,
film, and performance.
It is, as poetic luminary artist Eugene
Von Bruenchenhein writes in his essay Living in the Backyard of Time,
a celebration of the unpredicted, the miraculous, the surprising: “Be
glad that the World is floating in an off-the-beat track where the interplanetary
traffic is almost non-extant, or we all would never have been here at