Utilizing “physical cast-offs and polymer abortions of our industrial cultural identity,” performance artist JASON WALLACE TRIEFENBACH‘s Dream Warfare 3 examines his personal relationship with physical material through the prism of its cultural value. The film’s cumulative effect for the viewer is an intimate sentiment: “a witness to [Triefenbach’s] silent, personal victories over his environment’s mundane relics and artifacts, [delivering] them from the gray null by realigning their utilities, identities, and purposes. Triefenbach’s snowy-white love is not unlike those of Gepetto or Jesus Christ” (William Joseph Gass).
A life-long devotee of collage process and personal fantasy, Jason Wallace Triefenbach’s practice centers on questioning and attempting to define the interconnection between psychic and external reality. He is a graduate of Webster University and the recipient of the Great Rivers Biennial 2005/6 Award, which included a three month exhibition at the Contemporary Art Museum of St. Louis.
Package includes two 15×10 inch full-color sheets combining film visuals and three essays: On Cannibalism (Jason Wallace Triefenbach), Letter of Recommendation and E Cloacus Unum (William Joseph Gass): a critique of the Triefenbach exhibit Relics, Rimjobs, Robbery, Resonance: More Techniques of Natural Magick: Dream Warfare 3 (Saint Louis, 2007).
WILLIAM JOSEPH GASS is a Saint Louis-based writer, artist, and curative conduit researching Brechtian strategies of epic theater for use in health care contexts. Gass was the 2008 winner of the Frieze Writer’s Prize and has contributed further criticism and essays for Frieze, Flash Art, St. Louis Magazine, and others.