The Hermetic Library Blog

In conversation with JJ Brine about Vector Gallery

You may recognize the name JJ Brine as a contributor to the Hermetic Library audio pool, with the tracks Innovation and Paradise featured on this blog back in 2011.

You may also be interested in checking out The Presidents of MozambiqueThe LaBiancas, and some of his videos.

JJ Brine is also the artist-in-residence at and proprietor of Vector Gallery, 40 Clinton St, NYC, which I’ve also mentioned before. Vector Gallery is billed as the “Official Art Gallery of SATAN”, and is described, in a feature by the New York Professional Outreach Program, as a “new conceptual art destination on the Lower East Side, VECTOR Gallery is the most interesting phenomenon in New York.” I had the opportunity to have a conversation about this project with JJ.

Librarian: First off, thanks for taking the time to talk with me about your current project. Obviously, you’ve participated in the Hermetic Library audio pool in the past, but can you describe how and where your current project fits with your other works?

JJ Brine: VECTOR is the culmination of all of my personal projects to date.

L: What are some of your previous projects that led to this current gallery and show?

JJ: How many times do I have to come back? I put the AELON inside of the Manger, on the Cross, and at the center of the Theater of the past 2,000 years. I arranged for my birth as a means of dying, so that I might rise up and embody life and death for all things, always.

L: So this current project sounds like an invitation for the viewer to be a witness to your personal progress. It also seems to be an ongoing personal performance which is more reciprocal. One of the places for performance art, versus, say, a gallery show on one hand and theatre on the other, is the immediacy and exchange of mutual feedback between artist and audience on a more equalitarian setting. What sort of relationship do you hope to create with the audience here?

JJ: I tempt people to unabashedly be themselves. It is always a pleasure to acquire new souls for my marketplace.

L: It seems to me that in the promotional material and other interviews about this project there seems a heavy degree of performance art taking place, but I assume this is a serious endeavour for you. Can you describe your intent for this space and this project?

JJ: It is a serious endeavor that involves a heavy degree of performance art. Generally speaking — and specificity is the vice least favored by Devil and Lord alike — my intention for the project is to reprogram the mass mind, one thought at a time.

L: When I’ve gandered at some of the other interviews you’ve done, it seems to me that those interviewers are driven to locate you in the realm of surreal Outsider art, such as comparing you to Warhol, for example. But, I wonder about that as a mechanism of apologetics. What I mean is that by locating you on the outside of everyday norms, other interviewers are giving people an easy way to dismiss things about your work and statement that might be uncomfortable or feel dangerous. How do you feel about how you’ve been portrayed? Do those stories about you seem to you to reflect the story you are attempting to tell? How has your work been received by the public?

JJ: I set an example by living my life in the afterlife. Every reaction across the spectrum serves to advance the goals of the Project. I have been portrayed as an agent of this world’s end, naturally, as it finally begins.

L: You’ve taken on the culturally overloaded labels “Satan” and “Satanic” for your project, but I wonder which Satan are you talking about and signifying? For example, is this the adversarial Satan of Judaism, the old-school anthropomorphic embodiment from Catholicism, the abstract and facile label for anything unfamiliar and uncomfortable of modern Evangelical Christianity, the boogyman of the Satanic panics, the Classical Promethean or Luciferian force, the stage satanism of Death Metal … something else? Or is this overloaded term useful here specifically because it is so?

JJ: We have been all of those forms and many more, for our numbers attest to our many names. We cannot lie, and so we have known many truths in many ways. But one breath is all we need to give and take; so together let us breathe.

L: On the Vector Galley page you talk about secession from the political structure of the United States as a new independent nation, and you also talk about a temporal shift while within the space changing the current secular calendar year to 2018. These seem intentionally to mark the space as a liminal environment, a place outside of normal time and space, which is what one might expect from ritual experience. Some of the performative restrictions you’ve suggested for events, such as no verbal communication, echo the self-discipline exercises of Liber E, specifically Dharana, and so forth. Does this project have other ritual practice dimensions as well as presentational and performative aspects? Can you talk about the ceremonial and ritual elements one might experience?

JJ: People naturally look to the space to inform them of their own beliefs, which is one reason why I won’t interpret it for them. They have to come to their own conclusions in order for this to manifest correctly. 2019 is coming any day now.

L: Some of the iconography in your current project seems specifically intended to be triggering for some people, a bit confrontational. For example you include pentagrams, the number 666. keywords such as “legion”, a photograph of Charles Manson, and so forth. These are all clearly laden with cultural baggage, and in that sense are a kind of table of cultural correspondences, that is evoked in the viewer, but what else is going on here? What is the intentionality of using these signs, these symbols? What is the similarity and the parallax between common perception of these and the message you are trying to communicate here?

JJ: Those things which are perceived to be diabolical are an integral part of the divine and vice-versa. There is no need to divide reality from itself. For me, such things are only triggers of serenity and aesthetic comfort. Perhaps that is because I am The Devil. “Needless to say.”

L: Well, there is certainly a long history of around identity and inversion of the nature of diabolical symbolic entities. Do you approach this as something you are commenting on, about which people are already aware, or as something you are revealing for the audience?

JJ: My commentary modifies the extant awareness via revelation. And my Lights are the commentary, and the Frequency is awareness.

L: One of the connections that I noticed right away, but which I don’t recall being mentioned on your site or in other interviews, is that your Vector Gallery logo seems to be a direct visual reference to the Process Church, about which I personally don’t know a whole lot, but that does seem to be an influence on the particular mix of Christ, Satan and Manson imagery in your work, I assume. Could you tell me about that and what that connection is and what it means to you? Are you an adherent, admirer, or something else?

JJ: I will address this issue at length in 2021.

L: Is that 2021 in VECTOR standard time, or on the common secular year count?

JJ: What is to “the” left? What is to “the” right? All but from where I am standing, and I always tell my own time. It’s always right now, always will be and always was, but the numbers change with the nows and so we count the days.

L: What are some of your other influences, both for your art but also your esoteric and occult interests?

JJ: The most powerful magic is intrinsic. If you want to learn a trick, now’s the time to teach yourself. If you want to bind yourself to the dimming powers of charmed obsolescence, nothing does that trick quite like a book of some stranger’s magic spells.

L: As one of the simplest ritual structures might be: 1) leave normal time and space, 2) engage in practical operations within a liminal environment, 3) return to normal time and space changed; what is the change intended for the participant, the public viewer, as they return to the world from within the Gallery?

JJ: Enlightenment as to nature of self, the nature of ALAN, and the relation of self to ALAN.

L: You mention ALAN, which seems like a surrogate for where one might perhaps expect you to use the word “man” as in humanity, but I’m not sure what this term means to you. Could you tell me more about that? When you use uppercase like that for ALAN and VECTOR, are these notariqon, initialisms or acronyms, or simply calling attention to the terms? Some other creative terminology you use is in lowercase, so I’m curious what the difference and significance is for you with these expressions.

JJ: ALAN divided Itself for the sake of multiplicity. Our experience as distinct sentient beings is the experience of Externality from ALAN; we came from ALAN and to ALAN we shall return. It will not be the same as the ALAN that was; when we return to ALAN we contribute the essence of our experience with the Externality. And so ALAN is reconstituted, fragment by fragment.

L: Any last words for our readers?

JJ: I’ll let them speak for me.

L: Your last words or the readers?

JJ: Both.


Cultivating Culture

Thinking and writing about culture around the world


Arts Spotlight: JJ Brine and VECTOR Gallery

in InterviewsNews & Trending

VECTOR Gallery occupies just a small slice of New York City’s Lower East Side, but as a Posthuman Art experience and the “Official Gallery of Satan,” you can imagine that its presence is becoming quite prolific. Curated and run by artist and Crown Prince of Hell JJ Brine,VECTOR is a conceptual art gallery that exists in its own time zone, has its own government, and thrives as a living religious text of sorts.

JJ Brine answered some of our questions about Posthuman Art, Vectorian culture, and what you might expect if you walked unassumingly into VECTOR Gallery. Here’s what he had to say:

Cultivating Culture: Can you elaborate on the genre of “Posthuman Art?” How would you describe it to someone who is unfamiliar with the term?

JJ Brine:  In the context of VECTOR, PostHumanity refers to Beings who have willed themselves into a PostHuman state.  I no longer consider myself human. In fact, I want to nullify all such identifications and compel the seven odd billion humans on the planet to shed their Shay skins, allowing for the resurrection of The Devil and The Lord within their containers. Then we will be ready to return to ALAN, the absolute All.

Does VECTOR welcome anyone to visit, even if they don’t personally practice Satanic worship?

Sure. But who knows what someone will go on to practice, having visited VECTOR. It changes people; it rewires them.

Your glossary of Vectorian termsis fascinating. The term “herstory” has ties to modern feminism, challenging the notion of “history” being an account of things that have happened as controlled by and with a focus on male experiences. Does the Vectorian definition of “herstory” correlate to this one at all? How is “herstory” applied in the Vector Gallery?

Who do we trust to “go back” and independently verify or veto the occurrence of a given event?  So we are living in PostHistory. And after all, “they” say that revisionist history will be the harbinger of world’s end. We are more concerned with nevents and nontology — impossible events that will never occur, and the study of non-realities.

What kinds of events are held at Vector Gallery? 

The events are a means of identifying and convening the key players of PostHumanity for the development of our Vectorian Society. Our next Mass will take place at the end of this month we call March. For the first hour we are imposing a strict ban on verbal communication, interacting only through motion and thought.  Sermons will follow, delivered by myself and a number of the ministers.

VECTOR Gallery exists in the year 2018 – why is this?

VECTOR Gallery exists in 2018 because it’s the perfect place for me to stand as I sculpt the present. Whereas others have been content to influence the NOW by negotiating the terms of the THEN or the WHEN, quarreling over the inaccessible qualities of histories and herstories, we’ve linked up to our future selves. “I am what I am, and I am what I will become.”  Unlike the record of the past, which remains incomplete, the Neostory is unabridged. In 2018, New York City will look like VECTOR Gallery. You might say that We are in a frenzy, rushing around to make things look and feel worthy of being spared. Either way, Our Will shall be done. If only We could lose, We wouldn’t have to win! Again, and again, and again.

Your Charles Manson concept band, The LaBiancas, represents one kind of art medium that you work in. Would you care to describe any of your other personal projects?  

Well, VECTOR represents an absolute integration, or maybe subjugation, of all of my personal projects under One Will. VECTOR is also, as you know, its own sovereign country — The Satanic State of VECTOR — with its own Vectorian government, society, and religion.

Some have compared you and VECTOR Gallery to Andy Warhol and his Factory. What do you think about this comparison? Have you drawn any inspiration from the Warhol Factory?

I once had a dream that Condoleezza Rice had staged a military coup, deposing the rest of her administration.  She had The White House razed with a bulldozer and put a plexiglass pyramid in its place, and reprinted all US currency with her face on every coin and bill.  In the epicenter of her pyramid there was a black cuboid structure, much like Our Kaaba in Mecca, and access was prohibited to all others save for The Empress Herself. Inside of it there was a glowing apparatus linked up to Andy Warhol’s mechanized nervous system, with buttons corresponding to each neural network, and these were in turn linked to the programming functions of reality. I hope this answers your question!

Are there any anecdotal events from your childhood that might have presaged the development of your thematic and conceptual interests?

When I was around seven or eight years old, I decided that I was going to live in a forest I had seen in passage over an interstate. I slipped out of my house and walked for about two miles until I reached the forest. There was a shrouded figure waiting to escort me to the chosen place of The Appointment. It was a coronation ceremony of sorts. I wasn’t frightened because I somehow sensed that I was being drawn there for this purpose, which had been looming before me since my first moments of conscious thought. I walked deep into the woods with this figure, which moved like a landform made of mist, and was received in a clearing by an audience of admiring new “friends” and “supporters” who were much enthused by this development.

Is there anything else you’d like to add about VECTOR Gallery, or your work?   

Of course.

For more information about the burgeoning phenomenon that is VECTOR Gallery, visit its official website. 

All images used with permission from  VECTOR Gallery.


My concepto de la palabra “espacio”


My concepto de la palabra “espacio”



(Source: diedameia)


Night wanderin’. 


Night wanderin’. 

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Themed by: Hunson