Mikey Benedict Georgeson Born Bexhill-on-sea snow muffled streets December 67. Scouse Diaspora deaf no hearing aid. Sits at the front Catholic comp Crawley.
Later Chelsea school of art. Illustration under matriarch Susan Einzig dear friend of Jonny Minton “art for art sake money for god’s sake and gin for fucks sake”.
Miraculous Brighton sojourn unexpected persona emerges. Supernatural as natural. Accidental Vessel for dead magician and pop star performance artist. Banned from Radio One for refusing to reveal real name in live interview.
Fast forward exhibits Dopamine Molecule of intuition John Moore’s Liverpool.
Sings Georgian post-Soviet lore Shakespeare Theatre Gdansk. Five year doctorate Aesthetic Machines. Then Dr Mikey performative keynote presenter. Fiction ontological truth. Methodology of bio-synaptic event. Making it up as we go along.
Trance ritual full being in expressivity. Art as music.
myKey is an artist using the full range of their capacities: painting, singing, making, constructing, recording, filming, writing, performing and collaborating. As a song-writer they quite by accident found themselves within a realm of processional research in academia.
Song
The Song and their experience of it became a means of making experience and relationality in meaning making accessible by making word statements. Song as ritual technology and event allows us to perceive the region with ourselves as part of the region. Song becomes a model for ritual interaction and listening to each other.
Quite by accident in 1991, myKey became a conduit for a dead magician and a singer in a band.
Cue a heady odyssey as a pop star in the heart of the pre-internet televisual media, as the singer of David Devant and his Spirit Wife.
myKey otherwise known as the Vessel (Mikey Georgeson) found his way into the art world via the John Moore’s painting prize. Dr Mikey Georgeson has sometimes reverted to The Vessel sobriquet to create a performative foregrounding of his doctoral research into aesthetic ontology.
Valuing emergence and felt understanding enfolds conceptual concerns into a singular plural tapestry of matter flow. We express ourselves to become a part of.
This matter flow feels like the temporal thickness found in the act of painting – disrupting oppositional thought operations. Improvising an extra-embodied sense of thought in becoming. By working with the sense of the skin or affect, painting gives access to the virtual realm prior to conceptual consciousness.
Their award winning song-writing workshops have been with Critical Practice (Chelsea School of Art), The Royal Standard Liverpool, Inspiral London artists’ group, Festival of Georgian culture Gdansk, Inside Inside Istanbul artists’ group, Summer School for the study of Affect Milersville University and University of East London Electives Programme .
They curate the annual Sensorium exhibition as part of the Affect and Social Media conference at the University of East London, which continued in virtual form this year. Featuring their performance keynote Dr Who and The Nonentity created with professor Tony Sampson.
You can’t send a letter to no-one Written with Rob Flint during the Istanbul Inside Inside residency in Galata as part of the third Istanbul Design Biennial – Are We Human? The performance took place on the last day.
Dr Who and the Non Entity a keynote speech for the Affect and Social Media Virtual conference Sensorium 4.5 2020