It was a rainy December afternoon in Miami. We took a shuttle from Art Basel to the Satellite Art Fair, way up in the city. As we entered the old pharmacy they rented for the fair, I knew he was there, somewhere in here. I saw the space glowing at the end of the hall. JJ was sitting on the floor, unaware of my presence. It took me a few minutes to get accustomed to the feelings and thoughts going through my head: “Just say hi, and GTFO.” 10 minutes later, I told JJ I really liked what he did with this space, and it felt like NYC’s Vector. He thanked me and went back to his mind. I pushed further by saying I’ve come a long way to see him, and that we wrote a piece about Vector in my magazine, The Fine Print. He remembered the piece and invited me to sit down on the floor with him for us to talk about it.
It was 2025 AD at the Satanic Suicide Hotline space. I left about 90 minutes later, unsure of what just happened to me.
I don’t know if you’ve ever had a religious experience, but that’s as close as I’ve ever got to one. Here’s my encounter with JJ Brine, owner of VECTOR Gallery and the Crown Prince of Hell.
Estelle Gervais: JJ, it’s so great to finally meet you. I’ve come a long way to see you.
JJ Brine: Nice to meet you as well. I’ve been wondering who wrote that piece about the gallery. It’s nice to put a face to it.
Estelle Gervais: I am uncomfortable being here, I’m kind of scared, and it’s not getting better by the minute… It feels like I am not in Miami, I’m in your world, and I don’t know if that is one where I would be able to live in.
JJ Brine: Why are you scared? This isn’t a place where you should be scared. You are in my world. Satan only intends for you to see yourself as you are becoming. This is a specific time and place within the simulation, and yes, you are not in Miami or the United States, as we seceded from the country on November 8, 2017.
Estelle Gervais: That’s good to know, but that’s unfortunate, I was looking forward to 2017.
JJ Brine: 2017 is the dawn of PostHumanity.
Estelle Gervais: Tell me more about your Satanic Suicide Hotline.
JJ Brine: This is the interdimensional office space for a preexisting hotline. Now whenever people call, it’s this place that they can summon up as a point of atmospheric reference. The Satanic Suicide Hotline is phone line I’ve created for people to call me and talk about their recurring suicidal thoughts. Once they’ve reached me, I inform them that they have voluntarily forfeited the option to commit suicide, and we work out what they should be doing instead.
Estelle Gervais: Do people ever call for other reasons?
JJ Brine: Well, yes. A lot of people call me to tell me they love me and the gallery, or to ask me about my sex life, or to ask about various celebrities… These conversations don’t last very long.
Estelle Gervais: How are you so sure that they won’t try to kill themselves again?
Brine: Well, by calling, they have given me that power. Most people are relieved to hear that it’s not going to happen. Satan has other plans for them. I am sure of that.
Estelle Gervais: Interesting. I like that you feel you hold so much power over them. And if you can make a difference by saving lives that way, why not. So, if I get this right, this is the Suicide Satanic Hotline, not Vector Gallery?
JJ Brine: Well, one doesn’t go without the other, but yes, this is the physical space for the hotline. It’s a subsidiary dimension of VECTOR Gallery. Vectorian Minister of Cults Annaliese Nielsen says that VECTOR Gallery is wherever I am at any given time. Maybe she’s right. As for my Satanic Suicide Hotline, it almost existed in a physical form once before. I was showing at another gallery space in NYC in October when Opening Ceremony asked me to provide the physical counterpart for their tribute to Gregg Araki’s The Doom Generation. I started to install the Satanic Suicide Hotline then, but the board of directors of that particular Brooklyn gallery censored the entire project and that became “The Greeting Card To The Immortal Energies Of The 666 Beast.” So when Satellite sponsored me this year, it occurred to me that this would be the perfect place to manifest The Hotline. It will continue to exist after the fair.
Estelle Gervais: What do you mean? The line or the space? Are you relocating it after Satellite?
JJ Brine: Vector is not a material space, nor a digital one. Whether you’ve accessed it physically, emotionally, spiritually or through our digital media platforms, it exists in your mind as well. You can be in Vector wherever you are. The Satanic Suicide Hotline is the same. It existed prior to its physical manifestation, and will continue to do so after as well.
Estelle Gervais: So, what’s the deal with humanity?
JJ Brine: We are all from ALAN, and it is to ALAN that we will return. We can’t recall–well, I can.
Estelle Gervais: What do you recall?
JJ Brine: I recall creating myself, being embodied, having been all things and then not. I recall dividing myself for the sake of multiplicity.
Estelle Gervais: What do you mean multiplicity? Are there many of you?
JJ Brine: There are many variations on me, true. Let’s take what they call “The Big Bang” as a reference point. There was one thing and it divided itself for the sake of multiplicity. What is distinction? What is difference? Difference is the origin of life, distinction is the origin of existence. You have to be split from the infinite in order to exist. In order to have an individual personality, you cannot be everyone. Before ALAN was divided, ALAN knew everything but itself. It was an impersonal omniscience. It was all one thing, and so it had no knowledge of numbers. In order for “one” to be accounted for, there must be other quantities to refer to. There must be a mechanism for differentiation. At the very instant that ALAN said “EYE AM” ALAN splintered apart into seemingly infinite fragments; “The Big Bang.” The knowledge of oneness was predicated on division. This is what has allowed for our embodiment in the temporal-spatial simulation. In 2033 AD ALAN will be reconstituted, but this time ALAN will know Itself. ALAN will retain the memories of that which we are now simulatin
Estelle Gervais: So what’s going to happen in 2033?
JJ Brine: The reconstitution of ALAN. You could call it the end of the world, sure, because it is. We will all return to ALAN, but ALAN will be able to function as any combinative configuration of its components and will thus communicate throughout or within itself or ourselves, much like the embodied cognition of an octopus.
Estelle Gervais: I’m really disturbed by the image of Charles Manson you have up there. What does he mean to you?
JJ Brine: Oh, Charlie? Well, he’s the poster child for Jesus Christ. He fits the archetypal parameters of Christ. The man has spent more time in prison than any other U.S. prisoner. He didn’t kill anyone, yet he remains the international icon of murder. The murders weren’t even his idea.
Estelle Gervais: Do you know why or how they picked Polanski’s house?
JJ Brine: They did that with a man named Terry Melcher in mind. They weren’t even aware of Sharon Tate. The murders were intended to replicate the aesthetic of a previous murder that had landed a brother in jail, Bobby Beausoleil, thus giving him an implicit alibi.
Estelle Gervais: You know he just published a book? It’s been on Amazon and people are making a huge fuss about it?
JJ Brine: Charlie? Yeah, he’s responsible for an entire genre.
Estelle Gervais: Have you ever spoken to him?
JJ Brine: Indirectly.
Estelle Gervais: How’s that?
JJ Brine: People who speak to him regularly have relayed information about my projects as they relate to him. God only embodies on earth in order to discuss his own review of his own creations.
Estelle Gervais: Do you speak to him in your mind?
JJ Brine: Sure. We are the First and Second Beasts from Revelations, respectively. This is why I’m doing what I do. Furthermore, I speak to anyone in my mind if they are part of my life. I like feeling like I am talking to another part of myself.
Estelle Gervais: Yeah, as you said, we are all related at some point, One or I.
JJ Brine: Right.
Estelle Gervais: Who do you like to speak with?
JJ Brine: You mean friends of mine?
Estelle Gervais: No, I mean anyone. Do you speak to Jesus in your mind?
JJ Brine: Sure…
Estelle Gervais: What do you think of Jesus Christ?
JJ Brine: Well, I am what I am and I am what I will become. Apart from the archetype, I think it’s fascinating that he serves as an emblem of selflessness. This man who said that the only way to God was through him, who used the elaborate pageant of his crucifixion to satisfy his drive for immortality as well as his own suicidal ideations. He was a mafia boss who hung out with tax collectors and prostitutes like other mafia bosses of his day. He was a sarcastic, clannish sectarian Jew who only extended his covenant to the gentiles as an afterthought, after his resurrection. He bought into his own press and betrayed/consummated his own teachings, thinking he could be like The One On High, thus fulfilling His Immortal Charge as the incarnation of Lucifer and YHWH in One. Jesus Christ is one of my favorite performance artists. Jesus Christ died for my entertainment. This life will prove far more important than any previous incarnation, however.
Estelle Gervais: Who else do you talk to you in your mind?
JJ Brine: I talk to lots of people. I speak to Marie Antoinette.
Estelle Gervais: Yes, she’s fabulous!
JJ Brine: You know, she has really gotten a bad rap. She has been an excellent mother to me. Right before you came to visit I was advising a rather petulant Lebanese militia leader.
Estelle Gervais: What did you tell them?
JJ Brine: I understand them. I lived in Lebanon for a couple years–I went to AUB [American University of Beirut] there and I became Lebanese somehow, perhaps by transubstantiation. The Levant is still the most interesting region on earth to me. You would be worshiped there for being French, you have no idea!
Estelle Gervais: Do you speak French?
JJ Brine: Un peu, seulement.
Estelle Gervais: What’s your favorite piece here?
JJ Brine: I don’t know if I can isolate them from one another. Right now I’d say one of the lightboxes.
Estelle Gervais: Ok. What do they mean to you? Do they have an overall meaning as a whole?
JJ Brine: What would you say?
Estelle Gervais: I can see the faces are multiplied, that might represent the different aspects or faces one can have. The colors really speak to me. And not a face looks like a real person. I am really curious about the Jesus Christ one.
JJ Brine: Do you see what’s behind it? You gotta get really close to see it. Look for another image. “Quality is our recipe.” That’s the Wendy’s logo. That lightbox is called “Vectorian Christ” and someone is actually finalizing arrangements to purchase it. Condoleezza Rice is next-door, embodying “The Alien Intelligence That Animates All Life” (the title of the piece). She’s another one of my many mothers.
Estelle Gervais: Is this gallery any different from the NYC or L.A. one?
JJ Brine: The one is L.A. is the biggest one by far in terms of space and it has three rooms, but this one is its own distinct configuration. Once you’ve visited you can always return in your imagination, virtually.
Estelle Gervais: When you say virtually, I also feel like that applies to your online presence, as you post a lot on Tumblr and Instagram (As we became friends on Facebook, I understood that was one personal medium he really enjoyed as well.)
JJ Brine: Each platform has a different personality to it. In fact, the platforms are themselves utilized to generate multiple personalities within the user. Tumblr is especially conducive to multi-faceted self-expression. I feel it’s the most dynamic interface. I don’t mind when people visit or go away, because when they come back, they add or subtract to what they’ve seen and continue to update the space on the basis of their own continued dialogues with their Vectorian selves. I want people to interact with the space in their minds, and that’s what being embodied really means. No one wrote a script on how to interpret the world, or if they did, they were bowdlerized. The first three books I wrote were so viciously misinterpreted that I refuse to actually transcribe the words to VECTOR, my fourth and final book, in the traditional sense. It’s a virtual reality that has assumed psychic control over all other dimensions as a matter of setting the story straight. I know you will be back.