Stan Chisholm/18andCounting

Muireanne | Nov 29, 2010 | Comments 0

Courtesy of Lee Harris.

By Muireann Prendergast

Now, it’s time for something new. Very new. Stan Chisholm or 18andCounting . Interdisciplinary artist and multi-genre concept DJ extraordinaire. Respect the man. Respect the names. “18andCounting is as important to me as my birth given name. The next person to misspell, undermine, or assume it has something to do with age is getting punched in the mouth.” He calls South City St. Louis his native land but has broadened his reach to embrace the Chicago/St. Louis scene for the past 5 years. Chisholm says he’s midwest to the heart and bone; midwest that is but “gunning to be global.”

What is 18andCounting? Chisholm explains that this is a name he has been using since he was 13 years old. He says he started counting his personality traits as a way of justifying why he got on with such a wide range of people, as an urbanite in a suburban school. This fixation with multiplicity led to the start of his interdisciplinary art. “I would have an alias for each discipline. i.e. Anti~ the emcee, Dox the designer, insi the stencilist, etc. Again a silly mission but important for understanding what, how, and why I create. Eventually I found it difficult to keep those titles separate.”

The number 18 in the name is significant for Chisholm for numerous reasons. It was the number he stopped counting at when he was in middle school. It also marks the traditional coming-of-age moment in western cultures. Of course, it has its aesthetic appeal. For Chisholm, the design of the number 18 is interesting in that it includes “the most rigid and simple number and the most twisted and complex.”

And…..andCounting? This suggests narrative, a narrative which reflects his work, explains Chisholm, as well as fluctuation, collaboration, addition, subtractions, divisions etc.

What is the relationship between art and music for Chisholm? Why, crunchy peanut butter and raspberry jam, of course. Also, let’s not forget that Chisholm is a kind-hearted human being who likes to share his talents. “I see it as my duty to both live in and polka-dot grey areas,” he muses.

So, here comes the big question. How has his innovative approach been received in St. Louis? Well, it seems. “People get it and are ready for it. I’ve been busy on many fronts in this city and recently people have many ways to reach me and offer me things”. Chisholm values trust above all else when taking on a project. “It’s important that I let people know that I’m in charge of me. When I get offers I’m given a lot of freedom. I think trust is a huge award, and in a lot of cases it’s all I really want.” He has been receiving a lot of trust recently with many large scale collaborative projects with different organizations, independents and audiences.

How has the interdisciplinary art scene evolved since he started out? The main development as he sees it has been the growth of these collaborative initiatives right across the country. This seems to have happened for two main reasons: economic hardships and social networking. “In the past few years we’ve realized that we don’t need massive celebrity figures pushed on us because we can build our own. People now feel like they are a part of status growth because they can click and share away and literally see the numbers grow,” says Chisholm.

So, how does this apply to St. Louis? St. Louis, he thinks, now has a support network of individuals who don’t “deem themselves to be creatives” but work behind the scenes to promote the interdisciplinary art vibe. He nods to Sleepy Kitty, Made Monarchs, Sloup, And PBR Dave (Chisholm likes to see corporate money guided by individuals with good intent and good ideas).

However, the city ultimately reflects its geography: center of the county, smallish, with city versus country political divides and a population looking beyond it. “The people who live here know that everyone is on edge because we’ve all been to bigger cities and want more, but we can get away with more here because of our size and the lack of greedy intowners trying to get big off of our preset reputation.” That being said, making friends is key in St.Louis (real friends, not just network heads). Let’s not forget the importance of hard work either. “Everyone knows someone with a building, in a band, with a great idea etc… We’ve built this system that is a support group, showcase, experimental lab, and family reunion all in one.”

That being said, he does have worries, two worries really. That of the scene not developing as it could, of people being too comfortable to put in the work it takes to produce creatively and of being alone without peers, outside of his college friends, with whom he can ‘synch’ with. “We really need to support fresh talent around here or we’re gonna find our selves in a pile of tired humans,” he continues.

What are his favorite venues in St.Louis to perform/exhibit? 2720/Art D favors installation experiments for its size, crowd, staff, and decor and general art savvy.

He also names Upstairs Lounge for its homey vibe “It’s intimate and also flexible.” So, what doesn’t he like in avenue? “When a place is too set up it turns me off. I want to feel like that place belongs to myself and those who I share with.” Artwise he doesn’t think it’s cool to name venue but does say that where there is a good staff and decent budget, it makes all the difference.

For Chisholm, in terms of venues, there is also a lot of unchartered territory, like the Royale. “I’ve got some tunes that I think would go off well there. I try to show in every set I play that I’m not just full of bangers and bouncy jams.” However, he is hopeful that one day he wont be depending on venues at all. “I’m going to start bombarding backyards and alley ways. There’s so much more out there. “

What kind of audience does he have in St. Louis? It’s quite broad. “I bounce around a lot of genres, and I plug in performance and installation elements so I end up with different people.” It’s all cause and effect for Chisholm. “I wouldn’t say I have a guaranteed following everytime out because I normally play tunes that fit the bill. Venue, fellow performers, crowd energy and each individual in it, the time of day etc. These things all shape my playing which in turn shapes my audience.” Ultimately, it all depends. Things have a different meaning for different people. There’s the flux of 18andCounting again.

Plans for the future? Many. “I don’t fall for that ‘everything thing has been done’ rubbish. Subscribing to that thought is the anti-future.”

For the year ahead Chisholm wants to set his own deadlines and of course, hang out with his nearest and dearest a bit more. Let’s not forget that. However, as ever he’s looking for something new to do. “I’m concerned with dissecting the differences between museums, small galleries, bars, and music venues, spaces that aim to cater to the public, but often find themselves as a hub for a specific type of person. I want to turn that %&$@ upside down.”

Stan Chisholm/18andCounting

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