Please introduce yourself and/ or your project. Please give a brief relevant history.

Hi my name is Kevin Gan Yuen (b.1981).

I play guitar and electronics in the conceptual projects Sutekh Hexen (2009-present), EERIÆRMOR (E:Æ:R) (2022-present), C.T.E. (2023-present) and often collaborate with other artists, musicians and designers. Musicially everything with the exception of E:Æ:R are collaborative efforts.

Also, I have a graphic design studio called VIRALOPTIC (2005-present) with a long recorded history of involvement in identity + branding, packaging and book publishing of educational, lifestyle, comics and entertainment industries.

My humble beginnings and love for working with underground bands and independent label activities remains.

What does the word ‘Animism’ mean to you? This can be as literal or abstract as you wish. Does it find life in your project or in your day to day movements?

I like to think that animism is the humans attempt at quantifying existence on an individual basis. To comprehend the tangible diversity of being, whether through traditions, experiential knowledge, etc. to inevitably contemplating the mysteries of the intangible existence: the (deeper spiritual) component of animism – unifying structure(s) and understanding the essence of life and its relationship with impermanence (death).

Animism honors a truly ancient, undeniable and witnessed system.

Animistic concepts are weaved into my own creations/narratives.
And in my maybe absurd perceptions of certain day-to-day occurrences.

Do you talk with spirits or deities? Do they answer back?

To a degree, ancestral observance combined with a degree of naturism, essentially post-modern animism. A sustained attentive shard of time toward forever.

Are your ancestors part of or inform your daily practice and / or creative endeavors? Two ideas some people engage with are ‘ancestors of well’, and ‘ancestors of path’. How do you interact with the ancestors that hold unresolved trauma and negative traits like racism or a history of physical abuse or maybe even an active colonizer? Or, do you only engage with “healthy” ancestors? How do we, and can we help heal our “unwell” ancestors? How do you interact with ancestors of path (for example music, academia, spiritual path, activism) creating a unique path for yourself without creative or cultural appropriation?

I think we are informed from the past to heal through meaningful and impactful interactions in the present. Otherwise, maybe its best to regularly question our own instinct for survival.

If you could have a secret magickal power (or have one), what would it be? Or, what is it already?? And finally, what would you wish to do with such a power?

We are here.

What is the season of the year that resonates most deeply with you and why? Do these vibrations appear in your work?

Autumn. When the veil thins to witness the uncertain transitory journey.

What do you dream of destroying?

I have always dreamt of destroying humanity as a merciful action toward restoration.

What do you dream of creating?

Honestly, I feel the dreams of conceptual obligations already had been, are currently in queue, or will be fulfilled in time.

What does the word ‘ritual’ mean to you? Do you incorporate any rituals into your daily life, your practice or our performances?

The practice of system(s) and structure(s) within group or private settings.
Yes. Just trying to make it through!

Do politics enter into, inform or speak through your creative workings? What are your thoughts on the creative process’s responsibility to, or freedom from politics?

Yes, creating with intention itself is radical in the context of modern societies, which seek total destruction of everything. Having the potential to alter and challenge ones understandings of beliefs and perspectives is highly political. Additionally, to remain open-minded, accept and oppose something that has equal gravity or value for others is absolution.

What does the word ‘community’ mean to you and how does it influence your process and practice?

Community is an experimental process for like-minded people to dabble in systems and structures outside of the status quo.
Sometimes for very brief impactful periods and other times ruinous pursuits toward commercial cannibalism.

The projects that I have been involved in throughout 12+ years have always sort of existed on the fringes of various communities – I am not trying to sound cool or outsider, because the fascination and foundation of what I do really is unconventional.

All deliberate and by design for personal flexibility and growth, through diverse interests and I want to honor that.

Any last departing offerings? Anything you would like to talk about that wasn’t covered?

Thank you so much Rob, I really appreciate this opportunity to write a mini-novella and miss seeing you around here in the Bay Area!
It is an honor to know you and share this timeline together.