Been keeping this quiet for a year now, finally ready to announce Kelly Breez’s collaboration with OBEY. Kelly Breez, the feature of the latest OBEY Artist Series – a multi-disciplinary artist and tropical person who lives and works in Miami. Some people call her the “Beverage Lord”.

Working mostly monochromatically, she weaves a sharp eye for subtle humor into her work, acting as a mirror to the absurdities of life. Breez has an eye for details: she notices everything. She’s a sponge for the nuance of the unpredictable tropical wasteland she calls home. Breez finds herself also influenced by Henri De Toulouse-Lautrec, Henry Darger, Mary Blair, Rick Froberg and David Hockney.

Get wavy with the Kelly Breez Artist Series on



Frank Zappa claimed that his compositions were modeled on Calder mobiles. Excited to release the latest mix from The Thirty-Three (The33) for our current exhibition, The Motion of Movements. The33 = Hunters/Gathers Of The Odd, Rare and Curious | Control Center For Several Un-Prolific Record Labels | Temple For Creative Unholiness. Follow The33 on Instagram : @theethirtythree



Pleased to welcome back our good friend and amazing artist, Manny Prieres for our Artist in House residency program with Soho Beach House
Los Angeles-based artist Manny Prieres drops by the House for a discussion on appropriation and the art of transferring a preprinted image from one surface to another, plus cocktails and a lesson in transfer printmaking.
Artist Manny Prieres joins us for a culinary celebration of his Cuban heritage, with soul food inspired by the vibrant island nation and flavors from his abuela’s kitchen. Enjoy cocktails and traditional Cuban dishes for $45.00 per person, exclusive of taxes and gratuity.
Pin-back buttons are a communication device – often used as a weapon of the oppressed, or a quiet form of passive resistance. Join us for cocktails and button-making at this workshop led by Cuban artist Manny Prieres, where you’ll learn to make pin-back buttons and have a chance to express yourself by collecting and trading them with other House members. email –
Manny Prieres (b. 1972, Madrid) addresses the influence of mass communication mostly in the print and digital medium. The work is informed by graphic language and how different social groups have used it to convey or contain ideas. He is interested in how graphic design and the written word are used in art, and ideas that were at one time taboo, fringe or targeted for elimination become cultural sublimation. Another aspect of his work is dealing with the “death of print”. Print being rapidly replaced with digital media in all aspects of culture. The artist is interested in this disruption. He intentionally explores this topic through traditional forms of making such as drawing, painting and digital printing. The method is itself a form of serial production. Replacing the printing press with the hand and by different means repeating the process of creating editions where the outcome is never a perfect facsimile of the original. The final outcome is a nonsensical remnant of the source material, with mathematical precision.
Prieres has shown work at venues in Auckland, Mexico City, New York, Istanbul, Baltimore, Los Angeles and Miami. He was an artist-in-residence at Cannonball (formerly LegalArt) Miami. Prieres was featured prominently in the New Works group exhibition at the Miami Art Museum in 2010. He has been featured in publications including Art Papers, Art Nexus, El Nuevo Herald, Installation Magazine and Whitehot Magazine. In 2013, Prieres’ had his first museum solo exhibition, It Was A Pleasure to Burn, was staged at The Bass Museum of Art, Miami. After the exhibition the museum acquired work for their permanent collection. Though raised in Miami, Prieres now lives and works in Los Angeles.
Looking forward to a great week of projects at the house. Availability is filling up, if you would like to attend an event, please email us at

Kelley 5_W

Words by Rosa Villa

“The artists’ role in society is to point out nuances of the human condition that most people miss while they’re on their grinds.”

When she’s not on her grind, artist Kelly Breez invites locals to gawk at her animated collection of derriere bookshelves and hanging aphorisms. At her solo exhibition at Primary Projects, aptly titled “Fuck it Will Set you Free”, viewers are greeted by continuous yet unconnected pieces, suspended against a backdrop of white walls.

In keeping with her mantra, Breez avoids taking herself too seriously. While wood acts as her canvas, the human stream of consciousness acts as her primary medium. She blends psychedelic sketching with absurd imagery: “Just think, no matter how bad things get, at least Three Six Mafia won an Oscar.” Breez lines the walls with a road map of her mind, highlighting the chaotic and absurd magnificence of being alive. She tells the viewer that art has an obligation to help us understand ourselves better (and if we can chuckle in the process, then all the better!).

Breez explains: “my art is really graphic, sarcastic, slightly crass, and vulgar. Those are some themes I tend to be drawn towards. Coming from a technical standpoint, I gravitate toward things that are really heavy on brush strokes and look really painterly and hand-drawn.”

Like our minds, Breez’s art works are anxious, unfiltered, and mystifying. Amusingly, Breez reacts to the “how-to” culture that seeks to prescribe its readers a functional manual on living. “How to remain Zen while waiting for a representative to assist you” and “How to bounce the fuck back” are craftily embossed on book–like cut outs, hung in perfect alignment along several first editions.

Her pieces could perhaps best be described as ideal fixtures to hang in a creative office, design studio, or in the bedroom. Her art is multi-faceted: it can simultaneously fit in both public and private spaces, while offering subversive visuals that tell us it’s okay to chuck the rule book.

She grooves to her own tune unapologetically. In the words of Charles Bukowski, “there’s no lie in her fire”.

Here’s what else Breez has to say:

What themes do you pursue? 

I like to think my work is the visual manifestation of corner-store-culture, with humorous and political undertones.

Where did you study art? And do you think that to be an artist, one should study it formally? 

Not so much. My family is full of artists so I started getting interested in art at a young age. I paid close attention to the children’s books I would read and all of the illustrations in them, which I think was the earliest art education and major source of art inspiration I received.

I got into a lot of different kinds of art on my own in the beginning of college when I started taking it more seriously and became more interested in being more technical with rendering things. That being said- I don’t believe that in order to be an artist you need to study it formally.

Some of my biggest art heroes are “folk” artists like Henry Darger and Grandma Moses, both of which have wild imaginations and were extremely driven to make large quantities of art. They never went to school.

I feel like sometimes taking your passion into a formal setting and taking in so many opinions from teachers and other students can actually squelch a lot of that raw drive that most artists naturally possess. Oh and I went to college at New World School of the Arts here in Miami.

What is your weirdest creative ritual? 

There’s a lot that occurs behind closed doors when I’m in the studio, buzzing around to different desks and projects acting like a total psychopath. I can have a pretty short attention span sometimes, so I like to skip around through different music videos before I start drawing. They anchor me to one chair, get me a bit more focused on the goal and are a muse of mine. I really like watching movies and shooting film, so for me they almost seem like extensions of drawings. Plus I like to blast the jams while I’m working. It’s a slick 2-4-1.

What jobs have you worked in other than art? 

I worked in production for a while when I was living in San Francisco. I was in the art department and I loved it. I started out interning for a guy that owned a prop house. We’d ride around in his truck going from set to set. He walked me into the industry because I found him, wouldn’t take no for an answer and he appreciated it because someone did the same thing for him. I ended up working on quite a few commercials, a couple of shorts and one very fun indie movie where I was the prop master/set decorator.

In your opinion, what’s central to the work of an artist? 

You have to pay attention to EVERYTHING. Being a sponge to your environment always keeps you wanting to make more work. It’s also what gives you your specific visual language. No other artist on earth is going to have a point of view like yours because you’re the only one living it.

What’s your favorite art work? 

Old liquor store signage.

Name three artists you would like to work with. 

Solange, Monica Canilao, Hype Williams.

What time period inspires you the most? 

I am a total junkie for British time period dramas. I love that no one has cell phones or laptops and no one is talking about technology other than the occasional eggbeater. I love that they all really soak up what each other are saying and they’re super present in their interactions. On a visual level though- i’d say the late 70s and early 80s are the absolute best. I am always trying to visually exist in that space, or at least pull references, colors and vibes out of it.

What wouldn’t you do without? 

The tropics.

What do you dislike about your work? 

That it hasn’t pissed off Donald Trump yet.

What do you like about your work? 

It is always teaching me things about myself I didn’t realize.

What’s the best piece of advice you’ve been given (creative or otherwise)? 

My Dad told me once if you can’t picture yourself doing something that you’re doing now in five years, that you’re wasting your time and to move on. That’s definitely kept me on a path.

What superpower would you have and why? 

Middle school me would say I’d be able to melt into a puddle like Alex Mack (because lets be honest she’s the queen) but now I’d say being able to speak any language would obviously have its benefits and be very rad. Being able to (literally) understand other people is essential to always being able to learn new things and have your bubble of existence expanded by cultures other than your own.



Poet Dave Landsberger culminates his day shooting a poetry-themed remake of 2 Fast 2 Furious with a reading and party at Primary Projects in the Design District.

Landsberger and guests read poems commemorating the death of Paul Walker and other tributes to the Fast Franchise inside of a white Ferrari, generously donated by Lou La Vie, Miami’s Premier Exotic Car Rental Agency.

Get a limited edition “2 Poetry 2 Ferrari” zine with the purchase a special ticket, or get a copy the night of (assuming supplies last) by purchasing Landsberger’s debut collection, Suicide by Jaguar.

After the reading, TURN ON THE AFTER-PARTY-BURNERS with ice cold “NosTails” and an original “Fast” playlist dominated by Ja Rule & Ludaaaaaaaaa.

Sponsored by Lou La Vie, Miami’s Premier Exotic Car Rental Agency


Join us for an evening of good drinks and great conversation as the Institute of Contemporary Art, Miami and Primary present “Collecting 101”, A conversation with industry professionals Jimena Guijarro of Guijarro de Pablo Art Consultants, Valentina Garcia of Phillips Auction House, & Cristina Gonzalez of Primary. Beginning to collect comes with many questions, here is your opportunity to meet on a level playing field and learn more about your first, second, and third steps to building that amazing collection you have always desired. Cocktails provided by Concrete Beach Brewery.


Words by Jordan Reyes

“Good Conversation” is the culmination of everything that Snakehole do best. The Miami / Philadelphia noise-rock duo — comprised of singer-drummer KC Toimil and singer-guitarist Autumn Casey — makes abrasive music, and “Good Conversation” is one of the duo’s meaner songs. Though it’s a familiar, memorable track to anyone who’s seen the band live in the last few years, it sounds even bigger recorded, thanks in part to Ben Greenberg’s studio wizardry.

The song begins with Casey’s swamp metal riff before being joined by Toimil’s pummeling rhythm. It proceeds in a slow build towards wonderful cacophony, all the while keeping a firm beat on the duo’s signature, maddening, noisy miasma. “Good Conversations” is almost a microcosmic effigy to new LP Interludes of Insanity as a whole. It’s got a great riff, a shit-ton of anger and controlled chaos — in short, everything you’d want from a Snakehole tune, except it sounds fucking massive this go-round.

Interludes of Insanity is out March 23 on Wharf Cat Records.




Words by Tim Scott

Though I’ve not experienced Churchill’s Pub, I’ve heard a lot about the Florida music institution located in Miami’s Little Havana. Since 1979, the bar and venue, that many call the CBGB of the south, has hosted some wild musical acts and some wilder times. Autumn Casey and KC Toimil have spent many late nights at the bar as employees, customers and bandmates. Their band Snakehole, has played Churchill’s countless times and the place’s noisey din of the place seeps into their new album Interludes of Insanity.

Recorded by Ben Greenberg (Uniform, Mission Bubble) in Hudson, New York’s Waterfront Studios, the album has Autumn and KC plugging into some hefty noise that leans on feedback but also melody. This is a noise punk power trip that is remarkably listenable.

Piano compositions that peaked through on their self-titled 12″ are given more light on “Interlude Pt. 1” and a strange, almost eerie tone floats between the cracking and loud experimentation.

Take a listen below and read a conversation we had with KC and Autumn.

Noisey: How much does your sound owe to the humidity and closeness of a Miami July?

It’s not quantifiable but it’s definitely present. A swamp vibe does seep in every now and then, and we’ve written songs inspired by our proximity to tropical insects. The song “Izardus” was written in KC’s backyard while lizard watching.

Do you spend much time in the Florida Keys?

As much as we can! We recorded a music video down there at KC’s family’s house, where Satan comes to corrupt us in a wholesome environment. KC had a couple secret shows down there, where only a handful of people would be invited. We also love to just go down there and chill and go to the Caribbean Club.

The band is now split between Miami and Philly. Why is that?

Autumn fell in love and had to relocate. KC is still holding it down in Miami. We are both independent forces and make it work when we come together, and we have been able to visit pretty often. And we hope that having dual bases will present us with more opportunities.

Your sound has changed over time too right?

Yeah, in an ironic twist, the more we learned to play and get comfortable with our instruments and each other, the less cohesive and more wild we became. We also started off touring with Rat Bastard and we would always play noise/experimental shows, and that for sure influenced us to experiment more ourselves.

What is your craziest Churchill’s experience?

We’ve both have been hit in the face by flying shrapnel. KC got hit by a chair during a Cock ESP set, Autumn got hit right between the eyes by (I don’t even know what that was) during a Laundry Room Squelchers set.

One night, towards the end of the original owners tenure, was especially nuts. Autumn was bartending and a full on riot ensued. People were tearing at the walls as if the Titanic was going down and Churchill’s paraphernalia were the life preservers. Over the years we’ve seen our fair share of nudity, fires, rats, possums, explicit drug use, motorcycles in the building, bodily fluids.. etc. We should write a book.

I like the track “Good Conversation”. What makes for a good conversationalist?

Thanks! This was actually the first song we wrote for the album. It’s about social media, and sometimes because of it the lack of good conversation. The lyrics basically talk about being connected in fear and vanity to a network of people and questioning whether or not you have a pulse. It’s also about the good musical conversation we love to share with each other. So maybe to be a good conversationalist you should pick up an instrument.


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