Tyler Brett, F-14: Edward Van Halen (EVH) special event recruitment kiosk for international airshows, 2004, inkjet print, 16x12 in. Instrumental Conditional Effect: Participatory Incentivization Motivated By Virtuoso Improvisations.
Embedded Files
Tyler Brett, F-14: Edward Van Halen (EVH) recruitment camouflage adaptation for air forces, 2004, inkjet print, 12x18 in.
Tyler Brett, various Pop Art/Neoplastic 2-D, 3-D & rock guitar solo audio loop studies.
Tyler Brett, Hot For Teacher (HFT): Edward Van Halen (EVH) mixed media study # 2, 2004. Acrylic on canvas with CDr HFT EVH electric guitar solo incentivising audio loop for students, workers, sports teams and/or military applications, 6x6 in.
Tyler Brett, Edward Van Halen (EVH) decorative hard rock study #1, 2004. Acrylic on canvas 6x6 in.
Tyler Brett, Neoplastic-Rock Conflation IV in red, white, yellow, black & blue, 2004, acrylic on canvas, 18x12 in.
Tyler Brett, Neoplastic Frankensteinian Transposition I, II, III, IV, & V, 2004, inkjet on watercolour paper, 5x5 in.
Incongruence, Class, and Survival
INSTRUMENTAL CONDITIONING EFFECT is shaped by pattern and cultural imprinting derived from factory production floors and modernist grids, electric guitar effects pedals and childhood encounters with transportation infrastructure, car lots and arena rock spectacle.
Growing up in the rural-urban agricultural fringe district of Chilliwack BC, my introduction to graphic art came from the bold geometry of CN freight trains and airshow fighter jets grounded in the experience of subdivisions and Iron Maiden rock posters. Music—especially metal—was more than expression; it was a way of surviving the pressures and hierarchies of adolescence and toxic masculinity. Mastery of Metallica riffs carried a protection, with those same sounds later appearing in the orchestrated cinematic language of military glamor.
Bringing Van Halen’s diagonal stripe customization language into conversation with Mondrian’s disciplined compositions is awkward. Their collision mirrors the tension of moving between working‑class suburban environments and the formal worlds of graphic design, art and theory.
Within this mix, INSTRUMENTAL CONDITIONING EFFECT becomes an abstraction of these layered experiences: the rhythm and motivational sound track of labour, the seduction of spectacle, the residue of protection, the visual codes, logos and propoganda that shaped me long before I understood their influence. The series maps how disparate signals—musical, visual, cultural—interweave into a personal logic.
As the VH Suite extends, it continues to trace these crossings: escape and conditioning, fantasy and resistance, refinement and distortion. It is an ongoing investigation into how unlikely influences accumulate—and how they continue to move through us.
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