It’s a VERY odd time to be presenting work to the public – but I am so happy with all the precautions SNAP has in place, and so very happy to sew showing work in their BRAND NEW home!
There’s several things going on for this iteration of MACROMAREAL. Both Scott and I have re-worked existing elements of the project, and I have been busy since the last time this work was shown making a bunch of new prints! So, brand new work for us in a new space – how lucky can you get??
The exhibition will be opening on the evening of September 11, from 7 – 9 pm. This will be a hybrid event: SNAP is pre-booking (free) tickets to see the show in person, and limiting the number of people in the gallery at one time, so that everyone can stay safe AND see the art in person. We will also be online – Scott & I are attending the Opening virtually, so more people can see the work in person if they want to – and anyone else who wants to attend virtually is welcome to do so as well!
There will also be a socially-distanced LIVE performance of Scott Smallwood’s score “Macromareal Prelude: in Fog and Storm and Sunshine” on Saturday September 12, at 1:00 pm local time, in the immediate neighbourhood of SNAP, outsdoors. We are both extremely happy to be able to work with some excellent local Edmonton musicians for this event, and to be able to present this work live in a safe way. This is a ‘roving’ performance work; the musicians will be moving in the neighbourhood as they play, and will be distanced; we ask that anyone attending keep 2metres or more from any musician(s) they encounter, and PLEASE wear a MASK!
Scott and I will also be presenting an artists’ talk about the genesis and evolution of the project on Saturday, October 10th, again at 1pm local time. This talk will be presented online.
Deeply grateful for the serendipity that brought me to this series of video works today.
Especially grateful for this work by Sally Morgan and Lou Sheppard, and Kinetic Studio for the series. So much of the threads of thought and feeling I (and I am sure many, many others) have been experiencing over the last months are encapsulated here.
It’s been head down and ‘getter done’ lately on a number of fronts, and so writing her has fallen by the wayside for a while.
In any case, in the midst of getting various jobs finished in the studio and elsewhere, I received a lovely thing in the mail:
It’s always a bit of a thrill for me to see the work of my collaborators & friends showcased – and this article about Scott Smallwood‘s work is well written and wide-ranging.
It’s also really lovely that Ian contacted me for comments fo the article, and that he wound up including some information and pictures from Macromareal – my first collaboration with Scott. Timing was more than fortuitous, as Macromareal (redux) had just closed at the ~Diffuser Gallery at Emily Carr.
A nice moment to look back on the work we did, and a great collaboration – in the midst of working on several things, and looking forward to new adventures.
Happy to say that the video work I did in collaboration with Deborah Carruthers – Slippages & Panelled/Slippages – is in a Group Exhibition at Zygote Gallery in Cleveland OH. Capturing the Aura of the Already Said, curated by Margaret Hart, is on exhibition until April 26th.
An Excerpt of the performance video with synched audio below:
If you would like more background on this project, see the blog posts here>, here>, here>, and here> – and the project page HERE>
It’s going to be a really interesting few days, and I am looking forward to meeting the other participants and talking with them about discipline-bridging work. I’ve long held the belief that the ‘divide’ between art & science as disciplines is false and limiting – which is not to say that there aren’t real challenges to be faced when working this way.
But there are so many rich opportunities to be had for artists to stretch themselves and learn to ‘speak science’ a bit better, and pay attention to the precision in research & practice in that discipline – just as there are for scientists to learn how to ‘speak art’ a bit better and open up the potential for co-creation, and approaching their work with fresh eyes (and ears!)
Back in Edmonton now, doing some post-performance and post-Thanksgiving work: the “get yer ducks in a row” for the next work to be done.
Much to be thankful for, as always – being able to make work with talented collaborators, the opportunity to share ideas and approaches here and in person, the tremendous support I receive from my family and friends (without whom none of this would be possible).
So – a brief moment to take stock, and to share a link to the video of the performance shot for Livestream on October 5th.
Click on the IMAGE BELOW to go to the UBC School of Music’s video:
I’m in Vancouver now, and working on the last edits for the video work I am creating to accompany the world premiere of Slippages on October 5th.
I am delighted to share UBC Orchestra Director Jonathan Girard‘s take on what we are doing:
“Deborah’s gorgeous score presents a thrilling challenge. How do we, as musicians, interpret visual art?” explained Girard.
“We want the music to speak to the cool beauty of the work, but also the ideas behind it: of flux, of change, of loss. Just as the natural world has a life of its own, a kind of agency apart from human influence, we want the music, through improvisation, to have a life of its own that goes above and beyond the performers.”
For those of you not able to attend in person – the performance will be LIVE STREAMED – so I hope you have a chance to check it out!!
This new work is part of a larger performance and installation work – Slippages – developed by Montreal artist Deborah Carruthers, that is an outgrowth of her work as Artist in Residence at the Peter Wall Institute for Advanced Studies. Slippages is a synthesis of material from researchers at the University of British Columbia (UBC) regarding the physical, anthropological, and philosophical properties glaciers. In collaboration with Maestro Girard (and Wall Scholar for 2018-2019), Deborah is working with the 110-member orchestra to present a structured improvisational sonic piece drawn from a graphical score she has created; the video work we are creating will be presented above the orchestra as part of the performance.
Ice contains no future, just the past, sealed away. As if they’re alive, everything in the world is sealed up inside, clear and distinct. Ice can preserve all kinds of things that way – cleanly, clearly. That’s the essence of ice, the role it plays.
― Haruki Murakami, Blind Willow, Sleeping Woman
For those in the Vancouver area – this is my invitation for you to join us!
I am really thrilled to be working with Deborah, Maestro Jonathan Girard, and the UBC Orchestra to bring this work to life.