Slippages

Life presents some really fascinating opportunities now and again, and I am excited to say one has crossed my path!

I will be presenting a brand-new collaborative video work entitled at the Chan Centre for the Performing Arts in Vancouver BC on October 5th!

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

Athabasca Glacier- Macro No. 3, giclée on Epson enhanced matte paper, 24″ x 36″, 2017 ©️ Deborah Carruthers

 

 

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.

Chaotic Bodies Opening Thursday Mar 8!

I am excited to be presenting a dance-infused project in Mile Zero Dance’s Spazio Gallery!

The multi-media installation Chaotic Bodies will be on view in the window gallery until April 8th, so stop by Mile Zero Dance and have a look. (after dark the work takes on a new life!)

If you are in the area, please join us for the Opening Reception for this work at Mile Zero’s Spazio Performativo on Thursday March 8, from 6:30 – 8:00pm, and stay for Dirt Buffet Cabaret, curated by Liam Cody.

Chaotic Bodies is a series of works derived from photographic and video documentation of RUCKUS, a work-in-progress choreographed by Anastasia Maywood, Krista Posnyiuk, and Alison Kause. My goal with Chaotic Bodies is to explore the visual echoes of my engagement with the dancers and the choreography, with their bodies in space, and their responses through movement to the sculptural work I created.

I would like to extend my deep thanks to Anastasia Maywood, Krista Posnyiuk, Alison Kause, Ainsley Hillyard, Kate Stashko, & Alida Kendell for welcoming me into their work on RUCKUS (past & future), and for their generous an insightful feedback as I worked with them to make the ideas specific to their creative process tangible. I am grateful also for their permission to use footage and stills from rehearsals and performances in the presentation of this project at Mile Zero Dance.

Thinking about Bodies & Control

I am looking toward the Opening of Chaotic Bodies this Thursday at Mile Zero Dance – and not surprisingly, I am thinking a great deal about relationship, space, and how our bodies convey information.

What we communicate with gesture and movement is so vital to our understanding – to meaning-making – but also to the way and amount of space we occupy.

All this to say: one of the things I wanted to consider in the creation of Chaotic Bodies was how bodies communicate ideas of control, balance, containment, connection, release … .

And then I came across the amazing work of artist/metalsmith Jennifer Crupi.

Ornamental Hands: Figure One (Shown worn) sterling silver, 15″ x 8.5″ x 5.5″ Permanent Collection, Renwick Gallery of the Smithsonian American Art Museum ©Jennifer Crupi

So much food for thought here: the controlled gesture. The canonization of particular movements that render them significant, understood as physical language that conveys information through relationship to other, to space.

Power Gesture
aluminum, steel, acrylic, laser print, vellum,
8″ x 8″ x 6″
Power Gesture is an implement that requires the user to assume the authoritative “steepled fingers” gesture. This position exudes confidence and is often used by one who has the upper hand in a situation. Psychologists believe assuming a posture or gesture will make one feel as they would if they did the gesture naturally. So for a confidence boost, Power Gesture is the implement of choice. © Jennifer Crupi

I find the language here telling too. The Power Gesture object requires the user to assume a particular position, as do all of these sculptural objects:  (con)forming to set positions to send a message.

Pondering further: if we wish to convey information bodily, how do we control or contain that which we wish to remain hidden? What if we can’t? What if our actions in space and in relationship express or reflect what we see around us, rather than what we feel? Or conversely: what if we cannot help but express the uncontrollable within us?

These thoughts & questions, amongst others, have informed the work in Chaotic Bodies. I have no fixed answers – but am enjoying the journey through the questions.

And there it was … gone!

21st Century Nesting Practices has closed, and it’s all been packed and stored away again.

So strange, that process: how things come out of boxes and wrapping to take on a life of their own for a while, and then disappear again.

It was a great experience – a lovely way to come ‘full circle’ with this work and see it from a different vantage point (coming out on the other side, so to speak).

That was in fact the case when a delightful group of poets I had worked with in 2007 (a decade, already?!) came to the gallery to do a reading of work from a collaborative collection titled Eyeing the Magpie. It was nice to re-connect with these poets, and to have this bird-inspired work presented in the context of this exhibition was really fun. My thanks to Nancy MacKenzie, Anna Mioduchowska, Julie C Robinson, Myrna Garanis, and Rusti Lehay (all pictured below) for presenting their work!

 

I am so grateful to the McMullen Gallery for the opportunity to exhibit this body of work; the context and the feedback I received throughout the exhibition was invaluable to me, and allowed me to see my work and my practice as a whole in a new way.

Deep Thanks also to the Cornell Lab of Ornithology, for the support in creating the soundscape for this exhibition!

So now, a shift to new things – the first inklings of the coming spring are in the air, a new project going up for exhibition this week, and lots of studio work and new ideas percolating.

 

One more Week, and an Event!

This is the last week that 21st Century Nesting Practices is on exhibition at the McMullen Gallery. Amazing how fast the time has gone by!

The exhibition closes  on Sunday February 25th; morning of the 26th, I’ll be in the gallery, packing up the work.

In the mean time though – pop in if you have a chance, and if you like poetry as well as visual art, there’s a special event happening in conjunction with the exhibition this week:

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I had the pleasure of working with these lovely writers a few years ago – and I am so happy that they are bringing their work to the gallery to share in amongst all my nests!

Almost all of the bird’s nests in 21st Century Nesting Practices are in fact magpie nests – that resilient, ever-so-smart-and-sassy bird that is such a big part of the avian landscape here.

I’m looking forward to this very much – and hope some of you can make it too.

And the Tide Turns

I’ve been hunkered down and quiet the last while, for a number of reasons.

Travel – back west and then back east – for the AGM of Visual Arts Alberta – CARFAC, and for a memorial service in Calgary.

Work – finishing up some experiments in cyanotype (!), and writing a grant report.

Taking a little time to catch up on all the reading I’ve been wanting to do for months now, and doing some thinking about new projection the horizon.

And (finally), doing an update on a portfolio page on my website.

SO.

Now that all of that is sorted, here’s the (long overdue) update – the “How I Spent My Summer” edition (click the pic!):

 

Post-Performance, Pre-Exhibition

We had a marvellous time on Sunday, presenting “Macromareal Prelude: In Fog and Storm and Rain” !

Everything fell into place so beautifully – we had planned to present at the beach, but the forecast pre-empted that idea – but Plan B turned out to be so great! No regrets there!

Deep thanks to all the musicians for a fantastic performance, and for being willing to adapt as needed on short notice. Thanks also to Ottawa House for lending us the beautiful ship’s bell from their artifact collection for this event. Special shout out to Randy Corcoran for the tremendous support, and donation of the buoys for my performative part in the day’s proceedings!

The Nonesuch Centre for the Performing Arts has really good acoustics, and lovely nooks and crannies to hide musicians … and Scott did a terrific job of adapting the work to the space. We were able to get a really nice recording of the performance, and some great photos and video. Scott even played the pipe organ!

Monday we were into full-on exhibition install mode … and while it was a hard working day, we got a great deal accomplished! Almost ready (already!) for the exhibition opening this Saturday (August 12) … more to follow on that very soon.

In the mean time, you can have a listen to the rehearsal of “Macromareal Prelude: In Fog and Storm and Sunshine”(on First Beach, Saturday August 5) here:

And the performance (at the Nonesuch Centre, Sunday August 6) here:

Some images from both below. Hope you enjoy!

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Macromareal Prelude – TAKE TWO – The Rain Edition!

The performance of “Macromareal Prelude” will be at 3pm TODAY (August 6) as planned – but in a NEW LOCATION:

Please Join Us at the Nonesuch Centre for the Performing Arts (the former Trinity United Church), in Parrsboro.

171 Queen Street.

Apologies for the change!! – but…. instruments + recording equipment + RAIN = NOT Good.

Macromareal Prelude

Very excited to be a part of the performance of a new original score by Scott Smallwood!

“Macromareal Prelude” will have its debut performance on Sunday August 6, beginning at 3:00 pm.

The performance will be held at First Beach in Parrsboro.

PLEASE NOTE: in case of inclement weather, the performance will MOVE to The Nonesuch Centre for the Performing Arts (Old Trinity United Church) in Parrsboro.

We are extremely happy to be working with several local musicians for this event:

Timi Levy – violin
Joel Robertson – clarinet
Michael Fuller – baritone saxophone
Bruce Robertson  – trumpet
Jamie Oatt – trumpet
Krista Wells – trombone
Kyle Dinaut  – tuba 

SPECIAL THANKS to Ottawa House Museum for the loan of a ship’s bell from their collection of artifacts for this performance!

If you are in the area, please come!