There’s more to the upcoming exhibition of Boundary|Time|Surface – another labour of love attached to the work that I will be launching into the world on September 5th.
To accompany the exhibition, we will be launching a limited-edition book!
Boundary|Time|Surface – a record of change gathers essays that examine the work on exhibition and the ideas informing its creation from several distinct perspectives. A critical essay from Melinda Pinfold, PhD opens the book, and offers an insightful reading of the project as a whole, and the dialogue between art & science informing the project. John Waldron’s essay explores the history of geology as a science, and how his understanding of time and place is informed by a lifetime of practice within the discipline. And I spend a few pages in both prose and poetry trying my best convey what the original project – and the several years of work coming out of that original ephemeral installation – have taught me.
Boundary|Time|Surface – a record of change also functions as an artwork; we have selected a range of images from the time lapse stills we shot of the creation and dissolution of the installation at Green Point, and presented them in sequence in the style of a flip-book.
This is a limited-edition of 200, signed and numbered. For the duration of the exhibition, the book will be available exclusively through the Art Gallery of St. Albert.
It’s been a head-down, get-things-done time for several months now. Board work, projects in various stages of development requiring attention, travel, … and soon, an exhibition of work.
I am thrilled to have had the opportunity to return to the Boundary|Time|Surface project over the last several months – digging back into the images and video, thinking through the ideas again, making new work.
The exhibition opens on September 5 2019, at 6:00 pm. – and continues until November 2 2019.
It has been a really interesting process to look at this body of work with the fresh eyes of time and distance, and to consider the ways in which my perceptions of the place and the thoughts it provoked have both changed, and stayed the same. Interesting too, that many of the concerns I had that were brought to bear on the first iteration of work for gallery presentation have only become more urgent – closer to the bone for me.
Every time I look at the photos and video I took in 2014 during my residency in Gros Morne National Park, I learn something more. About myself and what I value as a human being, as much about the nuances in the place itself. It was good and difficult work to go back into the material, push harder with research and art-making both, and consider the implications of bringing this work (in essence) almost all the way across the country for a second showing.
A good friend and fellow artist asked me once “when do you know the work is finished?” For this body of work … I don’t know that I will ever be “finished” – at the least, not with the ideas inherent in the project. But I am, overall, happy with the results of reading and writing and running down rabbit holes of ideas that has been going on for the past year.
SO – this exhibition with feature a good bit of brand-new work, and those pieces from 2016 that ‘made the cut’ will have new conversations and readings in relation to what I’ve been working on/through. This is also the first time this work (in any iteration) had been shown west of Newfoundland … so even “old” work feels new in this context.
I hope those of you reading this in the Edmonton, Alberta, Canada region will join me at the opening (more exciting news on that to follow soon!) … hope to see you there.
Just back from a whirlwind trip to Vancouver with my friend & collaborator Scott Smallwood – we installed Macromareal(redux) at Emily Carr for a month-long exhibition, and spoke to some of the students there.
Not sure I’ve caught my breath – but tomorrow (February 28) I will be speaking again, with another collaborator, about another project – this time, at the University of Alberta.
At 6pm, Dr. John Waldron and I will be speaking about our project, Boundary|Time|Surface, as part of the LASERAlberta series of talks on art/science collaborations.
I am really grateful & excited to have this opportunity to share this project with the wider community here – and I’m really looking forward to the feedback and discussion!
You can find more info about the talk & the project here … .
Been a busy busy Autumn – two exhibitions. travel to Lethbridge & Nova Scotia, Board work with CARFAC and Copyright Visual Arts
… and now, I get to seriously “dig in” in the studio in the coming months, and revisit Boundary|Time|Surface! Very excited to be looking at this body of work again with fresh eyes, and to being to create new work for it, in anticipation of exhibition in the Fall of 2019 at the Art Gallery of St Albert.
View from cliff top
Tide coming in, farthest point of installation on beach
I was also surfing through the EGU website today – the call for new abstracts for 2019 just hit my inbox.
In browsing the EGU site, I also came across this – a lovely blog post about the session convenor’s response to our project. It brought back the very lively discussions we had with so many people at our poster – about scientific discourse, about place and memory, about the ways in which human definitions and descriptions of things and places can create (and erase!!) different kinds of understanding. Different ways of seeing.
Looking forward to investigating this gloriously complicated place and all my ideas about it.
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!)
A HUGE Thank You to everyone that came out on a busy evening, with less than ideal weather!
We all had a busy night; lots of lovely conversations, and thoughtful comments. The best way to launch new work into the world.
I was also really happy that the lovely humans that have supported this project from the outset – and on whose land the original living installation sits – were able to attend and see this first foray into taking the MAKE=BELIEVE project into a different context! looking forward to lots of chats and feedback from them on this exhibition!
For those of you who weren’t able to be there last Friday: Archived Terrain – Terrain Archivéis up until 5pm September 29th. Regular hours are NOON – 5pm, Saturdays and Sundays – other times by appointment.
I will be gallery sitting on Sunday, September 23rd, NOON – 5pm, if you want to visit!
Some images of my installation/room below:
photo montage of animals in the installation on the farm
tail of an old windmill from the farm; what we do to bend the land to our purposes never lasts
a sun and compass from found objects
the windmill tail again
digitally manipulated photo and found object installation … the immigrant/homestead experience is part of this work
3 digitally manipulated photographs; human use of raw materials becomes camouflage
I am very happy to say that I will be presenting some brand-new work in a group show coming up very soon!
Details below – I look forward to seeing anyone in the area who cam make it to the Opening Reception.
Exhibition hours after the Opening are listed in the invitation, or by appointment.
Some information about the exhibition:
ARCHIVED LAND : TERRAIN ARCHIVÉ at Jackson Power Gallery, Edmonton September 15 to 29
2ndfl, 9744 60 Ave, Edmonton, AB
Opening reception 7pm, September 14, 2018
Exhibit hours: Noon to 5pm
Saturdays and Sundays, September 15 to 29
Or by appointment: 780-499-7635
Jackson Power Gallery presents Archived Land : Terrain Archivé, the final exhibit before the gallery closes its doors.
Land holds memory: layered, fragmented, buried, or strongly etched. It represents identity and connection to our own history and to those who came before us; a narrative landscape that intersects human experience and the natural world.
The gallery’s layout of separate but interconnected rooms forms an environment for individual artist’s interpretation of the theme, providing the visitor with the perception of movement through time and place.
Une initiative par collaborateurs/a collaborative initiative by:
Patrick Arès-Pilon & Conor McNally
BELLE//MONDO vous invite à rentrer dans un assemblage de photographie tirée de vrai pellicule diapo Ektachrome datant de 1997. Cette oeuvre place un regard sur les environnements naturels et bâtis captée sur le territoire du traité numéro 6 incluant à Edmonton, Spruce Grove et La Sapinière en 2018.
BELLE//MONDO welcomes you to enter an immersive photography installation using vintage 35mm Ektachrome slide film (frozen since 1997). This collaborative work features layered sights of natural and built environments captured on Treaty 6 land in and around Edmonton, Spruce Grove & La Sapinière in 2018.
Paddy considers himself to be a Canadian, Irish, Ulster Scots, Quaker, Huguenot, Celtic, Proto-Indo-European citizen of the world. His painting, drawing, and installation work acknowledges the role of landscape as a repository for our history, culture and collective memory, exploring the imprint of society on nature and how we form deep and lasting attachments to the land. His work is also a form of self-examination – a search for alternatives that continue to define his ‘sense of place’.
Sydney’s multidisciplinary practice explores the complicated position the individual inhabits in relation to ideas of place, land & ownership, and the ways in which both people and spaces are ‘written upon’ by larger social-political-cultural narratives over time. She is interested in the realities exposed by branches that only bend so far and how newer growth offers much more flexibility, but less strength for supporting weight.
Ultimately, her work is about how we understand and make sense of the land and the space between us.
As a long-time archivist and now Edmonton’s Historian Laureate, Marlena Wyman’s art practice is informed by history, and her rural Alberta upbringing provides her with a deep connection to land.
We interpret our memories and identities in part through traces of past lives, whether of our ancestors or others. A haunting photograph or a handwritten passage in the diary or a letter of a long dead stranger can create a profound personal connection.