Archived Land – Terrain Archivé

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.


Exhibit image (altered): Provincial Archives of Alberta #GR1983.0421

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.

Exhibiting artists:

BELLE//MONDO

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 Lamb

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 Lancaster

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.

 

Marlena Wyman

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.

Just a very few more days …

… and Chaotic Bodies will close at Spazio Performativo.

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Amazing how fast the month has gone by – I’ve been too buried in the never-ending-cold-that-should-be-spring here to actually grasp that time is really passing quite quickly, and we are over 1/4 of the way through the year.

It has been a great experience re-working this project for static exhibition – being able to look at it again with fresh eyes, dig back into the ideas simmering inside it – and see what  potential there was in the conversations between media.

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My sincere thanks to Mile Zero Dance for the opportunity to show this work!! And my thanks to everyone involved in the RUCKUS dance project for allowing me to develop this project further, and to use the footage from rehearsals and performance in the video work!

SO: if you want to check out Chaotic Bodies before it disappears into storage again, you have until SUNDAY April 8th. I am striking the show on Monday!

If you have the opportunity, see the work both in the daytime and at night: I have a video work rear-projected in the window that is best seen after dark, and the installation and drawings are available for viewing during opening hours daytime at Mile Zero, and of course in advance of evening events.

Lancaster Chaotic Bodies Promo 4

If you get over there – drop me a line and let me know your thoughts! I’d like to hear from you.

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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.

Some thoughts on leaving and coming back

I am preparing to fly West this afternoon, after a busy and very productive several months in various spots in Nova Scotia. A great residency with Scott Smallwood, and new work launched in Parrsboro, at Main & Station. The start of some new and exciting collaborations with Deborah Carruthers and with Susan Tooke.  Time to experiment with cyanotype processes, work on video and audio projects.  Time to hike, to make photographs, to think, to further the long-term process of healing my body (thank you Acupuncture and Massage Therapy!)

It feels like much more time has passed since I was last on ‘home turf’ – or rather, that the tempo and scale of time as I experience it has shifted in a fundamental way – and now I have to find my way back to something more familiar. Not quite there – and I think that’s a very good thing. VERY.

It was a good place and time to be reminded of the diverse (and often very difficult, painful) histories of any given place. How easy it is not to see that – how easy to get lost in the vast beauty of the place – any place – and look but not see. The beauty is part of those histories; it’s woven into the different scales of time inherent in that locale to be sure. Geologic time. Tidal Time. Seasonal Time. Mythic time. Colonial Time (a very slippery fish, this one). Settlement Time. Expulsion Time. Industrial Time. And on and  on … but make no mistake, there’s nothing linear about this.

The ‘present’ as we fashion it in any given moment is its own rabbit hole; a crucial vantage point (and obviously the only one available in a pragmatic sense), but it’s also a very troubled and troubling place from which to assess the relative value of most things and actions and ideas … . The popular narratives that tend to overwhelm all other chatter are still those that yoke the present to doing cartwheels toward the ‘somehow-better-future’. Because, of course  ‘things’ will be ‘improved.’ This is the wish, the hope, and the outcome to be willed into being, somehow.

And under it all, the land remains—a page upon which this story is “written, erased, rewritten,” as author Teju Cole put it. Only memory and history can interrupt this cycle of revision we commonly refer to as progress. And those interruptions are vital, absolutely necessary, if we are to navigate some way toward a better way of existence for ourselves (on all levels), and co-existence with all beings.

Remains to be seen how well I am able to carry these glimmers of understanding forward as I return to the familiar places and routines – but the intent (and hope) is there.  Patience, process, compassion.

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!):

 

Making … and Unmaking

The process of installing (and then striking) and exhibition always feels a little bit like alchemy to me.

It’s the presentation of a series of things transformed: from the raw materials, to the work, to the exhibition itself … and then it all disappears again. Of course it’s not that at all in practical terms.

It’s the work of being an artist, in all the different shapes that takes.

Still, it’s an interesting process to be completely inside, from start to finish …

From This:

 

To This:

To This:

And Finally:

And soon, all those boxes will be on their way across the country … and I have no idea where they will wind up after that!

Another bit of alchemy to come.

Generosity … and Many, Many Thanks

It’s been a remarkable time; the residency and performance, the talk, the exhibition … and now that it’s all done and packed up, a little time to reflect.

The first week was all about slowing down, getting reacquainted with the town and the land … shifting gears, not unlike the tides here do every 12 hours.

There’s a generosity to the pace of life in Parrsboro; in the Maritimes in general. There’s room enough and time enough to do what you need to do. It’s a precious thing. It’s also been really nice reconnecting with people I’d met last year, seeing friends who live in this part of the country, catching up on news, feeling welcomed. A good place to start getting myself sorted, to make work, gather ideas like I gathered materials … .

It’s been a summer notable too for the generosity of  several people that have left me feeling deeply grateful for the opportunity to be making work in this place.

So, this is a note of thanks, to many people, and on many counts:

To two lovely local visitors to my work space in the Nonesuch Centre for the Performing Arts (which was formerly Trinity United Church here in town).  Louis Heb came by to see what was happening, and shared stories about himself and his family’s connection to the church over the years: in particular a family member who was the church organist. Tom Hatfield came by too – he remembered attending Boy Scout meetings when he was a kid, in the same room I am working in now. He also remembered the organ, and the lovely acoustics. Both Louis and Tom were happy to see that the building was going to be saved, and taken care of, and used to bring people together again. It was a real gift to be offered these stories, and to see so directly the way in which the building still houses the memories of the community in an active way. It’s remarkable to be sharing the space with all of that history, and making work derived from the landscape and objects that come from the area.

Such an honour to be working in this beautiful place, and to be her at the start of a new chapter in its history

Things and places – like people – hold histories and memories of their own.

To Randy Corcoran, captain, amazing source of sea-and-boat-related stuff, and an artist in his own right. My hosts at Main & Station connected me to Randy after my residency last year, and he and I had been in touch over the winter about various materials and objects I was looking for to make sculptures. He’s a busy guy – doing charter boat tours and house painting in the summers – so I felt fortunate that he had a bit of time to spare to show me some of the things he’s gathered, and get his invaluable assistance in finding more materials and getting them to the studio.  It turned out that Randy had a great stash of things that were going to be really, really useful for this project, and he’d managed to get a lead on a key item I’d been searching for …

Captain Randy Corcoran, giving us an amazing tour of the Bay of Fundy! Such a fantastic experience!
Most of these buoys were donated to the performance of “Macromareal Prelude” by Randy. He and I are hoping to do more with them in the future!

Which brings me to thanking…

Donald McCully (the Fox) –  who really made my day by parting with an old hand sewn canvas sail that became a key part of the exhibition! I also got a look at the boat he built, and hear about the process of building it, and other stories besides.

An old canvas mainsail that now is part of the Macromareal story

To Judith & Harvey at Main and Station, who have been a vital part of this project since its very early days, and supported Scott and me by awarding us a research residency in 2016 and the residency & Fellowships this year to realize the project.

Harvey & Judith

To  Susan Clarke (curator) June Wagstaff (archivist),  and Lisa Miller (digital records/archives) at Ottawa House Museum. Thanks to you all for your support of this project!

Susan allowed Scott and I to do some field recordings at the Museum in 2016 that have made their way into the soundscape Scott created for our exhibition. She also allowed us to borrow a ship’s bell from the collection for the performance of “Macromareal Prelude” on August 5 & 6. June and Lisa have also been incredibly helpful to me in searching through the image archives and other holdings of the Museum.

The ship’s bell!

To Krista Wells, another local artist @ Artlab – for the scrap canvas I so desperately needed to repair the sail! AND for her excellent coffee and conversation over the month, and for being part of the “Macromareal Band” for our performance on August 6th!

To ALL the musicians, who made the premiere of “Macromareal Prelude” such a success: Kyle Dinaut  – tuba, Michael Fuller – baritone saxophone, Timi Levy – violin, Jamie Oatt – trumpet, Joel Robertson – clarinet, Bruce Robertson  – trumpet, Krista Wells – trombone

To Angela Glanzmann, friend and fellow artist, for documenting the performance, so that I could be an active participant.

To Nancy Agati and Sara McKarney – who were also on residencies this summer at Main & Station: thanks to you both for the great feedback and insight into the work, thanks for the laughs and the beach walks, and for being such great artists. You are both so inspiring.

Sara on an Beach Walk
Nancy and Scott on the day of our Bay of Fundy Boat Adventure

To Robert More at Parrsboro Creative & Tim Fedak at the Fundy Geological Museum for the support, encouragement, and feedback as this project evolved.

To Scott Smallwood, collaborator extraordinaire, colleague, and friend. Thank you for your hard work, generous sharing of ideas and knowledge, and for your faith in this project. It has been an honour and a pleasure to work with you … and I hope we can do more together SOON!

To John Waldron, inspirer and supporter of cross – disciplinary doing & making, partner, collaborator, teacher, and dearest of friends.

John

Couldn’t do any of this without you – thank you for showing me new ways to see and new ways to think about the world.

So – thank you all, again – and thanks to everyone else that has been a part of this adventure: friends new and old – some of whom came to town while we were there – Emily Jan & Marie-Eve Martel (!) …

Marie-Eve and me … looking a bit like the monster in the background!
Emily on our beach combing trek to Diligent River

 

… and to visitors to the exhibition who stayed to chat, and the community of Parrsboro for being our home for a bit.

I hope everyone has a lovely long weekend!

Last Week for the Exhibition!

I’m a little boggled by how the days have passed by since our exhibition opened.  Just this week, and I’m back to Parrsboro to take down the show, and pack it all up for shipping.

I’ve been really quite chuffed by the feedback we have been getting on the work. Our lovely hosts at Main & Station tell us that there have been a good many visitors, and that many of them have been spending some real time with the work. Some, up to an hour.

That is so lovely to hear. I am deeply grateful to everyone that has stopped in so far, and for the opportunity to show this brand-new work, fresh out of the studio.

And if you are in the area, macromareal (a rising tide lifts all boats) is on exhibition until August 26th at Main & Station in the 2nd floorGallery. If you do stop by, please let me know! I’d love to hear your thoughts on the work!

Some more photos, for those too far away:

macromareal: a rising tide lifts all boats

Our exhibition is officially open!

Had a lovely time at the opening reception yesterday afternoon; some great conversations with people, and a good turn out! Lovely food too – thanks to Judith at Main & Station!

I was quite struck with the reaction of people to the show: several guests stayed for a long time, just watching and listening. Had several people let me know they were going to come back and sit with the work when they could.

Couldn’t be happier with that. It’s extremely rewarding to hear – and I’m grateful that people took the time to speak with me and comment on the work at length.

A short video walk-through for you here. More images to follow soon!

Hope you enjoy.