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.
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.
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.
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.
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 …
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!
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.
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 …
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.
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.
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.
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!
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!