How to Start

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I attended a terrific panel discussion yesterday called “Draw More Income” as part of the AGM programming for Visual Arts Alberta – CARFAC. We had a great range of speakers: Derek Besant, Lee Deranger, Brittney Tough, and Kari Woo. Each of them addressed the practicalities of how they made a ‘go of it’ as artists, and what obstacles and setbacks they faced.

A common thread in the discussion was lack of confidence and fear – these being negative mindsets that held them and other artists back from achieving the success they wanted in their careers.  So it seemed incredibly fitting that I should find this in my inbox this morning:

To survive in this high-pressured, crazy world, most of us have to become highly adept at self-criticism. We learn how to tell ourselves off for our failures, and for not working hard or smart enough. But so good are we at this that we’re sometimes in danger of falling prey to an excessive version of self-criticism … we need to carve out time for an emotional state of which many of us are profoundly suspicious: self-compassion. We’re suspicious because this sounds horribly close to self-pity. But because depression and self-hatred are serious enemies of a good life, we need to appreciate the role of self-care in a good, ambitious, and fruitful life.

from: BrainPickings.org

It seems ridiculously obvious, but I do wonder how many of us in creative fields fall prey to exactly this type of thinking, and just how much it holds us back from all kinds of things.

Good food for thought.

Making Believe, Once Again

After a two-year hiatus due to numerous scheduling conflicts, I was at last able to revisit an ongoing project this weekend – one that is dear to my heart.

Spent an all-too-brief 24 hours out near Smoky Lake on “The Farm,” working on getting reacquainted with Make:Believe. I’ve written about this project several times, as it’s developed: 2011,  a  and several times in 2013 (1) (2) (3) … and every time I have the opportunity to work on this installation, I learn more.

It was fascinating to come back to this work, to begin the dialogue with it again. I had so many questions – I didn’t know what I would find, or even how to gauge the “success” of the work after being away from it for two years. We also spent some time on Friday night revisiting the original proposal and ideas around the work, to see if the still rung true.

A tremendously rich process.

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The work was at least partially as I expected it – but it did need some serious attention. After so long, some of the branches had ‘sprung’ from their places the weaving, as they were held in place with linen cord, which had rotted away in place.  So I had some weaving to do!

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Fortunately, the tunnels between the spaces were in pretty good shape, so there wasn’t too much that had to be done there ….

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But I also wanted to add to the work on this trip, so I started in on a new tunnel and a couple of new spaces.

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It was amazing to see the new height on much of the caragana after the time away – which made some of the new construction really quite easy. The extra reach afforded by the new growth allowed me to quickly connect and weave branches that I wasn’t able to before, without the need of cord to hold them. Remains to be seen if this is a more effective method of working than tying things together, but it felt really satisfying to be able to just work with the branches with no cord at all.

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It had been so damp from the rain, there were mushrooms and fungus of all sorts everywhere in the stand! Made me think I was working in a Fairy Ring!

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I was really happy with the results of the work out there, and I’m hopeful that I will be able to get out to the site a couple of times this autumn to continue expanding the project. I also set up a motion-triggered camera in the installation, which I am hoping will begin to capture the movements of animals though the spaces. When people aren’t around, it’s apparent that they use the spaces and tunnels between them to move from one part of the farm to another – so with a little luck, I’ll have a record of these travellers, just as they have something of a record of me in the place.

It’s good to pick up the conversation here. A quiet and productive time in a place that feels like it remembers me.

 

Upcoming Residency and Workshop

I will be heading out to the East Coast soon!

I’ve been  accepted to a 2 week Research and Development Residency for a new project in Nova Scotia.

I’ll be in Parrsboro, on the shores of the Bay of Fundy for a couple of weeks – excited to be spending some time on this beautiful shore again, and looking forward to getting up to Joggins as well, to visit the Fossil Cliffs and The Fossil Centre there too!

While I’m out there, I will be conducting a 2-session workshop on Gel Transfer Printmaking at Main & Station, who are the lovely folks who offer the Residency program I will be attending.

Gel Transfer Workshop Poster DRAFT 2.pages

Looking forward to getting started on this new project, and to facilitating the workshop.

If you’re going to be in the Parrsboro area July 13 – 15, I hope you can join us at Main & Station!

Movement and Attraction

I have been thinking about a series of related concepts/ideas in the last little while … having the luxury of a little time to allow things to percolate through my brain, see where they take me. The swirl of idea(l)s has caught me up in the last 48 hours, and has insinuated itself in the nooks and crannies of the concepts I am beginning toward with for a new project …

I will perhaps post updates here as my thinking evolves and revolves …

Bodies in space.


from Maria Takeuchi, on Vimeo:  https://player.vimeo.com/video/121436114

The way a single movement occurs in time, changes space, changes everything forever.

The fine line and inextricable link between order an chaos.

What can be built can collapse at any time.


2016 AICP Sponsor Reel – Dir Cut, from Method Studios on Vimeo: https://vimeo.com/169599296

The Lorenz Attractor.

The difference between being active and reactive, in all things.

The way a body reaches out to another body:

Intent is Everything.

A thought …

… that I came across today. A quote, actually, from Martin Creed, that sums up some of the ideas that have been rolling around in my head for a while now.

On a more literal level, working some of this out through the creation of the original Boundary|Time|Surface installation in 2014, and in other ways in the work that arose from it and that is now on exhibition in Newfoundland.

At any rate, Creed said:

“I started thinking about the difficulty of drawing lines on a map, making country borders, which is exactly the same as drawing on a piece of paper. Any definite border is against nature and against life.”

Things bleed into one another; that is the reality of it all. Eventually, all the myriad ways of dividing up the world (and ourselves) break down and erode. The edges get fuzzy, or float away.

These compartments we build are convenient, but they are illusions.

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View from cliff top
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View facing the cliff at Green Point

Thanks Martin, I needed that today.

{SOURCE: “Martin Creed on Why Art Can’t Ignore the World around It” by Philomela Epps, https://www.artsy.net/article/artsy-editorial-martin-creed-on-why-art-can-t-ignore-the-world-around-it}

Boundary|Time|Surface is Open!

It’s been very quiet here lately … and a bit frantic everywhere else in my life.

Just got back from a week in Newfoundland, installing Boundary|Time|Surface at the Discovery Centre Gallery in Gros Morne National Park! The exhibition will be up for the entire season – until early October 2016. If you have a chance to visit this magical place, please drop in, and let me know what you think!

It was lovely to be back in Woody Point. It’s a gorgeous spot on the planet, and the terrific people out there make it even better. The staff of Parks Canada and all the folks I’ve met in Woody Point and Rocky Harbour are part of what makes Gros Morne so special to me; it’s been more like a family reunion than going to work. Waking up to whales playing in Bonne Bay every morning didn’t hurt either!

It was a hectic, challenging, tiring week – but worth it to see this work up and complete in a way I’ve not had the opportunity to experience until now. It’s a very interesting process/experience, seeing the work all together for the first time; there’s always that element of wondering if what you’d envisioned would really make sense in the space, as an integrated series of pieces that speak to the viewer both individually and as a whole.

Here’s a (very short) video walk-thru of the exhibition (apologies for the slightly shaky footage – handheld on a phone isn’t ideal, I know):

And a few still images of the work as well:

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I wanted to take a moment to thank some people for their help in making this exhibition a reality …

John Waldron – my geological partner in life, the universe, and everything, scientific collaborator, resource person, and tech troubleshooter extraordinaire

Jennifer Galliott – artist, entrepreneur, and top notch exhibition install assistant (she makes a mean latte too!)

Rob Hingston – and Parks Canada for having faith in the project, and bringing the exhibition to the Discovery Centre

Bruce Gillam – for his assistance with the lighting, cabling, and making things the best they could be

It’s time to  regroup a bit, nurse my colossal jet lag and exhaustion – and start to get organized for the next round of work and travel … more on that in a bit.

Spring!

I’ve been so immersed in work lately, that it’s good to have a reminder that it is indeed SPRING …

The simple exuberance of those first bright green buds on the trees, the enthusiastic (and sometimes frantic) birdsong from the bushes … makes me want to be outside much, much more than I am currently able.

SO.

A little eye candy for the day’s work, for everyone who needs to be indoors today, instead of enjoying the sunshine.

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Beautiful work by Rebecca Louise Law. Would simply love to see this in person!

Enjoy!

(images via thisiscolossal, courtesy Bikini Berlin)

 

 

Balance

 

He makes it look easy. Oh, it’s not.

I am smitten with the meditative and performative quality of this type of work. When I make work like this – site based, body based, working with natural materials – I feel most at home in my skin.

As an artist especially.

Thanks for the reminder, Adrian Gray.

 

Ice Ice Baby

I’ve been doing some travelling recently, in and out of other parts of the country – and in and out of winter (and spring) along with the shift in landscape and time zones.

But wherever I’ve gone, there’s been ice, in all it’s beautiful, slippery, dangerous glory. Slick sidewalks, crusted roads, feather-frosted puddles and windows, shards and chunks in bodies of water. Yes, there’s water moving, to be sure, but its colour alone speaks volumes about how close in temperature it is to the ice floating in it, surrounding it, still covering most of it as it rushes underneath.

All this frozen stuff has made me want to retreat – to hibernate (again) – keep under the covers, wait for the sun to (finally) warm things into liquid, into spring, into green and growing. But I’ve also been drawn to it. To what it leaves unsaid, to its potential.

Under that veneer, it’s so very alive.

Of course I know that rationally  – but it’s easy to forget this time of year, when the grip of cold air and random storms serve as continual reminders that not yet is the refrain when we ask for the next, warmer season to begin in earnest.

And then I came across this, and understood why ice fascinates me as much as want it al to melt – I want to see this in person one day – to experience seeing that still surface reveal whats really going on … always only change.