First Experiments

We began to work on the rocks at Green Point in the past few days, starting to work things out in earnest.

stratotype-sign

As it turns out, we had a bit of a geological dilemma to work out before we even began testing ideas for the sculpture! There were some differences between various sources regarding the exact location of the Cambrian-Ordovician boundary at Green Point, so we had to figure it out for ourselves, just to be sure. While I am not overly concerned about being exactly on the mark all the way out on the wave-cut platform, I do want to make sure that our starting point on the cliff face is correct, and follow that layer as well as I can (seaweed and the odd fault in the rocks not withstanding).  After some work, we got it sussed out, and traced it out from the cliff as well, so we could position the trial pole properly for future reference.

Here’s John standing on the cliff face; his right hand is resting on the Boundary.

C-O-Boundary

Saturday was a ideal day in many respects – enough wind on the rocks to give us quite a show, and to really test the construction methods and durability of the components of the work in less-than-perfect circumstances.

wave

wave2

There were a number of things to fine-tune: testing different methods of building supports for the the sculpture, figuring out how many uprights will be needed … and crucially, how long it takes to move materials from the beach out onto the wave-cut platform to build the work.

firsttrial2

No matter where I am working, or with what materials, beginning a new project always has this time of testing built into it, complete with false starts and digressions. Moments when everything you thought would work perfectly … Doesn’t. When you wind up wondering what on earth you were thinking, and if in fact you weren’t completely daft when you thought this was a good idea.

S-at-work

Happily (so far) those moments have been very few. Things went really well, and we are cautiously optimistic that the construction will go as planned, and actually be simpler than we initially thought! We’ve got ample in the way of supplies … so that’s not an issue. And it turns out that there’s a good supply of rock on the shore right where we are building that will provide excellent support material.

driftwood

Monday was a long day on the rocks, but we got a lot accomplished, and had some lovely conversations with people as well.  A tour group came by in the late morning, and then from 1 – 3:30, there was a Parks Canada Interpreter with us at Green Point, and we had more visitors then too.

I managed to get a big stockpile of rocks moved, in preparation for building the sculpture in a couple of weeks …

stockpile

We put up a few more test poles too, to try a variety of support methods, and to see how different base surfaces would impact our ability to get the uprights to stay up where we wanted them.

mondaytrials

There’s still a lot to get sorted and fine tune (getting all the poles we will need in a stockpile and re-testing all the technology for the documentation are the next two jobs on the list!), but we have some time before the actual construction day, and lots of things to learn and do in between.

In the end, that’s what makes it all worthwhile: the process, the learning, the letting go. It’s never entirely as one plans – nor should it be.

Oftentimes, it’s the unexpected things that make it better than you ever anticipated.

Pam Hall’s “Apron Diaries”

A fitting start to the work week, and my last few days before I leave for Newfoundland, and the work for my residency there.
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Beautiful work by Pam Hall (who is based in St. John’s NL), honouring the history and vital importance of women’s work.

Images and original installations: created by Pam Hall.

Please have a look at her web site: http://www.pamhall.ca/about_the_artist/

Reblogged from O’Canada – which is definitely worth a look as well.

Preparation and Anticipation

It’s been a very busy time.

Received some great news, which set life a-kilter and many things in motion (a bit like a juggler on a unicycle) …

I have been accepted into the Artist-In-Residence Program “Art in the Park” at Gros Morne National Park on the west coast of Newfoundland.

The project I am going to work on will be a site-specific installation at Green Point:

stratotype-sign

Green Point has been chosen as the Global stratotype representing the division between the Cambrian and Ordovician periods in geological history.

outcroppeopleforscale
Geologists in their natural habitat, for scale.

outcrop-grn-point

 So, this spot on the planet holds a boundary, a division in time and history. Just like the strata shown in the images above, there are many layers to that story, different scales of time and history, differing notions of memory. Many ways to understand change, and the essentially ephemeral nature of all things.

These are some of the things I am going to be considering in my work during my stay.

A view of Green Point from  a seaward  vantage point at low tide
A view of Green Point from a seaward vantage point at low tide; lots of space to make work that interacts with the tide!
grn-point
A closer view of Green Point; the division between the Cambrian and Ordovician periods is actually quite unremarkable in some ways … just two different layers of rock in the cliff (it’s just off-centre in the image, toward the right, where all the boulders are on the shore)

There is, in many ways, a very arbitrary quality to this division; other places on the planet record this same point in geological history. But it is here, this one place which was chosen to be the internationally recognized stratotype.  There’s food for thought there too … so many human-generated boundaries/divisions/separations have this same arbitrary quality. There’s power in choosing. Power in naming and defining. Power in distinguishing the sides of boundary, whether it is readily visible or not: we know what it means to draw the ‘line in the sand.’

These are things I will be considering too.

surf sunset

There’s a raw, vital beauty to the landscape there. It commands respect. It’s a place that can make a mere human feel quite insignificant.

I think those are important things to consider too.

skynsea

And I know there will be many adventures over the weeks of my stay – and I will do my best to capture some of that journey here.

ARTS & CRAFTS #308

I have been a huge fan of Nicole Dextras’ work for a while now. There’s a powerful simplicity here, that I think speaks volumes about the thought and awareness that goes into the work. I encourage you to head over to Nicole Dextras’ web site and her blog. Well worth the trip! Happy Monday – enjoy!

Oddment #9

Sometimes, life presents little moments of delight; if for no other reason than to remind us to really look, to pay attention to the details – because that’s where wonder lies.

When I was working on some components for the sculpture I am doing for the Silver Skate Festival, I came across this little delight:

treeheart

I didn’t alter the rings in any way – this is what I saw when I cut into the branch of Caragana.

Left me smiling for the rest of the day – and I hope it does for you, too.

Silver Skate – an amazing day

Had a fabulous time at the Silver Skate Festival on the 16th!

A long day, but well worth it. We got to the festival site about 9:30 Sunday morning, and started right in to work.

Photo Credit: John Halliday | Instagram: j71halliday
Photo Credit: John Halliday | Instagram: j71halliday

Here I am in the background, looking rather pensive!  At this point, we had completed the interior portion of the WORDWALL sculpture … this element would be revealed as the sculpture burned.

Building-2WEB
John Halliday | Instagram: j71halliday

This is a shot of me finishing up one of the exterior ‘walls’ for the sculpture. The piece was all puns and wordplay, based on the narrative for the Folktrails storytelling portion of the Festival.  Essentially, the story revolved around how easy it is to get rigid in our thinking; we say NO to new ideas, because we “KNOW” everything. This attitude builds walls, creates physical and emotional barriers, limits growth.  So … of those walls come down … change and positivity can flourish (YES!)

Procession
John Halliday | Instagram: j71halliday

We had a few tense moments getting the sculpture finished and set to burn; the two outside walls had to balance properly, so that once the fire reached them, they would fall away from the center, and leave the YES panels standing! Somehow, we managed to make it all work, and get the WORDWALL stuffed with straw, and ready in time for the Procession from the Folktrails area. Here, you can see the leader of the Procession entering the burn area; the finished sculpture is in the background, waiting for the torch.

John Halliday | Instagram: j71halliday
John Halliday | Instagram: j71halliday

And here I am, lighting the wick that leads to the sculpture …

Burn 1
John Halliday | Instagram: j71halliday

… and up it goes! It’s quite dramatic (and not a little cathartic) when the work catches fire. There’s something really primal in the visceral response the crowd has to the lighting and the fire.  John Halliday (you can find his Instagram handle in the photo captions) – who was kind enough to share some of his photos of the event with me – pointed out the creepy face that seemed to emerge from the flames here. Seems appropriate, since part of the story is the banishing of ideas and thoughts that have outlasted their usefulness~!

John Halliday | Instagram: j71halliday
John Halliday | Instagram: j71halliday

I really like this shot – it captured the point in the burn where the walls are falling away to reveal the YES inside. Great moment!

Burn-3WEB
John Halliday | Instagram: j71halliday

Another shot of the walls coming down …

John Halliday | Instagram: j71halliday
John Halliday | Instagram: j71halliday

And finally … all that was left after the fire did its work. Embers and smoke, and the night sky, lit by spotlights.

And that was that for another year; about 12 hours all together, and an amazing experience.

I can’t say enough good about all the fantastic people that make this Festival happen.  The site crew and organizers were amazing – so helpful, and so lovely to work with. We were very well taken care of all day … blocks of snow got delivered to brace the sculpture, bales of hay appeared, volunteers gave us a chance to take a break for lunch, and even brought us a late dinner when it was all over (because we were too busy finishing the work to go for supper!)  I feel like WORDWALL belongs to everyone at Silver Skate – they all really helped make it happen.

And I have to say my fellow wall-builder-engineer-wirecutter-twine-wrapper and all ’round amazing partner John was completely indispensable.  Absolutely couldn’t have done this without him!

I’m a bit sore around the edges today – discovered some underused muscles, that’s for sure! – but more than anything, I’m really grateful I was able to do this.

Silver Skate continues next weekend too – and there will be two more fire sculptures being made and burned on Saturday February 21 and Sunday February 22. So, if you’re in the Edmonton area, try to make it down. It’s a free event, and there’s a lot going on all weekend – check out the schedule here.  Races, snow sculpture, storytelling … so much to do.

Silver Skate 2014: The Fires of Knowall

I will be participating in the Fire Sculpture portion of the Silver Skate Festival  again this year! I will be creating  – and burning! my piece for this year’s event on Sunday February 16th. It’s a fun and exciting event; making work that I know will be consumed by fire at the end of the day has such a liberating and cathartic feeling to it. You can find a site map for the festival here.

general-poster-final

It’s a great opportunity too to engage fully in the physical aspects of art-making. There’s real immediacy to making work outdoors, in the winter weather … to say the least.

But in other ways too: the materials are limited to various forms of brushwood and scrap milled pieces, some straw (for fire fuel) and a bit of fabric (for drama and colour). There are specific restrictions on the fasteners we use too (wire and natural twine only) to hold the work together – this, for safety’s sake in the aftermath of the burn (ever step on a nail or screw? I don’t recommend it!), and so that there are no nasty fumes given off when the sculptures go up in flames. So – there are design challenges, the physical challenges around making the work, and the emotional challenge of letting go of what you make almost as soon as it’s done.

Pushing limits and letting go.

Great lessons — and GREAT fun too.

I hope to see some of you there!

At Odds – The Opening!

The opening of At Odds on Thursday was great fun. Lovely evening, and a really nice turn out, despite the cold. Thanks to everyone who made the trek, and special thanks to everyone at the Art Gallery of St Albert!

I feel I am in really great company in this exhibition – Susan Seright’s book works and Claire Uhlick‘s paintings are lovely. If you are in the Edmonton-St. Albert area, come by the gallery and see for yourself – the exhibition is up until March 1 2014.

It was really good to see the new work that I’d done this autumn in Halifax up in a gallery setting, along with some of the earlier work in the series. Came away with lots of new ideas, and a better sense of refinements that I want to make. Got some really valuable feedback on the work, both at the opening, and in the last couple of days. It’s a brilliant thing to be able to get that kind of input. Sometimes, it’s difficult to get the distance one needs to really see the work, so that’s when knowing there are solid, critical voices one can trust out there  – a real community – becomes incredibly important, and valuable.

A couple of nice articles/interviews about the show too  – The Leader and The Gazette both did preview pieces on the show.

Here’s a few pictures from the Opening – apologies for the poor quality – shot with my phone, on the fly, during the event!

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SHELTER

I wanted to pass this on.
I have been thinking a great deal about making, lately: the work of the hands and the body. How making connects this body to space, to place. And how it is (or can be), in essence, a way of close listening – both to the body and mind doing the making, and to the materials and environment in which the making takes place.
I have spent the week recovering from the flu: this, it’s own special kind of close listening to the body and its limits. In this recuperation, I have been making, when my energy allows. Nests. Sculptures of nests that will soon have a place in the exhibition of work I have coming up at the Art Gallery of St. Albert. So – when I came across this delightful work, I felt the timing was perfect.

I hope you enjoy.

At Odds

Part of why I have been so quiet here lately is that much has been happening on many other fronts. All good, but the end of the day comes too quickly to get in all that I want to, including posting here.

At any rate – some news!

I will be exhibiting work at the Art Gallery of St. Albert very soon. The show is called At Odds, and features work by me, Susan Seright, and Claire Uhlick. I feel I am in very good company – I really appreciate Susan’s and Claire’s work, and I’m looking forward very much to seeing our work all together in the gallery.

Details as follows:

ATODDS.F ATODDS.B

Hope those of you in the general area can make it!