I haven’t been very diligent in posting updates on the progress of my big project on bees, (entitled “not by chance alone”) for the most part because it is difficult to share the endless bouts of self-doubt, but also because the documentation that I have been doing (consistently) has produced iffy photos often taken under poor lighting conditions. Stitching together images of varying exposures is tedious.
.A couple of months ago, I decided that I really needed to lay the entire project out to see how the parts fit together and to give me a better idea how to proceed towards completion. It would be the first time I would see the entire project together.
My friend, the artist Elizabeth MacKenzie, helped me with the huge undertaking of putting together the 300 or so puzzle-like sheets that I had completed. I got permission to use the gym at my partner’s school (the administration and staff were very kind to allow me the freedom to do this). Sitting on the bleachers and working from a master diagram, Elizabeth would yell out the number and letter code of each sheet and give me directions where to lay a particular section. Here’s s shot of the “installation’ – it really does help to show the scale of the work.
Elizabeth was also the official photographer for this session, so I am very grateful to her for the images, her GPS and puzzle-making skills (:-) and the wealth of knowledge and experience in art-making which she so generously shares with me!
We still weren’t able to get the complete piece in one shot without massive distortion, so here are sections of the work: this one is the left side.
The exhibition closed today. After all the bustle and excitement of hanging work, of opening night and then days of visitors–nothing now but whiteness of empty walls. It was wonderful to share this space with the other artists, from Sharon Kallis and her beautiful bio-netting installation; to Robin Ripley and the ethereal maple seeds and pennies; to Holly Schmidt’s elegant living room of duck weed, and Joy Witzche’s woven masterworks–these are but a few of the varied and engaging works here that in one way or the other, addressed contemporary issues on the environment.
I don’t have photographs of all the installations in this exhibition, but here is a small selection:
What a fantastic opportunity it was to be part of the Memory Festival program, and to be able to show some of the work from the Withdrawn: scribing Nancy series. My friend Elizabeth MacKenzie (artist and Festival participant) asked me what I considered the best aspect of the Festival week, and I said that being part of an exhibition with her and fellow artist, Cindy Mochizuki was definitely the most incredible part. Elizabeth and Cindy’s projects are incredibly beautiful, profound and unique explorations into memory, each investigation approaching memory from a private viewpoint—one that, at the same time, becomes greater than itself, expanding to relate to the larger public and a larger audience.
With Geist’s, (the founders of the Memory Festival), One-Sentence Memories of Vancouver, Theatre Replacement’s Movie Group performance, and my Inscribing Memory workshop, it was an an engaging and varied week-long exploration into memory!
Here are some shots from the Memory Festival installation of my work:
I have the great privilege of being part of the Memory Festival this year, at the Roundhouse Community Centre. The week’s program, which runs from November 13th to the 18th, contains an interesting variety of offerings, from text-based community projects, to performances, to installations of 2-dimensional work. Each presentation explores the concept of memory from a different perspective.
I will be showing some of my work from the Withdrawn:scribing Nancy series, including a video made with my friend, the multidisciplinary artist, Cindy Mochizuki. Cindy is presenting a performance at the Memory Festival, and the artefacts from her performance will be on exhibit as well. My friend, Elizabeth MacKenzie is creating a text-based installation specifically for the Memory Festival. I am in astounding company, to say the least!
During my recent “return” to the Koerner library at UBC, I came upon a small installation in the foyer by the artist Luis Camnitzer. It is a collection of discarded objects Camnitzer found on campus, each mounted with a randomly chosen piece of text. The viewer is invited to make connections between the objects and the words. The pedagogical associations are inevitable, considering the location of the work – a major university library, and this aspect is underscored by the take-away card/advertisement, which lists a series of books available in the UBC libraries, related to the exhibition (even giving their call numbers).
I found the installation interesting and humorous and enjoyed looking at each object, reading the text and trying to make associations between the two. The installation plays with traditional theories of meaning, displacing direct relationships between object and word, and offering instead meaning produced in the moment, in an continuously changing and unstable relationship between the signifier and the signified.
(image: detail of installation by Luis Camnitzer).
This project brings to mind another art project, a superb blog posting, entitled “Daily Drawing Project” by the artist, Elizabeth MacKenzie. (check out the engaging drawing project Elizabeth gives her students). Art and pedagogy on multiple levels.