It seems early, spring is not officially here yet, but there are bulbs pushing up their bright heads through the soil and early shrubs and trees are bursting with delicate blossoms. Time to plan ahead for Pollinator Week 2018 (June 18-24).
I have the very great pleasure of having an exhibition in June and Pollinator Week falls within the duration of the show, so I’m creating a series of postcards that will be offered gratis to visitors to the gallery.
The postcards are little reminders/suggestions on creating a pollinator and bee-neighborly environment.
As the season of bee observation, floral collection and study draws to a close, I am starting to look through my image archive, considering the printed ones, what to keep, what to set aside–what thematics to consider in preparation for next year’s exhibitions? Soon, I will be starting the intensive task of printing new images, most probably with the help of a new Epson printer, as I have devastated my present one with the abundantly free-floating fibers in the gampi paper I use.
But despite the hate-hate relationship of gampi+printer, the paper is lovely to work with, and because it is not coated, there is not the same sharpness in the image that real photography paper has. It has a natural warm hue. These aspects I really like.
Then the long, slow task of dipping each image in melted beeswax. The paper is already translucent, but the beeswax renders it more so, and adds a further warmth to the tone.
Vernissage! A great evening at the Richmond Art Gallery with the opening of two exhibitions, Cameron Cartiere’s and mine. We heard a beautiful performance by members of the renowned musica intima ensemble. The music was amazing, such gorgeous voices, and Jacob Gramit’s arrangement of Charles Butler’s madrigal was perfect. A very cool section of the madrigal was the recreation of bee sounds for 4 voices! Thank you Caitlin Beaupre, Melanie Adams, Taka Shimojima and Alvin Carpintero for sharing this evening with us.
members of musica intima ensemble performing Charles Butler’s madrigal, “The Feminine Monarchie,” new arrangement by Jacob Gramit. Photo by Laurence Trepanier
photo by Laurence Trepanier
Detail of “not by chance alone”. Photo by Scott Massey
“thistle, rose, gilded, golden, glad: to Dorothy Hodges,” installation of pollen work. Photo by Scott Massey
This weekend, the Richmond Art Gallery and the Richmond Art Centre are presenting two days of Bee culture: Buzzworthy! On Saturday there will be a super variety of fun and interesting workshops for visitors to participate in. Just to mention a few: my bee buddy, Madame BeeSpeaker, Lori Weidenhammer, will be giving visitors tips on how to plant a pollinator garden in their backyard. Don’t miss that one. Lori is amazing! Master bee-keeper and all-around bee and garden expert, Brian Campbell and I will be presenting a pollen-based art-making workshop for visitors of all ages. On Sunday, the RAG is presenting a screening of the superb documentary on bees, “More than honey,” followed by a discussion led by Brian Campbell. (Yes, he gets around!).
September marks a special month for me—the project I have been working on for almost 3 years is on display at the Richmond Art Gallery. (The exhibition opens on September 12th). Well, about 2/3 of the entire project has been installed for this exhibition. It climbs 16′ in height, and we have placed a few pieces on the floor, not many, just to indicate that the work continues and the installation is partial. I am most grateful to the curator of the RAG, Nan Capogna. She’s wonderful to work with. She’s very knowledgeable, she’s got a keen eye, she’s considerate yet honest with her comments and critiques. It is a privilege to work with someone of her caliber. The Preparators at the gallery are also fantastic–sensitive, very capable and efficient. Thank god they know how to do math and grids! Kathy, Hilary, Melanie and Paula, part of Nan’s educational, administrative and curatorial team at the gallery are super to work with too. What a great group, and what a great experience this installation has been.
I’m sharing the exhibition space with an artist from Vancouver, Cameron Cartiere, and although we are thematically connected–we are both exploring the subject of bees–our approaches, perspectives and modes of execution are different. Cameron’s installation is stunning.
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.
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!
I’ve taken these words from the opening paragraph of Jean-Luc Nancy’s essay “Paean to Aphrodite,” (Multiple Arts, Muses II). Taking one concept, one name—Aphrodite, he traces an intricate map of the goddess and her trajectory (physical, linguistic, mythic) through her various appellations and manifestations. He asks, “But why does the beautiful never let us go? When everything is ugly, all that remains of it is a memory.” I am interested in that phrase, “what remains.” Renmants— unsaid, undone, unknown, invisible. What remains?
The text in the image above, I’ve drawn directly onto my studio wall. The small pile of objects that form part of this installation are the renmants of the dried, inscribed, white rose petals I used for the magnificat project that I did last year. (See my post of May 11, 2011, “re-inscription in progress”).