In memory of a cherished friend and mentor, Cheryl Mezsaros. The force of time, almost ten years have passed.
I’m working on a variation of the what then series, this time starting from a lightjet image and then adding scribbles and text drawings overtop. This is the technique I’ve been using for 3 years now (cf. the Withdrawn:scribing Nancy series). The collaged bits of magic tape are new to this project, but not new to my working process. The tape adds another dimension to the petals, and gives me another opportunity for adding text.
The process of working on/with an expensive medium such as the lightjet print creates an interesting tension. There’s no erasing possible. The ink and dip-pen overdrawing has a will of its own, with dribbles and blobs an inevitable part of the process. Sometimes the blobs add their own charm, other times, I’m not so lucky. Regardless, it is this tension, this dialogue between medium and hand that keeps me coming back for more encounters.
I’ve been working on a new series recently. It’s going through various permutations, so basically I am at the exploration stage. Here are 4 images from the first permutation. Still rose petals, still Nancy texts, but dark petals arranged in doubles. They remind me of leaky lungs. (The petals have always alluded to body parts). The Nancy text fragments speak about existence and time – well, to me they do.
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opportunity it was to be part of the Memory Festival program, and to be able to show some of the work from the Withdrawn: scribing Nancy series.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 will be participating at Sunset Community Centre on July 1. Thanks to the fantastic Program Director, Cyndy Chwelos, we will be creating a giant, collaborative, maple leaf sculpture outside on the grounds of the community centre, with the help of community members and visitors to the Canada Day Celebrations. That’s Sunday, July 1, 12:00 – 4:00pm. The maple leaf will be made entirely out of incribed rose petals. Each participant will be asked to incribe his/her first name or initials and birthdate on a rose petal. Or, just a pattern or a design can be created on the petal if so desired. Each participant will then place the petal(s) into the already prepared maple leaf outline (made out of rose stems). It should be fun and if we’re lucky, great visually, given its 10′ x 10′ size, especially against the green of the lawns. And of course, made of out natural material, it will be ephemeral and totally environmentally friendly. Will the gods of weather cooperate?
How much of one’s everyday life remains silent, that time-in-between?
I’ve changed the scale of these new drawings. I like the way that working on larger images engages the body differently, not only in the process of working, but also later in the viewing. Text fragments borrowed from Nancy are still here in these drawings. His words continue to engage me, and I find that as I continue to read, new ideas from outside, from other authors, attach themselves. But, I always feel that I have to go further, that until I finish this book, or that book, I won’t really have understood anything. And so it is with drawing, until…
Some time ago, I began a series of drawings on vellum that play with the concept of time in narration. How the viewer interacts, completes and interprets the work is also a part of the exploration. In my drawings I want to see how layering the images one on top of the other on a translucent surface affects their reading. The translucent paper allows the images to be read from the front as well as the back, and thus the effect of layering works from both sides right up to the final image, which is on opaque paper. The viewer also has to turn the pages herself/himself in order to see all of the layers in a drawing sequence. Giving the impression of pages turning is rather a difficult task, I’ll get better at it as I work through the process of documenting the completed drawings.