Week 1:

Nina Katchadourian: Sorted Books Project

So, with Katchadourian’s work, what really strikes me is how she sees these invisible connections between book titles. It’s like she walks into a room and the books start talking to her, telling her how they can fit together to create something totally new and unexpected. It’s almost like she’s got a secret language with them.

Then there’s her storytelling. It’s not just about finding a funny or clever sequence of titles. She’s crafting these mini-narratives, these little worlds within the spines of the books. It’s amazing how a few well-chosen books can suddenly say something profound or hilarious, or even just make you see things differently.

And the visuals – they’re so key, aren’t they? It’s not just any books that make the cut. She’s looking for the right color, the right size, the kind of font that speaks in just the right tone. It’s like each book stack is a carefully composed painting, but instead of brushstrokes, she’s using the spines of books.

Context plays such a huge role too. Whether she’s in a private library or a public space, the stories she creates are like mirrors reflecting something about that place, the people there, or the wider world. It’s like she taps into the soul of the place and lets the books tell its story.

And how about the element of surprise in her work? It’s like she goes in without a script, letting the books guide her, and then finds these gems that just click. It’s that spontaneous, in-the-moment creativity that’s so exciting.

What she’s doing, really, is changing the way we look at books. They’re not just vessels of stories on their pages; they’re storytellers themselves through their titles. And when she brings them together, it’s like she’s giving them a voice we never knew they had.

It’s such a playful, yet insightful exploration of language and meaning, isn’t it? Every time I see her work, it’s like a reminder of the power of context, of how the meaning of words can shift and change depending on where they are and what they’re next to. She’s making us rethink what a book can be, and that’s pretty incredible.

Dave Dyment: A Billion Years [Past and Future]

So, what Dyment does here is pretty out there, but in the best way. He takes these two sets of records, each with a billion years etched onto them. One for the past, one for the future. It’s like he’s compressing the entire timeline of our planet, and even beyond, into this physical form you can actually touch. It’s a wild concept when you think about it.

The past record is etched with dates of significant geological and historical events. It’s this tangible walk through time, kind of grounding you in the history of the Earth and humanity. But then, the future record – that’s where it gets really interesting. It’s blank, like this open invitation to imagine what’s coming. It’s a mix of hope, uncertainty, and a bit of existential dread, all rolled into one.

And it’s not just about the content; it’s the medium too. Records, right? They’re this old-school way of storing information. In a world where everything’s digital, there’s something really powerful about using a physical, almost outdated medium to talk about time and history.

The project also makes you think about how we perceive time. Like, a billion years is just this unimaginably long period. By putting it into a form we can see and touch, Dyment kind of makes the abstract concrete. It’s a bit like he’s holding a mirror up to our own perceptions of time and history, showing us how vast and yet how limited our understanding is.

It’s also a statement on the impermanence and fragility of what we know and what we expect. The past is set in stone, but the future? It’s this blank slate, unknown and unwritten. It sort of throws you into this contemplative space, where you’re thinking about where we’ve been and where we might be heading.

And there’s something poetic about it, don’t you think? This idea of using records, a tool for capturing moments, to represent the entirety of time. It’s like he’s using them to play the soundtrack of our planet, only the future side is just waiting for us to fill it in.

In a way, Dyment’s project is like a time capsule, but instead of burying it, he’s put it on display, making us confront these ideas head-on. It’s an artistic exploration of time, history, and the unknown future that challenges us to think about our place in this grand timeline.

My Book Stacks:

I’ve always been drawn to the stories books tell, not just inside their pages but also through the lives they’ve lived. The worn spines, the dog-eared pages – every book carries a history beyond its text.

The idea for this project sprang up from my fascination with how books are more than just stories or information. They’re artifacts, carrying individual tales of where they’ve been, who’s held them. I wanted to capture that sense of journey. So, I started stacking them, playing with the titles to create new meanings, new stories.

I sourced these books from my own collection, from friends, and even some old library sales. I looked for titles that could work together, that could tell a story or evoke a feeling when read in sequence. It wasn’t just about the content; it was also about the physical book. I chose books that showed their age, that had character, because I wanted this project to have a texture, a life of its own.

In one stack, the titles read as a quirky, almost existential joke. In another, there’s a poignant narrative about life’s fragility and the human condition. Each stack has its own vibe, its own purpose. They’re like visual poetry, each book a line in a verse.

As I arranged the books, I thought about the interplay of titles, the conversation they could have with each other. It was about finding that balance, that sweet spot where the titles clicked and the stack came to life. It’s a bit of a metaphor, really, for how we all try to find meaning, how we stack our experiences and memories to make sense of our world.

This project is an ongoing dialogue with literature and time. It’s a love letter to the printed word and an exploration of the narratives we build from the objects in our lives. It’s about finding the extraordinary in the ordinary and the stories that exist between the lines.

Intertwined (2023)

Where the books are interlaced almost page by page, it feels like a metaphor for the complexity of narratives and the intermingling of stories. As I arranged these books, I was reflecting on how our lives are like pages in a book, constantly touching and influencing one another. The mingling pages suggest a deep connection, the way our stories are not solitary but shared, how the lines between one person’s narrative and another’s are often blurred and indistinct. The choice to intertwine the pages of two books so intimately against the stark black background amplifies their connectedness. It’s as if these books, and by extension the stories within them, cannot exist without one another. The black background is void of distraction, focusing the viewer’s attention solely on the complexity and beauty of the interlaced pages, highlighting their shared existence.

The New Old (2023)

The contrast between the new and old books is stark. The old books, with their weathered pages and worn bindings, speak of a rich history and the passage of time. They carry with them the wisdom of age, the hands they’ve passed through, and the dusty corners they’ve adorned. Beside them, the newer books, pristine and unmarred, hold the promise of new stories, new knowledge, and fresh starts. This stack was about showcasing the cycle of life in literature, the old giving way to the new, and the new eventually becoming old. The reflective surface beneath them acts as a metaphor for contemplation, urging the viewer to consider the cyclical nature of time. I realized after I took the picture that the newer books cast reflections that are sharp and clear, while the older books have softer, more diffused reflections, reminding me of the clarity of the present and the fading memories of the past.

The Killing Cat (2023)

The books, with their vibrant and more modern spines, seem to represent the lighter, more humorous chapters of life. The titles are playful, hinting at a story within a story. This stack was crafted with a sense of whimsy in mind, recognizing that while life has its depths, it also has its moments of levity and laughter. It’s a nod to the quirky, unexpected joys that punctuate our everyday existence. Ironically, the second book is a graphic novel by Teva Harrison, a writer diagnosed with metastatic breast cancer at age 37. She shared her experience living with this condition in this book.

Mo[u]rning (2023)

This stack of books brings together titles that evoke a sense of introspection and contemplation. The books, with their somber tones, suggest a quieter, more reflective narrative. They seem to capture those moments of solitude we all face, where we look inward, taking stock of our lives. This stack was intended to be a personal meditation, an invitation to the viewer to pause and reflect on their own journey through the stillness these books convey.

This sequence plays with the homophones “mourning” and “morning,” weaving a narrative about personal reflection, grief, and the hope of a new day.

The stack begins with a personal, introspective note, as if one is jotting down thoughts or reminders. It then transitions into a statement about resting in a period of sorrow or mourning, implying a time of loss or reflection on hardship. The final title shifts the narrative towards a sense of hope or contemplation of the future — if or when a new day, “morning,” arrives, symbolizing new beginnings or recovery.

This play on words invites the viewer into a moment of intimate reflection, suggesting a journey through personal grief with the possibility of healing and renewal as time progresses. It’s a thoughtful and intentional layering that adds depth to the visual presentation of the stack.

It [kind of] is a study in minimalism and the power of space. The dark background here creates a sense of depth and void, a space for the viewer to fill with their thoughts and emotions. The composition is tight, the books are close together, which emphasizes the theme of introspection. The titles of the books are aligned to guide the eye smoothly down the stack, inviting a moment of personal reflection.

Week 2:

Riitta Ikonen and Karoline Hjorth: Eyes as Big as Plates

Collaborating with Karoline Hjorth, Ikonen captures portraits of elderly individuals integrated into natural landscapes, often with organic materials like leaves, rocks, or seaweed, enveloping them in ways that seem to both camouflage and celebrate their forms.

The project started with the exploration of Finnish folklore, but it quickly grew into a broader examination of humanity’s relationship with nature across various cultures. It’s about the stories we tell, the myths we weave, and how we see ourselves as part of the natural world. The subjects aren’t just posing; they become part of the landscape, almost elemental in their presence.

There’s a deep respect for the elderly in Ikonen’s work, portraying them with a sort of mythic grandeur. They’re not passive or frail; they’re powerful, almost otherworldly beings. The use of natural elements in their adornment seems to speak to the cycles of life, to a deep-rootedness in the world, to a return to the earth that bore us.

The photographs are haunting, beautiful, and a little surreal. They challenge our perceptions of aging, of beauty, of the lines between the human form and the more-than-human worlds we inhabit. It’s like Ikonen is saying, ‘Look, here’s the beauty of age, of stories etched in faces, of bodies that have weathered time, now merging with the land that sustains us.’

There’s also a playfulness to it, a sense of not taking ourselves too seriously. By adorning her subjects with these natural materials, there’s a sense in which Ikonen is inviting us to reimagine our connection to nature, to see it not as something ‘out there’ but as an intrinsic part of our being, of our identity.

“Eyes as Big as Plates” is a powerful visual conversation about nature, mythology, and identity. It’s an ongoing project that continues to evolve, each photograph a new verse in a larger story about what it means to be human in the natural world.

Tim Knowles:

Tim Knowles’ work, especially his Tree Drawings and Wind Walks, offers a mesmerizing blend of art and nature. His approach is a radical shift from conventional art-making, where he relinquishes control and allows natural forces to become the artists.

In his Tree Drawings, Knowles attaches pens to the tips of tree branches, transforming them into the artists. The trees, swayed by the wind, create drawings that are spontaneous and beautifully unpredictable. Each piece is a direct record of a moment in time, capturing the tree’s interaction with the wind and the environment. It’s a poetic reflection on nature’s rhythm and the unseen forces that shape our world.

Then there’s his Wind Walks. Here, Knowles uses wind direction to determine his path through a landscape, letting the whims of nature guide him. He documents these journeys with GPS, creating drawings based on where the wind takes him. It’s a fascinating concept – surrendering human intention to the will of nature, allowing the environment to dictate the creative process.

Knowles’ work is a profound statement on the relationship between humans and nature. He removes himself as the central creator and instead becomes a facilitator, letting the natural elements express their own ‘artistic’ qualities. It’s a humbling reminder of the power and beauty of the natural world and our often overlooked role within it.

His environmental projects extend beyond traditional art boundaries, blending science, nature, and creativity. By doing so, Knowles invites us to reconsider our perceptions of art. He challenges the idea of the artist as the sole creator and instead presents nature as a dynamic and unpredictable force in the creative process.

The underlying message in Knowles’ work is about connection and harmony with the natural world. It’s a call to observe, to listen, and to respect the forces that exist beyond our control. His art is not just a visual experience but a conceptual journey, urging us to consider our place in the larger tapestry of the natural world.

Shawna Dempsey and Lorri Millan: Lesbian Rangers

The “Lesbian Rangers” project, developed by artists Shawna Dempsey and Lorri Millan, is a fascinating and provocative piece of performance art that blends humor, activism, and social commentary.

In this project, Dempsey and Millan don ranger uniforms and patrol parks and natural areas, engaging with the public in a role that’s part environmental steward, part social activist. They draw attention to the presence and history of lesbians in various environments, challenging the conventional narratives of national and natural history. The ‘Lesbian Rangers’ guide visitors, not just through the physical landscape, but through a cultural and historical one that is often overlooked or marginalized.

The concept is a playful yet poignant critique of how certain groups, particularly the LGBTQ+ community, have been underrepresented or even erased in mainstream narratives about nature and history. By assuming the role of rangers – traditionally seen as guardians and interpreters of natural and historical sites – Dempsey and Millan assert the importance and presence of lesbian contributions and experiences in these spaces.

Their interactions with the public are filled with wit and humor, but also provoke deeper thought. They challenge stereotypes and invite conversations about inclusivity, representation, and the diversity of stories that make up our collective history. The project effectively uses the format of performance art to engage directly with people, creating a dynamic space for dialogue and reflection.

The “Lesbian Rangers” project is not just a critique; it’s also a celebration. Dempsey and Millan celebrate the resilience and contributions of the lesbian community, asserting their place in both the natural world and in historical narratives. This project transcends traditional forms of protest or activism, using art as a means to educate, engage, and inspire a rethinking of how we view history and the environment.

Katie Paterson:

Katie Paterson’s work is a beautiful blend of art, science, and deep conceptual exploration. She delves into themes that span time, space, and the universe, often merging the poetic with the scientific in her projects.

One of her notable works is “Vatnajökull (the sound of)”, where she set up a live phone line to Iceland’s Vatnajökull glacier, allowing people from all over the world to listen to the melting ice. This piece beautifully captures the immediacy of climate change, making a remote and gradual process both accessible and visceral.

In “Fossil Necklace,” Paterson created a necklace with beads carved from fossils, each representing a significant event in the Earth’s history. This piece is a tangible timeline, a wearable narrative of our planet’s past, encapsulating eons of geological transformations.

Her project “Totality” consists of a large mirror ball reflecting images of nearly every solar eclipse documented by humankind. This work encapsulates the awe-inspiring phenomenon of eclipses, a dance between the sun, moon, and Earth, into a single mesmerizing object.

“Future Library” is another fascinating project, where she planted a forest in Norway that will supply paper for an anthology of books to be printed in 100 years. Authors are submitting works annually, but no one will read them until the century has passed. This project is a profound meditation on time, trust, and the legacy of literature.

Paterson’s art extends beyond traditional boundaries, inviting viewers to ponder big questions about our universe, our planet, and our place within it. She intertwines the vastness of cosmic phenomena with the intimacy of human experience, creating works that are not just visually stunning but conceptually profound. Her approach to art is a reminder of the interconnectedness of all things, encouraging a deeper appreciation for the mysteries of the cosmos and our fleeting presence within it.

Lindsay Dobbin: Listening in Reciprocity

Lindsay Dobbin’s “Listening in Reciprocity” is a deeply immersive and thoughtful project that explores the intimate relationship between humans and the natural world. Dobbin, a Canadian artist, musician, and educator of mixed settler and Indigenous heritage, creates a space for meaningful interaction with nature through sound and engagement.

In this project, Dobbin invites participants to engage in the act of deep listening at various natural sites. The focus is on cultivating a reciprocal relationship with the environment, encouraging a sense of connection and mutual respect between humans and nature. Participants are guided to listen to the subtle and often overlooked sounds of the natural world, from the rustling of leaves to the flow of water, and even the more silent, yet palpable, energies of the land.

“Listening in Reciprocity” isn’t just about hearing; it’s about an exchange. Dobbin emphasizes the idea that listening is a form of communication and relationship-building with the non-human world. This approach is rooted in Indigenous philosophies that recognize the agency and vitality of the natural world, seeing humans as part of a larger community that includes plants, animals, water, and land.

The project often involves communal gatherings and workshops, where participants not only listen to the environment but also share their experiences and reflections. This communal aspect fosters a sense of kinship and shared responsibility, reminding us that we are not separate from nature but intrinsically linked to it.

Dobbin’s work is a gentle yet powerful reminder of the importance of slowing down and attuning ourselves to the natural rhythms and voices around us. “Listening in Reciprocity” offers a space for healing and reconnection, challenging the often dominant narrative of human separation from and dominance over nature. It’s an invitation to engage with the world in a more mindful, respectful, and empathetic way, fostering a deeper appreciation for the interconnectedness of all life.

Wolfgang Laib: Pollen From Hazelnut

Wolfgang Laib’s “Pollen from Hazelnut” is an extraordinary work that merges simplicity with a profound contemplation of nature and existence. Laib, a German artist known for his minimalist yet deeply spiritual works, creates an immersive experience that resonates with the viewer on multiple levels.

In “Pollen from Hazelnut,” Laib collects hazelnut pollen over several years, meticulously gathering these tiny, vibrant particles. He then sifts the pollen onto the floor of a gallery space, creating a luminous, golden carpet. The result is breathtaking – a simple, natural material transformed into a sublime visual and conceptual experience.

This artwork goes beyond mere visual appeal. It’s a meditation on time, patience, and the rhythms of the natural world. The act of collecting pollen, a slow and repetitive process, is almost ritualistic. It speaks to themes of dedication, the passage of time, and the artist’s deep engagement with the environment.

Laib’s use of natural materials directly connects the viewer to the earth and its cycles. The pollen is not just a medium; it’s a life force, a fundamental component of the natural world. By bringing this outdoor element into an indoor, human-made space, Laib blurs the boundaries between nature and artifice, inviting us to consider our relationship with the natural world.

“Pollen from Hazelnut” also evokes a sense of wonder and the ephemeral. Pollen, as a symbol of fertility and renewal, carries connotations of life, growth, and the interconnectedness of all living things. Yet, its delicate and transient nature reminds us of the fragility of life and the passing of time.

Laib’s work is a quiet yet powerful statement on existence, nature, and the human condition. It’s a space for reflection and introspection, where one can contemplate the beauty and mystery of life. “Pollen from Hazelnut” challenges us to find the extraordinary in the ordinary and to recognize the sacred in the everyday.

Week 3:

Megan Arnold:

Megan Arnold’s “Are We Human or Are We Skater” is quite an exploration into skate culture. She seems to capture the essence of what it means to be a skater, beyond just the physical act of skateboarding. It’s the way she integrates various elements in her work that brings out the spirit and the subculture. She’s not just showing us what skateboarding looks like; she’s delving into what it feels like, its place in society, and how skaters navigate public spaces.

Then, take “Running Up The Hill.” This piece seems to be a metaphor for struggle and perseverance. The visual depiction of the hill and the figure climbing it – there’s something raw and relatable about it. The use of color and form really conveys the intensity of the climb. Arnold’s choice of this particular imagery speaks volumes about human resilience and the ongoing challenges we face. It’s not just a physical landscape she’s portraying but an emotional one.

In each of her works, Arnold appears to have this ability to take a concept or a subculture and unpack it in layers. There’s a depth in her approach, where visual aesthetics intertwine with deeper meanings, inviting viewers to look beyond the surface and engage with the underlying narratives. Her work isn’t just visually striking; it’s thought-provoking and invites a conversation, which is what makes it resonate so well.

Week 4, 5 and 6:

Research:

In the verdant heart of the University of Guelph Arboretum, an intricate tale of domestication unfolds, echoing themes of adaptation, exploration, and the nuanced interaction between the natural world and human influence. This tale resonates with stories of discovery and adaptation in both flora and fauna, much like the journey of an individual discovering an unfamiliar world.

The Canvas of Domestication in Flora

The Arboretum serves as a canvas where the strokes of domestication have painted varied landscapes. It showcases the interaction between native and introduced species, reflecting a broader narrative of adaptation and change. The studies on the impact of environmental factors, such as soil salinity on white pine trees, illustrate how even subtle human influences can reshape the natural characteristics of plant life [read more].

Wildlife Adaptation and Conservation Efforts

The conservation initiatives, especially for pollinators like bumble bees, highlight a proactive approach to supporting wildlife in adapted environments. The use of artificial nest boxes in the Arboretum is a testament to the ways in which human intervention can aid in the preservation of species struggling in domesticated landscapes [read more].

Artistic Inspirations from Nature’s Adaptations

The Arboretum’s landscape offers rich artistic inspiration. It speaks to themes of exploration, adaptation, and the delicate balance between nature’s inherent rhythms and human modifications. The contrasting environments, from carefully curated gardens to untamed woodlands, evoke reflections on the journey of adapting to and exploring unfamiliar terrains.

Reflections and Ethical Considerations

This narrative of domestication at the Arboretum provokes thought on our relationship with nature:

• How do our interventions reshape the natural evolution of species?
• What responsibilities do we bear in balancing development with ecological preservation?
• How does the introduction of non-native species alter the ecological narrative of a region?

These reflections form a backdrop to stories of discovery and adaptation, akin to an individual’s journey into a new world, navigating the delicate balance between the familiar and the unknown.

This exploration at the University of Guelph Arboretum offers a metaphorical parallel to narratives of discovery, adaptation, and the nuanced relationship between the familiar and the unknown in the natural world. It’s a reminder that our interactions with nature, whether through observation, conservation, or study, are integral to the ongoing story of life adapting to changing environments.

Cat Meets World (2023)

“Cat Meets World” is an environmental video art piece that explores the profound effects of domestication on animals, particularly focusing on my cat, Haku. This narrative, captured through a camera mounted on Haku’s collar, offers a unique perspective on how the domesticated life has estranged animals from their natural instincts and environments.

The video begins with “Discovery,” where Haku steps out of the familiar territory of home into the vast, unfamiliar outside world. This scene sets a critical tone, highlighting the contrast between the safe, human-centric indoor space and the unpredictable expanse of nature.

As Haku progresses to “Hesitation” and “Observation,” his initial reluctance and cautious approach to the outdoors underscore the theme of domestication’s impact. These scenes depict how an animal, once in sync with the natural world, now finds it alien and intimidating.

The subsequent titles – “Separation,” “Exploration,” “Fear,” “Shelter,” “Realization,” “Courage,” “Excitement,” “Curiosity,” “Experiencing,” “Longing,” “Recognition,” and finally “Returning” – chronologically follow Haku’s journey. Each title encapsulates a stage in Haku’s emotional and physical exploration, echoing the broader narrative of how domesticated animals navigate and perceive the world that was once their natural habitat.

1. Discovery: This initial scene captures Haku’s first moments stepping out from the familiar comfort of home into the outside world, symbolizing the first encounter of a domesticated animal with nature.

2. Hesitation: Here, Haku pauses at the threshold of the house, displaying uncertainty and wariness about the unfamiliar outdoor environment, reflecting the innate caution domesticated animals have towards the natural world.
3. Observation: In this scene, Haku cautiously surveys his surroundings from a safe vantage point, indicating a cautious approach and the unfamiliarity domesticated animals often feel towards nature.
4. Separation: This title denotes Haku’s physical and emotional distance from the house, symbolizing the divide between domesticated life and the natural world.
5. Exploration: Haku begins to cautiously explore his surroundings, sniffing and examining the terrain, depicting the curiosity and inherent exploratory instincts of animals.
6. Fear: The sound of a barking dog triggers a fearful reaction in Haku, leading him to rush back towards safety, illustrating how domesticated animals can be easily frightened by natural elements they are not used to.
7. Shelter: Seeking safety, Haku hides behind a tree, representing the need for security that domesticated animals seek in unfamiliar environments.
8. Realization: As Haku calms down and plays with a branch, this scene represents the gradual adaptation and acceptance of his surroundings, a step towards reconnecting with his natural instincts.
9. Courage: Haku resumes exploring with increased confidence, indicating a growing comfort and adaptation to the outdoor environment.
10. Excitement: Engaging playfully with his surroundings, Haku exhibits joy and excitement, showcasing the innate pleasure animals find in interacting with nature.
11. Curiosity: Haku’s curiosity leads him to investigate various elements of nature more deeply, reflecting the inherent inquisitive nature of animals.
12. Experiencing: Haku’s journey through different terrains, including stepping into a puddle, represents his active engagement with the natural world.
13. Longing: Seeing the house from afar, Haku feels a pull towards his familiar, safe home, depicting the dual longing for both the comfort of domestication and the allure of the natural world.
14. Recognition: Recognizing his home, Haku’s increased vocalizations and rush towards it symbolize the strong bond and dependency domesticated animals have with their human-provided homes.
15. Returning: In the final scene, Haku’s approach and eventual return to the house illustrate the completion of his journey, representing the inevitable return to the safety and familiarity of domesticated life after a brief foray into the natural world.

“Cat Meets World” is not just the story of a cat stepping outside; it’s a poignant reflection on the disconnect between domesticated animals and their inherent natural instincts. The video serves as a subtle critique of how human interventions and the comforts of domestic life have reshaped animal behaviors, distancing them from their ancestral roots. This art piece aims to provoke thought about our role in shaping animal lives and urges viewers to reconsider the implications of domestication on the natural world.

Week 7, 8 and 9:

Blue, Gray, Black (2023)

I found myself reminiscing about this poem I fell in love with when I was just 12. It’s a love
poem by Hamid Mosadegh, Iranian poet and author(1940-1998), a lengthy one, stretching
over 34 pages, and somehow, it stuck with me through the years. I could recite it from
memory, which is kind of funny to think about now. Anyway, I’ve been living away from
where I grew up, and it hit me how rare it is to really get into the world’s different cultures,
especially their poetry and art. I teamed up with ChatGPT to help me translate it bit by bit,
and then after ChatGPT did its magic, I took a stab at refining the words, trying to make
sure every line kept its original beauty and power. It’s been this personal passion project of
mine, bringing a bit of my world to others, and maybe, just maybe, making this poem
someone else’s favorite as well. It’s about sharing a piece of art that might stay hidden
otherwise, and I think there’s something pretty special about that. This was ChatGPT’s
response:
“Poetry Translation can be subjective, and there are various ways to capture the essence and emotions of the original poem. The provided translation is an attempt to convey the meaning and sentiment of the original. The poem is in Persian, and it seems to revolve around themes of love, life and the intricacies of human relationships, as well as nature and its elements.
Please note that poetry, especially from languages rich in metaphors and cultural allusions
like Persian, can be difficult to capture in translation fully. The challenges of translating
poetry include conveying the emotional depth, rhythm, and cultural context. While the
translation captures the general essence, the original Persian text carries its unique beauty, rhythm, and depth.”

I decided to create this book by hand, and I think it was the best choice for a project like this, where I’ve translated a poem with the help of ChatGPT. You see, there’s something incredibly special about handcrafting a book. It’s not just about putting words on paper; it’s about bringing an artwork to life in the most personal way possible.

For starters, think about the artistic expression involved. When I’m putting this book together, I get to infuse my own style into every corner of it. The cover design, the layout, the type of paper I use – all these elements reflect a part of me. It turns the book into a unique piece of art, far beyond just the content of the translated poem.

Then, there’s the connection I feel to the work. By assembling the book manually, I’m not just a translator or a writer; I become an integral part of the book’s creation. This physical act of putting it together adds a layer of intimacy and fulfillment that I simply wouldn’t get from a mass-produced item.

Customization is another big factor. I have complete freedom to tailor every little detail to complement the poem. Whether it’s adding illustrations, choosing a specific font, or selecting materials that resonate with the poem’s theme, these choices make the book truly mine.

And let’s not forget the sentimental value. This isn’t just a book; it’s a keepsake, a tangible testament to my dedication and creativity. It holds a story, not just in its words but in its very creation. Whether I keep it for myself or give it away, it’s imbued with a sense of personal history and love.

Consider, too, the collaboration aspect. Working with ChatGPT on this project was like merging traditional artistry with modern technology. Presenting our combined efforts in a handcrafted format really underscores the uniqueness of this collaboration.

Of course, there’s also the aspect of it being a limited edition. By making it by hand, I’m ensuring this book is one-of-a-kind. This exclusivity adds a certain charm and desirability, especially if I decide to exhibit it or give it as a special gift.

Lastly, I think about sustainability. By choosing my materials carefully, perhaps using recycled paper or eco-friendly inks, I’m making an environmentally conscious choice. It’s a small step, but it feels good knowing that my art isn’t just beautiful but also kind to our planet.

So, that’s why I chose to make this book by hand. It’s more than just a translation; it’s a piece of art, a piece of me, and I believe that’s something truly special.

Week 10:

Analyzing each artwork and artist from the “Take A Stand” playlist from Art21:

“Part of the Discourse” by Barbara Kruger: Kruger’s work is a critique of power dynamics, using bold text and imagery to confront issues of feminism, identity, and consumerism. Her style agitates the viewer into questioning societal norms and their own complicity in these systems.

“Istanbul” by Doris Salcedo: This installation reflects on violence and memory, often focusing on marginalized victims. Salcedo’s work communicates the pain and loss in a tangible form, using absence and presence to evoke empathy and awareness.

“The Kitchen Table Series” by Carrie Mae Weems: Weems addresses race, gender, and family life. Her work challenges stereotypical narratives and explores the complex interplay of personal and political identities.

Ai Weiwei’s “Change”: Known for his political activism, Ai Weiwei uses art to spotlight issues like government corruption and human rights abuses. His work often has a stark, poignant symbolism.

“Gramsci and Pasolini” by Alfredo Jaar: Jaar’s work delves into the intersection of culture and politics, often illuminating overlooked social injustices through photography and installation.

“You Make Me Iliad” by Mary Reid Kelly: This piece combines historical references with contemporary issues, often using a narrative, poetic approach to address themes like feminism and war.

John Akomfrah’s work in London: Akomfrah’s films and installations explore post-colonialism, often creating rich visual and aural experiences that question historical narratives.

“In Protest” by Nancy Spero: Spero’s art is deeply political, utilizing various media to address issues like feminism and war, and her work often serves as a direct form of protest.

“29 Palms” by An-My Lê: Lê’s photographs blur the lines between war and simulation, challenging perceptions of military conflict and its representation.

Stephanie Syjuco in “San Francisco Bay Area”: Her work examines cultural identity and the impacts of colonialism, often through participatory projects that engage directly with communities.

“Working Along Freeways” by Robert Adams: This series reflects on urbanization and environmental change, highlighting the impact of human activity on the landscape.

Hiwa K’s work in Berlin: His installations and performances often address issues of identity and displacement, particularly within the context of the Middle Eastern experience.

“Feeeeeeeeeeeeels Your Pain” by Liz Magic Laser: Laser uses performance and video to explore the intersection of politics and emotion, often critiquing media and political rhetoric.

“Borderlands” by Postcommodity: This collective focuses on issues affecting Indigenous peoples, using a variety of media to highlight border politics and land rights.

Each artist brings unique tools and strategies to their activist projects, from direct confrontation and narrative storytelling to symbolic representation and participatory engagement. Their work can inspire new ways of thinking about art as a means of addressing and questioning justice issues, encouraging artists to consider how their practice can both reflect and influence societal change.

Week 11:

Yoko Ono: Yoko Ono’s “Cut Piece,” performed in the early 1960s, stands out as a poignant exploration of vulnerability and passivity. In this performance art piece, Ono sat silently while audience members were invited to cut her clothing. The work transcends a mere artistic display, delving into themes of objectification, sacrifice, and the artist’s role in society. It’s a strikingly intimate encounter that challenges the viewer’s role, blurring the line between observer and participant, and raising profound questions about power dynamics and empathy.

Sandy Plotnikoff: Sandy Plotnikoff’s use of everyday materials, like foil and stickers, brings an unexpected depth to common objects. His technique of creating foil impressions on paper captures fleeting moments and interactions in a tangible form. This approach not only highlights the beauty in the mundane but also encourages viewers to find creativity and meaning in their daily surroundings. Plotnikoff’s work is a reminder of the artistic potential that lies in simple, overlooked materials.

Hiba Abdallah: Hiba Abdallah’s installations, such as “Everything I Wanted to Tell You,” integrate seamlessly into public spaces, inviting communal interaction and reflection. Her work often focuses on the power of words and communication, exploring how public discourse shapes our understanding of community and identity. Abdallah’s art creates a dialogue that bridges personal experiences with broader social narratives, offering a platform for collective storytelling and contemplation.

David Shrigley: David Shrigley’s art is characterized by its straightforward, often humorous approach. Works like “I’m Dead,” featuring a dog with a placard, employ humor to address serious themes such as mortality and existentialism. Shrigley’s style is direct yet thought-provoking, using simplicity and wit to engage with complex ideas. His work often acts as a mirror, reflecting back our own absurdities and anxieties in a way that is both accessible and deeply resonant.

Artists and mental health:

Tracey Emin: Tracey Emin’s art is intensely personal, often exploring her own experiences with mental health. Her piece “My Bed,” for instance, is an unfiltered snapshot of her life during a depressive episode. The installation features her own unmade, disheveled bed, surrounded by personal items like empty alcohol bottles, cigarettes, and medication. This work confronts the viewer with the raw reality of depression, breaking down the barriers between the private and public self. Emin’s vulnerability in sharing such a personal space invites a deeper understanding and conversation around mental health issues.

Louise Bourgeois: Louise Bourgeois’ sculptures and installations often delve into themes of anxiety, fear, and trauma. Her series of room-like structures called “Cells” encapsulates various emotional states. These installations are filled with objects and sculptures that represent her personal memories and experiences. The “Cells” series is a physical manifestation of Bourgeois’ inner world, exploring themes of confinement, the subconscious, and the impact of past traumas. Her work encourages introspection and highlights the complexity of the human psyche.

Edward Munch: Edward Munch’s iconic painting “The Scream” is a powerful expression of anxiety and existential dread. The figure in the foreground, set against a blood-red sky, visually captures the intensity of a panic attack. Munch’s use of color and form conveys a sense of overwhelming emotion, resonating with anyone who has experienced similar mental distress. “The Scream” is not just a painting; it’s a visual articulation of the human condition’s more tormented aspects.

Yayoi Kusama: Yayoi Kusama’s work, particularly her “Infinity Mirror Rooms,” reflects her lifelong struggle with mental illness. These immersive installations create a sense of endless repetition and expansion, symbolizing Kusama’s hallucinations and obsessive thoughts. The repetitive patterns and mirrored spaces invite the viewer to step into her mind, offering a glimpse into the disorienting and overwhelming experience of mental illness. Kusama’s work is a testament to the power of art in conveying complex psychological states.

Frida Kahlo: Frida Kahlo’s self-portraits are profound explorations of her physical and emotional pain. Paintings like “The Two Fridas” reveal her inner turmoil and identity struggles, stemming from her health issues and turbulent personal life. Kahlo’s raw and honest portrayal of her suffering makes her work deeply relatable to those who have endured similar hardships. Her art is a powerful reminder of the resilience of the human spirit in the face of physical and mental adversity.

Rage // Insomnia

In my sketchbook today, thinking about how to shape “Rage // Insomnia.” It’s all a bit fuzzy, but ideas are starting to come together, inspired by some amazing artists.

Tracey Emin’s “My Bed” is stuck in my head. It’s so real and raw, showing her life during a tough time. What if I tried something that honest? I want to show the mess and chaos of dealing with mental health, kind of like she did, but in my own way.

Louise Bourgeois’ “Cells” got me thinking too. Her sculptures are like little worlds of emotions. Maybe I can create something that shows how it feels to be trapped in your own thoughts, kind of like she did with her art.

Then there’s “The Scream” by Edward Munch. That painting just grabs you, doesn’t it? It’s all about feeling overwhelmed and anxious. I want to use strong visuals like that, maybe something that really shows what anxiety feels like from the inside.

Yayoi Kusama’s work is fascinating, especially her “Infinity Mirror Rooms.” They’re all about repetition and feeling lost in your mind. How can I bring that sense of endlessness into my project? Maybe through repeating patterns or something similar in the videos?

I’m thinking of using two videos – one with smashing and breaking stuff, to show the turmoil in the mind, and another with someone tossing and turning in bed, to show the restlessness that comes with mental struggles. The black and white idea seems cool – it could make everything more intense and focused.

Still figuring out how all this fits together, but it’s a start. I want to weave these ideas into something that really speaks about what it’s like to deal with mental health issues.

Visual Concept:

Top Half of Screen: A series of clips where I’m demolishing a wooden structure, symbolizing the internal chaos of the mind. Each clip captures a different stage of destruction – a visual metaphor for the mental disintegration during a crisis.

Bottom Half of Screen: Counter to the top, here’s a series of clips showing me in bed, restless, constantly tossing and turning. This mirrors the physical manifestation of mental distress – the sleepless nights, the endless trying to find comfort.

Stylistic Choices:

Black and White Filter: Thinking of using this to strip down the visuals to their raw, emotional core. It could amplify the intensity of the scenes, making the emotional turmoil more palpable.

Synchronization: Plan to sync the actions in both videos – as the hammer strikes in the top clip, I turn or shift in the bed in the bottom clip. It’s like a visual echo of the chaos above reflecting in the restlessness below.

Presentation:

Multi-Screen Display: Imagining this project being shown on multiple screens of varying sizes – from phones to large projectors. Each screen adds a layer to the narrative, creating a fragmented yet cohesive portrayal of the mental state.

Sound Design: Considering a subtle, yet dissonant soundtrack. Maybe the sound of the hammer striking wood, juxtaposed with the rustling of sheets? It should be jarring but not overwhelming.

This is just a rough sketch, a starting point. The idea is still evolving, but I’m aiming for a visceral, immersive experience that genuinely reflects the turmoil of mental health struggles. The challenge will be in the execution, ensuring each element contributes to the overall narrative I’m trying to convey.

Artwork Statement for “Rage // Insomnia”

“Rage // Insomnia” is an immersive video installation exploring the often unseen chaos of mental health struggles. At its core, this project seeks to externalize the internal battle many face with mental illness, capturing the dual nature of this experience – the visible and the hidden.

Conceptual Foundation:
The installation is centered around the juxtaposition of two contrasting yet interconnected states: the physical expression of inner turmoil and the restless, often unseen struggle with insomnia. It reflects the duality of mental health, where internal chaos manifests in both overt and subtle ways.

Visuals:
The artwork is presented in a split-screen format. The top half of the screen depicts a series of clips showing the progressive destruction of a wooden structure, symbolizing the mental disintegration and the internal violence of a psychological crisis. The bottom half counters this with a series of clips portraying a person in bed, restless, embodying the physical manifestation of mental distress through sleepless, uneasy nights.

Stylistic Elements:
A deliberate choice was made to use a black and white filter for the videos, intending to strip the narrative to its emotional essence and enhance the intensity of the visuals. The stark contrast amplifies the emotional depth and the rawness of the subject matter.

Synchronization and Sound Design:
The videos are almost synchronized – as the top clip shows a hammer striking, the bottom clip mirrors this with a corresponding restless movement. This visual synchronization is complemented by a carefully designed sound landscape – the juxtaposition of the jarring sounds of destruction with the subtle, yet unsettling noises of restlessness in bed. The sound is intended to be dissonant yet not overwhelming, adding an additional layer of emotional depth to the experience.

Presentation:
Envisioned to be displayed on multiple screens of various sizes, from small hand-held devices to large projectors, this fragmented approach allows for a layered, multi-perspective view of the narrative. The scale of each screen correlates with the intensity of the audio, creating a dynamic and immersive environment.

Through “Rage // Insomnia,” I aim to create a space for reflection and conversation about the complexities of mental health. This project is not just an artistic expression but an invitation to acknowledge and engage with the multifaceted nature of psychological struggles. It’s a visual and auditory journey through the tumultuous landscape of the mind, offering a glimpse into the often silent battle against mental turmoil.

Rage // Insomnia (2023)

More About The Presentation:

The presentation of “Rage // Insomnia” is designed to create a chaotic, yet deeply engaging experience, mirroring the unpredictability and turmoil of mental health struggles.

Multi-Screen Display:
The installation features multiple screens of varying sizes, from smartphones to large projectors, each playing the video clips. This multi-screen approach is crucial in creating a fragmented, yet cohesive narrative, allowing viewers to experience the artwork from different perspectives and intensities.

Shuffled Playback with Structure:
Unique to this installation is the shuffled playback of clips on each screen. After the introductory clip, which sets the tone of the piece, the subsequent clips are played in a random order. This shuffle mode contributes to the chaotic vibe of the installation, echoing the often unpredictable nature of mental health issues. It ensures that no two experiences of the installation are exactly the same, as the order of clips varies, creating a dynamic and ever-changing atmosphere.

Cyclical Nature with Pauses:
Importantly, each cycle of clips – from the start of the intro clip to its end – is followed by a one-minute pause. This pause acts as a moment of reflection, a brief respite in the midst of chaos. It also serves to reset the narrative, preparing the viewer for the next cycle of shuffled clips. This cyclical nature, punctuated by moments of silence, mirrors the ebb and flow of mental health struggles – the intense periods of turmoil followed by brief moments of calm.

Through this carefully orchestrated presentation, “Rage // Insomnia” aims to provide an immersive and thought-provoking experience. The combination of the multi-screen display, shuffled playback, and structured pauses creates an environment that is both chaotic and contemplative, inviting viewers to engage with the complexities and nuances of mental health.