BOOK STACKS

To create these book stacks I went to the Guelph library and began looking through the shelves for any titles that I thought had potential for my stacks. I ended up deciding on the books below and captured these photos in different locations to help accentuate my created sentences. This first stack (The Aesthetic Body) suggests a concept or image of a beautiful and or artistic form that exists in a distant, unreachable place, free from external constraints or limitations. The second stack (Be Very Afraid) suggests that aging is a significant aspect of life that can evoke various emotions and experiences, including both fear and growth. It invites the reader to reflect on their perceptions of aging and its impact on identity and existence. The last stack (Shameful Behaviours)suggests a range of ideas or emotions related to personal relationships, experiences, or situations, such as a fight that had occurred leaving there to be an incident where the couples had disputes and ended up breaking up.

1. The Aesthetic Body

2. Be Very Afraid

3. Shameful Behaviours

ARTIST RESEARCH

Rebecca Belmore

Belmore’s known for her powerful and thought-provoking work that often addresses issues related to Indigenous rights, identity, colonialism, and social justice. I was drawn to Belmore’s performance art, as her own physical body is present in a majority of her peices as a means of expression, enabling her to explore the self and community boundaries between her own ideas and those of the viewer. She incorporates photography and video into her work to document her performance and create visual narratives that complement her themes. Additionally, Belmore creates sculptures and installations that often incorporate found objects and materials with historical and cultural significance. This aspect immediately seized my attention, lending greater strength to her artwork. She frequently employs symbols and metaphors in her work to convey complex ideas and emotions, allowing viewers to interpret the meaning on multiple levels.

Overall, Rebecca Belmore’s art is characterized by its multi-faceted approach, blending various mediums and strategies to create works that are not only aesthetically engaging but also deeply meaningful and thought-provoking in their content and messages, serving as a platform for dialogue and reflection on important societal issues.

Fountain (2005)

In “Fountain”, Belmore repeatedly carries heavy buckets of ocean water, symbolizing the enduring Indigenous struggle against colonization, with water representing the journey’s challenges and witnessing the transformation from Indigenous beauty to oppression. The bucket itself symbolizes the weight of colonization’s burdens on Indigenous people, mirroring their centuries-long oppression. A distant fire unites land, water, fire, and air’s elemental forces, channeled through her body. Fire, crucial to Indigenous life for ceremonies and sustenance, also mirrors its destructive capacity, akin to the devastation of Indigenous culture during colonization. Belmore emerges from the water, walks toward the camera, and throws the water, which turns blood-red, symbolizing the connection between water and humanity. The act shifts the burden of Indigenous history’s bloodshed cycles back to its European source, illustrating how purity turned to violence due to colonialism. Red, signifying pain, represents the blood spilled in the abuse of Indigenous people, emphasizing the ongoing impact of brutality and colonization. Belmore’s work highlights the tragic repetition of such acts between water and blood.

Biinjiya’iing Onji (2017)

Rebecca Belmore has created a memorial to transience using locally sourced materials. She has painstakingly carved a tent, which is increasingly becoming a long-term dwelling for refugees and migrants, out of marble. This sculpture serves as a testament to the enduring state of crisis and the makeshift havens it compels. The tent’s design also draws inspiration from other traditional shelters, notably the wigwam, a significant part of Belmore’s Indigenous heritage. Wigwams, traditionally constructed with young tree branches and covered in birch bark, showcase a resourceful approach to building with available materials, allowing nomadic communities to establish homes wherever needed.

Rebecca Belmore responds to nature, creatures, and environmental conditions in her work by often incorporating natural elements, materials, and symbols that hold cultural significance, particularly as they relate to Indigenous perspectives. Her response is deeply informed by her Anishinaabe heritage and her commitment to addressing pressing issues. Belmore conducts fact-based research by delving into Indigenous histories, traditional knowledge, and contemporary challenges. She collaborates with Indigenous communities to ensure her work is authentic and representative. Her work is motivated by ideas of Indigenous sovereignty, resilience, and cultural survival. She values the importance of giving voice to Indigenous experiences and challenging the historical and ongoing injustices faced by Indigenous peoples. These ideas resonate in her final works through various mediums such as performance art, sculpture, and installation. Many of Belmore’s works, such as “Fountain” and “Biinjiya’iing Onji” are intended to challenge the status quo and raise awareness about social and political issues, Indigenous rights, identity, and the interconnectedness of nature and culture.

ARBORETUM VIDEO PROJECT

RESEARCH – BIRD CALLS

1. Chickadee

• SONGS: Across the majority of North America, you can typically hear a straightforward, melodious song consisting of two or three clear whistled notes, often resembling “fee-bee” or “hey, sweetie.” However, in the Pacific Northwest, the song differs slightly, featuring three or four notes at the same pitch. In many regions within its range, male birds commence their singing in mid-January, and as the winter season unfolds, the frequency of their song gradually intensifies. Interestingly, females in this species also occasionally join in with their own songs.
• CALLS: Chickadees employ their distinctive “chickadee-dee-dee” call, which includes an increasing number of “dee” notes, as an alarm signal when they sense danger. Additionally, they utilize a specific gargling call, particularly in confrontational situations, such as when a lower-ranking bird approaches a higher-ranking one. This call is also exchanged between members of a pair. In the case of Black-capped Chickadees, they emit a high-pitched “see” call as a high-intensity alarm signal, typically in response to the presence of a rapidly approaching predator. When other chickadees hear this alarm, they instinctively freeze in their current position until they receive the reassuring “chickadee-dee” call, which signifies that the threat has passed. Notably, the high “see” calls are most frequently produced by male chickadees.
• OTHER SOUNDS: Nestling chickadees employ a defensive strategy by emitting a sudden and forceful hissing sound while simultaneously striking the interior of their nest cavity when they perceive an intruder peering inside.
• To hear samples of the calls and songs of the Chickadee, click on the following link:
• https://www.allaboutbirds.org/guide/Black-capped_Chickadee/sounds#

2. Eastern Screech Owl

• SONG: Their most common song is a high pitched tremolo that can sometimes resemble a soft “purr.” It is a 3-6 second long song that the screech owl uses to keep in touch with their family or mate. The second song is one called the whinny. It is a 0.5–2 second long shrill that resembles the sound of a horse neighing, and is used to defend territories.
• CALLS: Screech Owl calls can often sound like a soft, low “caw” or “hoot” sound. As their name suggests, these owls can also produce a screeching call that is used to indicate danger, alarm, or agitation. 
• To hear samples of the calls and songs of the Eastern Screeching Owl, click on the following link:
• https://www.allaboutbirds.org/guide/Eastern_Screech-Owl/sounds

3. Loon

• Loons exhibit a diverse range of vocalizations, comprising four primary types: the wail, tremolo, yodel, and hoot.
• The wail, often the most frequently heard, is a haunting call employed by loons when they find themselves separated from their chick or in cases where their mate has not returned. It serves as an expression of their willingness to engage with others.
• The tremolo, conversely, serves as an assertive response when loons feel disturbed by boaters or potential predators. This wavering call communicates their distress and encourages a move to a safer location. It also functions as a means of announcing their presence at a particular lake.
• The yodel is another vocalization that signifies aggression and is typically emitted by males during confrontations. It plays a crucial role in territorial disputes, effectively conveying a message to nearby loons, asserting, “This territory belongs to us!” Interestingly, each male loon possesses a unique signature yodel, which they may modify if they relocate to a different territory.
• Lastly, the hoot is a softer, brief call used to symbolize curiosity and/or happiness. Loons employ hoots to maintain contact with one another, with parents using hoots to communicate with their chicks and mates hooting to stay connected with each other.
• To hear samples of the calls and songs of the Loon, click on the following link:
• https://naturecanada.ca/news/blog/the-common-loon-what-are-they-saying/#:~:text=They%20make%20four%20basic%20types,its%20mate%20fails%20to%20return.

4. Pileated Woodpecker

• CALLS: The Pileated Woodpecker call consists of a fast staccato high pitched repeated sound. The call can last up to several seconds. They have a second call that is more spaced out and is lower in pitch. It usually sounds like cuk, cuk, and indicates danger, or marking of territory.
• OTHER SOUNDS: Woodpeckers are most known for their drumming sound that they make by repeatedly pecking their beak against a tree trunk. This sound may be used to solicit mating/courtship, or to alert others of a predator near a nest. For males, drumming may also be used to mark or defend their territory.
• To hear samples of the calls and songs of the Pileated Woodpecker, click on the following link:
• https://www.allaboutbirds.org/guide/Pileated_Woodpecker/sounds

IDEAS

Idea 1: Hanging from a Tree Until you Fall

“hanging from a tree until you fall” serves as a thought-provoking symbol that unites environmental concerns with the human experience. It underscores the importance of perseverance, resilience, and responsible stewardship of our natural world while acknowledging the inevitability of occasional setbacks in our journey toward a sustainable future.

Idea 2: Hide and Seek

Hide and seek in the forest is more than just a childhood game; it’s a transformative encounter that binds individuals to the natural world. Through sensory immersion, physical interaction, and environmental awareness, participants learn not only about the forest but also about themselves. This connection between body and nature cultivated through play endures, fostering a lifelong reverence for the natural world and a desire to preserve its beauty and vitality.

Idea 3: Imitating the Sounds we Hear in Nature (FINAL IDEA)

Embracing the harmonious symphony of nature, our project focuses on the art of imitating the diverse sounds we encounter outside. This endeavor offers a unique opportunity to compile an auditory journey, seamlessly weaving together recordings from the serene landscapes of the arboretum and our own attempts at replicating these natural sounds. Here, we immerse ourselves in the richness of the environment, capturing the chirping of birds, the rustling of leaves, the distant echoes of wildlife and more. It’s an exploration that celebrates the interconnectedness of humans and nature and invites listeners to experience the beauty of the outdoors in a novel and creative way.

Experimental Studios 3

Blog Post – Rebecca Belmore

Rebecca Belmore is a member of the Lac Seoul First Nation (Anishinaabe), and is known as a multidisciplinary contemporary artist. Her art practice is grounded by current; participating in a call to action. Most of her work is her responding to current issues like land and water rights, violence against Indigenous people by the government, and the role of the artist in contemporary life(to name a few).

Torch, 2014 Photograph

This work connects the symbolism of the Lady Liberty statue to the forced displacement of Indigenous peoples. Bound by the flag holding uprooted long black hair instead of the torch of enlightenment. Belmore’s ability to make a clear statement to her wide audience by using symbolism to make people think deeper about the violent impact colonialism has. Even though this work isn’t directly interacting with nature, it is definitely responding to North American (Lady Liberty symbolism) Indigenous Peoples land being stollen(flags), and their populations being forcibly displace(uprooted long black hair).

Wave Sound, 2017, Sculpture

Rebecca Belmore created sculptures for a handful of National Parks, with the intent to encourage visitors to pause and listen to to the natural sound scape of the land. The sculpture’s are in the shape of a horn that varies in aesthetics to fit the landscape for example; length – using rocks in the landscape to keep it propped up, material – blend in with surroundings, etc.. The sculptures themselves are quite large but, there is only ever enough space for one person to listen at a time and they are quite low to the ground forcing the listener to get close and personal, creating an intimate setting to reflect on your relationship with nature. Each sculpture had a lot of thought put into it, in order to respond to all the different locations but also research in order to know what shape and what materials are needed to amplify the sounds that surround it.

Some more interesting work!

Book Stacks

I chose to look through my recently deceased Mother’s library for this assignment. I started off with the intent to find books that might relate back to our relationship and where she searched for parenting advice. I started with trying to think of it as a possible order of events to why she even wanted kids to begin with. Then I chose to humorously demonstrate a sort of escalation in my mum’s searching for some sort of control while raising me, the spirited child. I enjoyed getting to know my mother better while looking through her book collection; I could tell which books were her favourites, the ones she must of started many times but could never finish, others that had no interest to her and were obviously bought so she could learn more about her loved ones interests like hockey, I found books that looked all to familiar, books that have survived decades of school children’s sticky little hands, and of course her paper cover copies of her favourite books that she annotated. This insight into my mum only happened when I stepped away from how the books related to our relationship and focused more on building imagery through story telling or humour. Having to categorize Her books with a different intention had me pay closer attention to all the little details, things that would be normally overlooked.

Blog Post – Environmental Video Art Proposal

Week 5

Week 4

Process Part 1

To begin our process we contacted men that we know and asked them to take part in a performance art video project. We did not always share what we were making, leaving the actual improvisation up to the men at the time of filming, to create a more genuine experience.

We made and hung posters throughout campus; In Zavitz, the Bullring, Alexander Hall, and at the Gym. We also posted them through our social media to get intrigue from people online.

TUESDAY

I was not present for this mid-way critique, as I got Covid. However, I got very disappointing news from my group members while I was laying at home praying the vid away.

From what I was told, our idea did not go over well and there was lots of negative energy thrown at it, including from people who had previously been excited about our idea.

I am disappointed I had to miss this crit, as I wish I had been there to defend our idea with Jillian and Zoe.

We will do further research on the behaviour of cows however I disagree that we should have the men do the same. Part of the idea behind the project is the subtle social commentary on the role reversal of having men act as cows when “cow” is a term used in direct connection with a woman. Because of this role reversal, men should not know the immediate ins and outs of what it is to be a cow. We are acquiring male-identifying cis men. They have no experience with the idea of what it is to be a woman. As I stated previously in the early stages of conceptualizing this piece “men may be pigs but women are cows”. This unknowing improvisation based on assumed life and behaviour is an important aspect of the project.

Idea and Conceptual Ties

Last week when talking with Megan, myself, Jillian and Zoe (ZoZo) formed a loose idea of what we wanted to do for our video art. When talking it over with Megan she was very excited to see our final project and urged us to explore the idea further.

The idea of our video is to herd together a collection of men, bring them to a field, and ask them to improvise as cows.

Not only is this idea comedic but it also speaks to many larger themes and ideas seen in the world.

Cattle are something that, especially in Guelph, we see fairly often. Everyone has memories of road trips, small or far, where they see cows out the window and for some reason point and say “Cows!”.

Cattle are in the farming industry in more ways than one but are also well-loved as farm animals of less industrial scales.

They have many personality attributes that are similar to humans. They are socially complex; they can make friends, hold grudges, mourn, cry,. They show signs of advanced cognitive abilities, figuring out problems and enjoying the results of completion when they do.

This connection of cattle to the human experience creates play in our video, past that of the up-front humour that we will see with men acting as cattle.

Another playful anecdote of the video is the social commentary on how the term “cow” is used as a negative connotation to a woman, as many things are. Men may be pigs but women are cows. Using males to create a scene of “cows” in a pasture brings in a role reversal without outwardly attacking the entire male population.

If we had the men act as pigs the project would be much more surface-level.

Overall, the act of bringing in people to improvise as animals ties human nature to the animalistic tendencies that we have within. Cows are not the most aggressive animals, in fact, people are much more aggressive overall, however, it still connects human nature and animal nature together.

This video project will not only introduce generalized humour, but also force people to think about animalistic tendencies of human nature and cruelty, the human experience and subtle social commentary.

Week 3

Meeting with Megan Arnold this week was very beneficial. It was nice to get to talk to an artist who is so young and open to ideas.

I was also a fan of a lot of Megan’s work that she shared with us.

As some of you know, I am not a fan of creating video art. In fact, the only reason I agreed to take this class was because I made sure there was less video art than the previous semester’s experimental studio. I seem to have been tricked a little bit, as here we are…making video art, but nonetheless.

One of my issues when it comes to making video art myself, past the fact that it is simply not what I enjoy creating, is the fact that with my art I hold it to a specific ideal of aesthetic. With my main focus being photography I am able to control all the elements going into it, and even if it’s an abject photo I can create a world in which that abjectness is the ideal. I enjoy video from a cinematographic lens.

I have a large interest in film but that is not what we’re aiming for in this course and though art is subjective, in school it often feels as though we are curving our practice to please each professor and their created ideals.

My favourite piece of Megan’s that she shared with us was “A Deal with Dog”. Part of my enjoyment of this piece was definitely derived from the fact that it was visually pleasing to my own eye. The blowing grass, the arching hills, the complimenting colours of the outdoors.

The piece itself had a touch of this cinematographic feel to it while it practiced Megan’s art techniques of comedy and cringe.

Week 2

Environmental Art & Artist Research

Katie Patterson

Week 1

Nina Katchadourian Book Stacks

When we spoke of Katchadourian’s book stacks in class I had some immediate ideas with my own library. Because of this, I chose not to use my own books. I went to my partner’s house, whose library is overflowing, and got to peruse the shelves to look for titles that stood out to me. I compiled a list of those titles and pulled some books to get started.

I think it was beneficial for me to use books I was not familiar with. Not only did it open up possibilities visually, but it also allowed me to play with titles I may not have encountered otherwise, and not be hindered by the bias of the narrative between its pages.

I chose to photograph them on a black background because I love how some of Nina’s photos are so stark. I used just natural light and a black drop cloth and tampered with the exposure as much as my phone would let me. Some are too dark for my preference but I tried to use it as another aspect to the story the spines were telling. I also tried to play with the frames of the photo and created compositions I believed fit the narrations.

For one specific stack – “We so seldom look on love/run towards the danger/together” – The colours on the spine of the bottom book were too dark with not enough contrast so I ended up shining a light on the word together to brighten it in the photo. This created an illuminative effect on the word but not the author and I think it successfully highlights the story being told in such little words just that much more.

In the stack with the most books I wanted a space between two books, to act as a breath or a comma of sorts. Originally I used thin white spined books but wasn’t content with the aesthetic of the image so eventually I found a thick hard cover book and turned it around so all you could see was the pages. This worked well.

The stack – “Other people/as they see us/side glances/the unsettlers” – Is my least favourite final photo. Not because of the spine choices, but rather the creases in the worn-out book “as they see us” and how it becomes almost difficult to read. I’m sure I could attribute this to some purposeful and conceptual meaning, but it was difficult to shoot and annoying to settle. Nonetheless, it was an interesting and meaningful stack.

FINAL IMAGES

I’d be interested to work with books again in the future. One thing that interests me greatly is the documenting of the “destruction” of books over time. I am someone who prefers a soft cover to a hard one because I like it when my books are noticeably read. I dog ear my pages and don’t mind a tear and sometimes, if it’s the best option, I’ll fold the book up a little and shove it in my back pocket. Some readers think this is pure blasphemy, so, I think documenting these rips and tears and dog ears and creases could be an interesting concept to look into for future art.

Hi

BOOK STACKS

Blood, Sweat and Tears: An Accidental Trilogy

Below, are three book stacks that demonstrate the many stages of murder, and getting caught. This trilogy was accidental, as I had initially intended to create 3 separate book stacks. But upon further observation and reflection, I noticed that each book stack fit together like a story when placed in a certain order. The first image (Part 1: Blood) depicts the act of murder. I chose to have someone walk past the book stack in the background of the image as a reference to the victim of the murder. Furthermore, the first letters of each book title create an acronym that spells “STOP.” I intentionally picked books that are red as an allusion to stop signs. The second image (Part 2: Sweat) represents the murderers getting caught. For this stack, I intentionally chose book titles that, when placed together, would sound like a news headline. In the final image (Part 3: Tears), the criminals are shown experiencing guilt and regret for their malicious actions. I cut out a portion of the book stack from the image to mirror the shame the the murderers are experiencing, as if to mimic the urge to hide away from the public eye.

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Part 1: Blood

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Part 2: Sweat

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Part 3: Tears

ARTIST RESEARCH

Eyes as Big as Plates (Riitta Ikonen and Karoline Hjorth)

Riitta Ikonen and Karoline Hjorth have assigned themselves with the task of photographing people in their 60s, 70s and 80s in an outdoor setting, wearing part of the landscape on their bodies, as though it is part of their fashion. The photographs have a strong resemblance to National Geographic images. Older individuals do not often get the spotlight when it comes to photography. However, Ikonen and Hjorth have chosen to photograph this demographic, in order to celebrate the long lives and captivating stories of these people.

The artists’ initial goal was to illustrate Norwegian mythology, but they have more recently moved away form this idea. They have decided to allow the story to unfold itself through the interaction between the landscape and the individual in the photographs. The title of this work, Eyes as Big as Plates, references an old Norwegian tale that involves a large-eyed troll or dog that lived under a bridge. Ikonen and Hjorth have tried to emulate the unsettling stare of the troll through their subjects in their photographs. The individuals in their photos often have an intense and powerful gaze toward the camera.

What is striking to me about these images is how the artists are able to emerge their subjects into the landscape, and portray their subjects as one with the landscape. In Eyes as Big as Plates # Jakob (Greenland 2015), it takes you a minute before noticing that there is a person in the image. The individual is well-camouflaged into the landscape with his body covered in ice and snow, while the colour of his jacket blends with the rocks.

The relationship between the landscape and the individual and the landscape is one that is considered and acknowledged by the artists. In Eyes as Big as Plates # Halvar I (Norway 2011), a retired farmer is photographed on his own family’s farmland. The relationship between the farmer and his landscape almost serve as a portrait of himself and his familial roots.

Eyes as Big as Plates # Halvar I (Norway 2011)

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Eyes as Big as Plates # Jakob (Greenland 2015)

VIDEO PROJECT RESEARCH

Pileated Woodpecker
CALLS
The Pileated Woodpecker call consists of a fast staccato high pitched repeated sound. The call can last up to several seconds. They have a second call that is more spaced out and is lower in pitch. It usually sounds like cuk, cuk, and indicates danger, or marking of territory.

OTHER SOUNDS
Woodpeckers are most known for their drumming sound that they make by repeatedly pecking their beak against a tree trunk. This sound may be used to solicit mating/courtship, or to alert others of a predator near a nest. For males, drumming may also be used to mark or defend their territory.

To hear samples of the calls and songs of the Pileated Woodpecker, click on the following link:
https://www.allaboutbirds.org/guide/Pileated_Woodpecker/sounds

Eastern Screech Owl
SONG
Their most common song is a high pitched tremolo that can sometimes resemble a soft “purr.” It is a 3-6 second long song that the screech owl uses to keep in touch with their family or mate. The second song is one called the whinny. It is a 0.5–2 second long shrill that resembles the sound of a horse neighing, and is used to defend territories.

CALLS
Screech Owl calls can often sound like a soft, low “caw” or “hoot” sound. As their name suggests, these owls can also produce a screeching call that is used to indicate danger, alarm, or agitation.

To hear samples of the calls and songs of the Eastern Screeching Owl, click on the following link:
https://www.allaboutbirds.org/guide/Eastern_Screech-Owl/sounds

Chickadee
SONGS
Across the majority of North America, you can typically hear a straightforward, melodious song consisting of two or three clear whistled notes, often resembling “fee-bee” or “hey, sweetie.” However, in the Pacific Northwest, the song differs slightly, featuring three or four notes at the same pitch.
In many regions within its range, male birds commence their singing in mid-January, and as the winter season unfolds, the frequency of their song gradually intensifies. Interestingly, females in this species also occasionally join in with their own songs.
CALLS
Chickadees employ their distinctive “chickadee-dee-dee” call, which includes an increasing number of “dee” notes, as an alarm signal when they sense danger. Additionally, they utilize a specific gargling call, particularly in confrontational situations, such as when a lower-ranking bird approaches a higher-ranking one. This call is also exchanged between members of a pair.
In the case of Black-capped Chickadees, they emit a high-pitched “see” call as a high-intensity alarm signal, typically in response to the presence of a rapidly approaching predator. When other chickadees hear this alarm, they instinctively freeze in their current position until they receive the reassuring “chickadee-dee” call, which signifies that the threat has passed. Notably, the high “see” calls are most frequently produced by male chickadees.
OTHER SOUNDS
Nestling chickadees employ a defensive strategy by emitting a sudden and forceful hissing sound while simultaneously striking the interior of their nest cavity when they perceive an intruder peering inside.
https://www.allaboutbirds.org/guide/Black-capped_Chickadee/sounds#

Loon
Loons exhibit a diverse range of vocalizations, comprising four primary types: the wail, tremolo, yodel, and hoot.
The wail, often the most frequently heard, is a haunting call employed by loons when they find themselves separated from their chick or in cases where their mate has not returned. It serves as an expression of their willingness to engage with others.
The tremolo, conversely, serves as an assertive response when loons feel disturbed by boaters or potential predators. This wavering call communicates their distress and encourages a move to a safer location. It also functions as a means of announcing their presence at a particular lake.
The yodel is another vocalization that signifies aggression and is typically emitted by males during confrontations. It plays a crucial role in territorial disputes, effectively conveying a message to nearby loons, asserting, “This territory belongs to us!” Interestingly, each male loon possesses a unique signature yodel, which they may modify if they relocate to a different territory.
Lastly, the hoot is a softer, brief call used to symbolize curiosity and/or happiness. Loons employ hoots to maintain contact with one another, with parents using hoots to communicate with their chicks and mates hooting to stay connected with each other.

The Common Loon: What Are They Saying?

ENVIRONMENTAL VIDEO IDEAS

Alyssa and I were immediately drawn to the phenomena of camouflage as well as its opposite with critters that purposefully stand out. We also began unpacking what “natural” and “unnatural” means in terms of settings, behaviors, and the social connotations of the word. We asked questions such as “if nature doesn’t come naturally to me, does that make me unnatural?” and “what about being a human IS natural?” We came to the conclusion that humans are the most “unnatural” creature on thus planet, we even invented the “unnatural.” We also noted that “natural” and “unnatural” as concepts were invented to be a weapon of white superiority, colonization, and patriarchy, who seek to alienate and dehumanize who they’re trying to dominate, as proven my environmental feminists/ feminist philosophers. We continue their questioning through asking what is “wild” vs “civilized” or “animal-like/ beastly” vs “humanly.”

As of now, our current concept is a figure, camouflaged in various settings in the day time. Half way through the video, dusk will fall and the critter/ figure will emerge and glow, now free. In this, we will also be playing with nocturnal nature. Both of us passionate about photography, we want to compose shots with artful intent.

As for audio we were concidering having the song Pale September by Fiona Apple in the background for a more atmospheric feel.

CAMOUFLAGE VS STANDOUT

Specifically standing out via light/ bioluminescence

Riitta Ikonen and Karoline Hjorth – Eyes as Big as Plates

SYL NIAL – “Somewhere on Earth”

“You cannot identify the characters; they show up always alone as bright beings reflecting light and shining, at times pure in their action like children. The photographer is merely someone spying on them, capturing their innocence as well as other elements– elements of awe, elements of terror, all combining to create the same feelings as fairy tales.”* – Artist perpetuates harmful narrative as white as pure/ innocent and black as sinister/ evil.

BENOIT PAILLE

LISSYELLE

Lissyelle is a photographer and art director based in Brooklyn, New York and Los Angeles, California, but she grew up in rural Ontario. “Her body of work is often still inspired by this compulsion to photograph, as well as by the vivid colors of early childhood, reoccurring dreams, the blurry way we see things when we are either too happy or too sad, and the soft hands of the high renaissance.”*

VIDEO ARTIST

About….

OUR NOTES/ EARLY IDEAS/ CONCEPTS

Lesbian Rangers

1. As a lesbain who loves performance art, film, camping, and camp, I was naturally drawn to Lesbian National Parks and Services (2002). I find lesbains are under represented, under valued, and misunderstood, even by the queer community. Shawna Dempsey and Lorri Millan work against this reality, creating content targeted at lesbain and showcasing the lesbain experience. When blockbuster films, typically written and directed by straight men, choose to include a lesbain character, they are often directed at the male gaze as fem x fem. In contrast, Shawna Dempsey and Lorri Millan chose to write and direct films based on masculine lesbians for a lesbain audience. We see this again in their film A Day in the Life of a Bull-dyke (1995), with genuine insight into the world of lesbians, still in a campy, exaggerated fashion. Dempsey and Millan aim to encapsulate the joy, pain, and ambivalence lesbains often experience, viewed as “strange animals.”
2. Dempsey and Millan respond less to nature, creatures, or environmental conditions and more to our cultural, gender based associations with these topics. These artists are aware that as “mother Earth” is feminized in our society, our patriarchal ideologies seek to own, assault, and exploit her, masculinizing ideas of physical exploration, hunting, fire building, and more. In this, there is a stereotype that masculine lesbians love camping, parks, hikes, and all things wild. Which is honestly pretty accurate. In Lesbian National Parks and Services, the artists played off the idea that being homosexual is a “choice” and “unnatural,” a common argument used to invalidate and demonize queer folk. By presenting the lesbain rangers as though it was a career path and a choice to become natural, wild creatures inhabiting the forest, they took the myth and inverted it with a campy approach, a style often used by the queer community. Homosexual innuendos based on the environment, mentions of common lesbian experiences, stereotypical lesbain clothing, and physical posing in reference to lesbian sex or masculinity additionally resonate with lesbian and queer culture, ideas, and values. Dempsey and Millan additionally played off the narrative that lesbians pray on straight girls, seeking “recrute” or indoctrinate them into the lesbian agenda. Again, they took this misconception and camped it up, taking the unprofessional and predatory stereotype and flipping it to be professional and protected with their Lesbian National Parks and Services booth at the park.

BOOK STACK POST

After exploring the library like I never have before, I composed the following book stacks. As a huge fan a poetry as a kid, specifically Shel Silverstein, this experience made me feel energized and playful. At the beginning of the process, feeling this fun spirit, I made the first stack about meeting someone, realizing how at peace you are around them, how pleasant they are, how much you are amazed by them, and suddenly realizing oh God you’re in love with them. I photographed this stack vertically as love can feel disorienting and lifting. The empty space emphasis works as a bright and reflective space, much like feeling in love. This contrasts Katchadourian’s dark, abyss-like background.

As I continued to hunt for titles I grew tired and hungry, with this, progressively feeling more emotional and dramatic. The titles I was drawn to and the concepts I imagined out of them became more grim. Once I saw the “mother stone” book my mommy issues were up enough that I just ran with it. I was definitely in a mood. With this, I decided to make a portrait of the dark side of my mother, and how it made me second guess every part of myself. Photographed with more space sinking under the image than above, the viewed eyes are directed down, weighing on the final words, “what did I do?”. 

The final book stack is more self explanatory. One of my favorite childhood books, Where the Sidewalk Ends, at the end of a sidewalk, perhaps where people parted ways.

A small sociable moment with this person is like Heaven on Earth. OHHH!!! I feel love!

Shes in a stone-like mood, unmoving and cold. Her aggressive tone and her caring utterances send mixed messages. I feel cold and unmoving as though bronze is in my blood. Cold and unmoving like my mother, yet mine is out of fear. I question what I did to make her mother stone, unmoving and cold.

Where the sidewalk ends, we’ll meet again. Words take up a small portion of the image, evoking a sense of loneliness.

Eyes as Big as Plates

Guelph English Literature

BOOK STACKS

The following book stacks are created from a collection of books that I have been required to read in the English program at the University of Guelph. This limitation in my book collection critera produced very small pallette of available texts forstacking. I feel as though this limitation created an on brand route for book stacks…English as a subject. This book pallette allowed me to reveal the messaaging that Guelph University and University English send through their required texts.

Stack 2.0

Here are the new book stacks I made to continue with the idea I had for expanded stacks that being in this case boardgames and books that were whispering potent messages at me just when I need to hear them. I’m sorry I’ve been sick, and I’m trying to catch up while not delaying my recovery. I have periods of it’s all good and mad energy like “yeah dance time!”, but I know if I indulge my fever will instantly return and I’ll be worse for wear. I’m doing the best I can here with this pesky flu. Anyhow I thought the obscuring of the white box and part of catacombs with only a hint of digital help to hide a red thread on the couch was a enjoyable optical play on the reaching up from these more grounded games with morbid undertones to an extent. The fun on top being above the mystery void is the table is lava, resulting in misery raining down from above. I think the game one is fun but I definitely vibe more with the call out books, it’s got a cinematic moving comic book vibe and while it might be sharper with a boost in contrast or black point, I think the soft paper haze makes it feel less sterile and more genuine and loved.

Book Stacks

I explored lighting, fake books and my book display arrangments based off elements. I wanted to play with the notion of books and reading and their outwards appearance. I often take a chance on books based on their covers and appearance finding something I didn’t know I wanted or needed to learn. I have small sections in my room of books organized into elements and meanings. The first one is my water element section with mermaids and sea creatures. The middle one is my earth section to ground me, be realistic and connect with my lived experience. The last one is a bigger experiment with lighting and fire, a hint of book burning but also falsehood from the books being fake.

A Further Exploration of Katie Patterson

I am a big fan of rocks, fossils, crystals and geology. So when I saw the example of Katie Patterson’s work being a necklace of fossils made into beads from the various major geological events in our planet’s history, I was ecstatic! My interest was furthered by the meticulousness of collecting and processing materials. It is a feat to amass such variety and even in terms of time commitment it is a daunting feat. Examining their body of work while finding many thread lines of interest it was ultimately To Burn, Forest, Fire that I was equally enamoured with. I will have to sift through my computer but I had read about an exhibit that made the use of fiction and specifically scent to convey a believable realism to an exhibit about merfolk that lived in a valley. I will add the piece when I find it but the main intrigue was the use of fiction and the believability sold through sensory engagement. I have a bit of discussion about the merfolk exhibit but what connected so well for me in the To Burn, Forest, Fire, was the use of scent to fully immerse and encapsulate an environment and time.

Overall, Patterson uses strategies of curation of time and scientific data collection mainly in their practice. Temporality and an attempt to catalogue and capture how knowledge and things have changed with technology over time plays an important role in their practice. A core theme in Patterson’s work is, the connectivity and encapsulation of our planet at large from birth to possible death. They assign points of history, time or place and from their work to gather the milestones and ingredients from specific locations. Their response is generally not abrasive but has palpable silence and contemplation. It is curatorial in you are seeing all of our time or the edges of what we saw as the world, or a first and last. They have to collect a lot of scientific data and materials from various regions and historical documents to properly make their work with accuracy and consult with scientists. There is a value of reaching out across time and space; allowing someone to connect to all of it in one space emanating from Patterson’s work. They make the final products feel both intimate and yet monumental.

MerFolk Exhibit Adoration

The narrative presented was not very realistic or particularly believable, but the use of smell and presentation gave authenticity. Most people eventually understood it was an art exhibit and not an anthropology or scientific endeavour but the space fiction left the viewers to self project gave greater impacted than cold facts. The show was overall about environmental concerns and global environmental degradation and habitat loss. Most shows would try to be destructive, sensational and stern but generally most people know or have seen these things first hand, and yet are not moved to action. This show however mimicked authenticity of scientific and anthropology processes but with more whimsy and fantasy, allowing viewers space to not feel directly antagonized or in peril from environmental crises. The fiction allowed for emotional connection removed from direct implication of viewers, letting viewers make their own attachments and connect it back to their personal life and experience of the world.

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Eyes As Big As Plates: Riitta Ikonen and Karoline Hjorth

These photographs by the Scandinavian artists initially really struck me for the way in which the models were positioned as if they were embedded into the earth and appeared as if they were just emerging from the earth itself. To me this highlighted the connection of humans and earth in the sense that the earth gave birth to us and that we are not separate from the earth itself. It also reminded me of the recycling of matter through cycles of life and death, what I mean by this specifically is that the matter that makes up our bodies could have once been part of another plant, animal, microbe or mineral. This was just my initial interpretation however. When I began to read more about the project, I discovered that it was initially inspired by Scandinavian folklore and creatures like trolls. The name of the collection “Eyes as Big as Plates” was actually inspired by a folk tale of a large-eyed dog and throughout the images, the artists try to capture the same curious nature and eerie gaze of this creature. I definitely felt this in photos such as #Brit (Norway 2018) and # Bengt II (Norway 2011), where the subject directly gazes into the camera and there is an eerie and mystical feeling that is captured and emulated through this. On the other hand, there is also a very curious and mischievous nature that comes through in some of their other photos, such as #Tuija (Finland 2012). In this particular photograph the subject skinny dips in the frigid waters of Finland and looks at the camera through a crown of lily pads with a playful smirk pasted on her face. Everything about this image speaks to mischievous water creatures of folklore. Essentially, the task that these artists have assigned themselves was to use old photographic techniques, such as shooting with natural lighting and using a medium-format film camera, in order to capture older people existing as a part of nature. This process is extremely delicate and requires lighting at particular times of day and the film being used doesn’t always turn out, for example they lost 75% of their photographs taken in Iceland. Time is also a very important aspect of their photographs through the older age of their subjects, the painstakingly long process of shooting and the old photographic techniques being used. Additionally, despite the seemingly fantastical nature of the photographs, they are also deeply connected to the natural environment through the subject and their own personal connections to nature. Maybe the subject is a swimmer and is photographed in the water or a farmer who has strong connections with the land. A more specific example of this is in #Agnes II (Norway 2011), where she is photographed as a wind goddess to represent her connection with the wind through her joyful and memorable experience while skydiving.

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Pollen from Hazelnut & Wax Room: Wolfgang Laib

I was initially very attracted to the piece “Pollen from Hazelnut” because I was just imagining how badly my pollen allergies would be acting up around this piece and handling that much pollen. However, after this initial fear I also began to think about how long this process of collecting jars upon jars of pollen to cover 18 x 21 feet of floor space with pollen must be. The process itself would require a lot of time over many seasons and being within nature up close with plants, in this case Hazelnut Trees. In addition the significance of pollen itself is such a pure organic material that represents the beginning of plant life. The artists himself put it beautifully, “pollen is the potential beginning of the life of the plant. It is as simple, as beautiful, and as complex as this. And of course it has so many meanings. I think everybody who lives knows that pollen is important.” -Laib. Further than this, pollen is also such a crucial part of any ecosystem for its importance to the lives of insects such as bees and butterflies. Therefore the task that this artist has assigned himself was to capture the beginning and essence of plants, through spending quiet and meditative time collecting this material. This was extremely important to Liab on a personal level because of his previous work in hospitals with sick and dying people. Additionally it is also a physical representation of his time spent over many years, specifically his time alone just outside a small and quiet village, something which he highly values. He also values the ability to be doing the same task every year, especially in a world where everything in a constant state of movement and change.

Another piece that he has done, “Wax Room: Wohin Bist Du Geagangen – Wohin Ghest Du? (Where Have You Gone – Where Are You Going?)”, creates a meditative space filled with the natural scent of beeswax. This experience emulates a cocoon-like feeling and the combination of the smell, dim light, colour and material of the room induces a loss of awareness of time, space and self. The space is contemplative and meditative and infers a connection to the natural world through its use of beeswax material. In a way this piece is also deeply connected to the concept of beginnings with the cocoon-like nature of the space and entering it allows one to feel as if they are in a completely new body and otherworldly place. A lot of his works are appreciative of meditative states and time, and are able to connect to the natural world through the materials being used and the time spent collecting them.

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Book Stacks: Inspired by Nina Katchadourian

For this project I wanted to focus more on creating punchy statements and sentences using the spines of the books rather than trying to create a more sculptural piece. I experimented with a lot of different lengths of book stacks and sentences and I ended up liking more of the phrases that I made with stacks of two books. I really enjoy the punchy and direct nature of the stacks when there are just two books, compared to the longer stacks. When experimenting with longer stacks of books I feel that a lot of the messages I was trying to create were getting muddled and lost in all the words. This was probably largely due to the fact that I was mostly using my own limited collection of books, however I did also borrow some graphic novels from my workplace (The Dragon) and I loved the humour I was able to create with some of the titles. I did include one of the longer stacks of books that I made however, because I did actually end up liking this one and I don’t feel that the message was lost or muddled. For this particular long stack I decided to format the words like a list and I feel like this helped a lot in keeping the message clear. I had spotted the book “The Hazards of Love” on the shelf at work and I was determined to create a list with this, so I was able to focus my search more for this particular stack. I also enjoyed how this stack ends with a rhyme (rhyming “me” and “be”), as it creates a more poetic feel as well.

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Video Art Brainstorm

Bird Species (left to right, top to bottom): Common Grackle, Northern Flickers (woodpecker), Red Winged Black Birds, Hairy Woodpecker, Northern Cardinal. All of these images of birds were taken by me in my backyard in Guelph.

Protecting certain geographical areas of biodiversity is extremely important for the overall survival of the natural environment. Canada harbors approximately 80,000 different species of plants and animals and many people believe that sanctioning off any land that humans aren’t actively using and don’t need will suffice in sustaining these species (NCC). However, many plants and animals, take birds for example, require very particular types of habitats spanning over a vast amounts of land. Most bird species in Canada live and migrate along the border to the US, which just so happens to be where the majority of the human population in Canada also resides. For nesting, some bird species may require marshland, shorelines, grassy fields, or dead trees surrounded by thick forest. Additionally, in order to migrate, birds also need patches or strips of natural environment in order to rest and sustain themselves throughout the journey. In response to the rapid decline of bird species all across the world due to habitat loss, designated areas have been established in order to try and maintain these species. An area such as this has been established right behind where I live, a marshland that houses a large diversity of bird species that I get the joy and privilege of watching come and go throughout the year. Interacting with bird species has been a large part of my father’s life and now it has also become a significant part of mine. I often enjoy spending my evenings and nights following in my father’s footsteps, and with his advice, calling owls. The thrill of being able to hear one call back is like nothing else I’ve experienced. The first time I got an owl to call back to me I remember the chill it sent down my spine and I never get tired of that feeling. I love the birds and I never want to have to see them go. So, for my video project I wanted to film a sort of performance done by me and my father. My idea is that the two of us will go out in the evening to a large field that is close to my house and sit facing each other while practicing owl calls. I want the performance to appear almost as if me and my father are having a conversation with one another in these unique bird calls and sounds. The overall performance will highlight the importance of birds to me and my father, and the activity of watching and enjoying their sounds, as well as how this has connected the two of us on a personal level. I also want to highlight that birds aren’t just important on an ecological level, but also for the wellbeing of humans and human connections.

Links:

https://www.natureconservancy.ca/en/blog/archive/beak-to-beak-the-importance.html https://www.ibacanada.com/mapviewer.jsp?lang=en

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Jenny Kendler

I am interested in their works because a lot of their art pieces involve turning the focus onto environmentalism and the human’s relationship to the natural world. She creates works that try to get people immersed and hands-on, becoming a part of the piece like her work with milkweed dispersal balloons, and Tell it to the Birds. A lot of her pieces also work with audio like A confounding mimicry and Playhead of Dawn. They use strategies that help answer the question of how to best represent a topic and bring awareness to people in an artistic fashion. The artist changes their strategies piece by piece, but the reoccurring practice of bringing people into the piece, or creating room for participation tends to be reused.

For their piece Playhead of Dawn, they chose to make a piece about birds and the impact of humans on birds by playing a 24-hour audio piece that recreates the rise of the sun at dawn as the earth rotates around the sun. The audio piece amplifies the bird’s voices, and puts them in the front row for all to hear. The artists collected and compiled thousands of bird song data from around the world, and organized them, and timed them to be played at the correct times as if we could listen in at dawn at any time and geographic location in real-time. A lot of research has been put into making this piece as accurate as possible, even including the earth’s axis of rotation in the calculations of when the audio clips should be played.

The piece might evoke something different for everyone, but there are certainly a lot of things that people can learn just from listening to it. One might notice that throughout the day, certain areas will be silent, which could be due to passing over a body of water, or through an area of habitat that no longer contains birds from which to capture their song audio. The audio and absence of audio are important in this piece, representing the reality of a moment in a bird’s life, and reaching out to people to think about how their human lives can impact the lives of birds around the world.

For their piece, the Milkweed Balloon Dispersal, the artist was responding to the decline of monarch butterflies and making an educational and interactive piece to help make people aware of the decline of Monarch butterflies. They did some research about the habitat impact, and the importance of milkweed as a source of food to the Monarch butterflies. As a piece, they filled balloons with milkweed seeds, and handed them out to citizens, helping educate people, and offering them an opportunity to take part in the piece by bringing a balloon home and popping it somewhere to disperse the seeds in the hopes of increasing the milkweed plant population for the monarch butterflies. The intention of wanting to find an artistic way to reach out to people and educate them on the subject is shown in how they performed their art piece very publicly.

Book Stacking

For these book stacks, I asked all of my roommates to hand over every book they had hidden away in our house. It was fun to see how I could try and organize them in unconventional ways. Trying to piece together books that may have never met before to create new combinations in to universe. I tried to keep in mind color, text, and composition for these pieces. I also have not read any of these books before, so these were all newly discovered titles to me.