Guelph University Humber Campus

Guelph University Humber Campus

September 15th - October 1st 2010

The following is the text that accompanied the show. Please read and leave comments. It was a difficult location to reach so I am trying to create an online experience.

Artist Statement: Work in Progress

The exhibit of works in this show is a collection of objects that I spent the last six months creating. The work is about cycles in an artists practice as well as in nature. The main themes of the work consist of environmentalism, recycling and the art historical.

Every artist must accept that a good amount of art was made before they came along. Along with this work many artists had practices that helped to define the art historical and in reaction critics helped to define these movements. In the present tense, contemporary artists are capable of drawing upon these movements and through a combination of context, positioning and their own perspective are able to create work that helps to describe their times and who they are as artists.

I began this work with the intention of returning to basics, the hand made object, the creation of something original. In my earlier work I used found images to make narrative work in the form of collage with paint. I continued this trend by re-purposing the objects that have been discarded and using their basic parts reconstructed them back into a useful object.

As an artist I am compelled to think and create. Every moment of the day is spent thinking and acting towards this end. Items that I have had for years suddenly fill in the gap that creates a whole, a set of table legs find new purpose, a table top becomes the spine for a new piece of furniture.

As a painter I have been creating work on panels for the last six years. In order to make sure that I could afford to keep working I had to teach myself how to build them on my own. The first panel that I made was so warped would not even sit on the wall straight. It was a large learning curve. I learned through that experience that although the first step is the roughest it becomes easier and easier with discipline and conditioning. The panels that I have hanging around the room is a testament to all the work that I have made in the past that now resides in the possession of other people, the work that I will create and all the time that I spent learning how to make them. Now I can create twenty-odd panels without any mistakes, they all hang flat on the wall.

The large painting on the wall, which is titled Suomi was created by choosing images from a picture book of Finland. In the past I would use images directly from the book and combine them on a panel, the painting being on paper and so large made it impossible to do this. Instead I chose the best images and combined them. The creation of a work of art without actually cutting out the images is an important step from the concrete to the conceptual where the ideas become something that I edit, cut and recombine. Ideas drawn from the art historical now become elements that are combined, edited and cut.

Wall Works

The two framed glass works stand out among the panels hung on the wall. The first has two pictures. A space that was lent to me to make work in had an old entertainment unit from the 70’s. It was destined to end up in the landfill. As I worked to collect furniture, taking the pieces apart and studying the way that they were put together I found that the more recent the pieces the less real wood they contained. The unit that was destined for the garbage only had one real piece of wood on it. The trim along the top of the unit was taken, cut down and turned into the frame, fitted with glass and photos of the unit.

The second framed work is a small collage that failed, the perspective was off so it sat on a shelf never making it to the paint stage. The paper surrounding it is a very expensive archival wrap normally put onto paintings to protect them during transport and storage. I have recycled it and repurposed it to cover over the failure. What I am attempting is to reclaim the time that I put into the piece, even a failure is a success in as much as it taught me something and I take that with me.

Studio Furniture

The three pieces of furniture are the culmination of many hours of contemplation on the use of materials, building styles and collage. The first is a cabinet. Over three years ago I pulled an old wardrobe from the garbage. I shuffled it around from place to place trying to decide what to do with it. When I first began making plans to create the furniture a studio cabinet to hold materials and drawings materialized. I found drawers from a wooden office desk and built them in. During the night of the opening I will install the glass door finishing the piece.

The table was originally designed in reaction to the arts and crafts movement of the late 19^th century. I was given a solid maple kitchen table and I moved it many times saving it and trying to figure out what to do with it. After doing research on the movement I was inspired to make my own. The learning curve was huge but added to my success in the end. Every time I take a chance I learn more.

The last piece of furniture is the dressing screen. A staple of most arts and craft collections the dressing screen was an interpretation of orientalism which had a profound influence on the design and architecture of the period. The arts and craft movment were inspired by the Japanese printmaking masters (ukiyo-e) in the same way that impressionists were influenced. I left it blank except for the one side on one panel, which contains multiple sheets of carbon copy paper, the method that I would use to transfer the image of my choice flawlessly to the panel to prepare it for a painting. The screen itself is a small story in the development of my wood working abilities through the learning curve and trial and error. The first panel, poorly made leads to a better one and so on so forth till the final panel is almost perfect. This is the one that I deem suitable for adornment through paint. The first art medium that I attained a significant skill in is how I bless the best of my pieces.

Crated Painting

My day job allows me to look at art all the time. I hang the art, transport it and care for it. I do not spend a majority of that time appreciating it. Instead I spend time looking at the back, seeing how it was made and getting ready to hang it on the wall or install it in the gallery. The two pieces hung together help to convey that part of my day job and how it affects my art practice. The small famed work is turned around, where you would normally find the name or the hanging hardware is where the paint and collage reside. The second piece is rested against the lid of the crate where it is waiting to be hung. The crate is also made from recycled art at an attempt to communicate that nothing is wasted in the creation of work.

Sculpture

The sculpture in the space is material that I have collected but has not yet been put to purpose. These pieces will float until they have a destination and will become something new. I may not necessarily use them as furniture but will eventually use them for something as my practice continues to change and evolve. The sculpture is a sign that I feel free to express myself however I want.

Practice

Through the course of the creation of these objects I have realized an important truth. That is not important what I make at this point in my art practice but how I am making it, its importance and its meaning to me as an artist. It is important that I keep making work. Its final form is unimportant. A product is not important. The act of creation is its own reason.

Work in Progress

Work in Progress,

Humber College Boulevard Etobioke Ontario.

September 15th 2010 5:30 pm to 10:00 pm

till October 1st.

This is an interview that I did with Kyle Clements in January of 2010 at a studio I was subletting. Many thanks to Kyle for putting it together and taking it as seriously as I did.

http://www.youtube.com/watch?v=jSybT7y-mJk

Mississauga's Sculptural Policy

Last night I took part in a stakeholders meeting at the civic centre to help review a draft of Mississauga's new sculpture policy. there weren't many in attendance. the people I saw there are those individuals who have been working hard towards the improvement of art and culture. I enjoyed the more in-depth look at the policy and its proposed budget.

There was criticism on the part of the city to not be enforcing a tougher stance towards money from development going towards public art and public works.

There was also a suggestions as to working public art into the quotes created for the city's review as well as having a permanent budget line in these documents.

Here are my thoughts. First I have little or no experience in this field. As a visual artist I think it is a fantastic opportunity for a municipality to take control of its public works and inject a little bit identity and originality into its developments. I think that it is an easy argument that developers should be putting money into these types of endeavours as well.

I don't think that they should be forced. Though the minimum must be met so that it begins a precedent I do not think that trying to "leech" money out of the system before it is ready is safe.

Also it is not necessarily a good thing to inject too much money into a system that has not been proven. A glut of cash could cause wastage and problems in the foreseeable future. It becomes a slippery slope. With proper increases and banking of the yearly funds the city will be ready when the right project comes along.

I also like the idea of having public art grow and change. More research into what the public would like to see seems very important. I would like to set up a kiosk sometime this summer to see if people will respond to public art and give feedback. Perhaps they want more access to art in general and don't care about sculpture or sound art. There is a section in the draft which places education of the public as one of the priorities. A good place to start for those who would like to get involved would be here. It is essential that the city get help with these details, although seemingly minor, workforce is short when dealing with budgets, private work for voluntary reasons is priceless.

During the beginning of the modern era western culture enjoyed one of its most creative periods. We are experiencing a sort of cultural renaissance as well. Our technology allows us to generate content faster than we can sort it or process it. The Arts and Craft period was instrumental in reminding the population that creativity helps to create healthier societies. We don't have to necessarily become socialists but we do have to start caring.

Accountability

It seems that the only time I write is when something disturbing happens. The last exhibit was a success on a few levels, the press, the turn out, the sales. All three are important when trying to expand a career and anyone who says you dont need all three is missing something.

The truth of the matter though, there is a fourth element. That counts as everything else outside of that. It doesnt matter how much of a success my art show was or will be in the future if I am still dissatisfied with the way that things are in my community. There are a number of issues popping up repeatedly. Repetition without intention is probably the most annoying thing you can imagine. People who repeat themselves twice as if you werent listening or capable of catching their drift, double negatives, etc. I have realized a couple of things from attending local AGM's at non profit orgs.

First, the board cannot hide behind a poor ED. It is up to the Board to keep the ED in line and make sure that they are doing their job. This is not limited to balancing the books and making sure the building they occupy doesnt burst into flame. It is more than that and must take several key factors into play. Community feedback is perhaps most important. If you find the community asking again and again where is the accountability you have to wonder. If the community seems to be perpetually complaining and worrying about the future of something they have not been included in the discussion at large.

Important changes are being implemented. These changes will allow us to take the first steps towards creating places to gather that have cultural and social importance. This week coming there is a panel discussion where a draft of the public art policy will be released to the general public. Port Credit is one of the possible chosen sights for something to take place. The community in this area have wanted something for a while now and have even worked to have a few of their own pieces installed to date. A mural, a totem pole.

In past entries I lamented the lackluster performance of ED's and non profit organizations in Mississauga. A number of them are currently flagged for various issues but non seem to be truly interested in changing for the better (I am simplifying and certainly do not mean every non profit in the city but the most visible to date).

Last week I attended two AGM's. Two very visible non profit orgs in Mississauga held their meetings on the same date. Not only does this seem strange (though April is a busy month for them as it is the end of the fiscal year), it seems almost planned to a paranoid mind. I wouldnt go so far as to say that it was but this certainly didnt help matters. The first meeting was fine, but when questions were asked they were dealt with in a reasonably trite manner by the ED. Clarification was needed and for someone like myself who is just starting to read accounts and balance sheets its important to ask questions. Although the meeting was fairly exhaustive and the printed material covered everything you could ask for they still missed out on something very important. Direction.

The second meeting was unfortunately only caught half way through as I had to travel from the city centre to a nearby parks and rec' area. When I arrived they were entertaining suggestions and questions from the membership. It is difficult to relate exactly how this meeting was going but chaotic would describe it. Instead of acknowledging the members ideas and noting them in the minutes the president instead chose to back peddle and act in a defensive way. If the president didnt blame a short coming on the previous ED who had left recently they chose to say that they had tried and failed before. In short any idea that was brought to the plate was met with resistance and ignored. This org also lacks direction. some of the suggestions should have been entertained and follow up could easily have been enacted through a town hall style meeting at a later date in the year. One member suggested that the logo be changed, link the location of the org to other areas of Mississauga as well as get more volunteers to help out with the operations of the board. If this was dealt with differently an observer could interpret the meeting as successful. Instead a very large defensive was raised and most suggestions passed over. This could lead observers to believe that the board does not want feedback, does not want members to care about what is going on, and eventually give the full impression that they do not care what the members are interested in. Unfortunately this is not very effective at producing long term positive feelings about the org and could force people to other orgs and locales like Nielson Park Creative Centre (which has a very good reputation).

So where did this rant come from? It doesnt matter how decent I am doing or how happy I am as a producing artist, it still affects me desperately that the overall health of the arts in Missisauga is sickly. If our orgs were interpretive, intervened in the affairs of the public and communicated with us through outreach we would see a vastly different landscape today. I will continue to work towards a time when these orgs can be held accountable in some way. Until then they can expect to see me at their events, their AGM's and various places of business so they know someone is keeping an eye on them, if only for my own interests.

Show at Motyka Fine Arts

It is that time of year again, yes the annual rush to finish painting a show in time.  I have most of the work made and painted already.  Since March is shaping up to be quite the busy time for me, I am endeavoring to have everything done by the end of February.  I am painting at multiple sites and using the regular studio as a workshop for building supports.  So far it is working out well.  However I feel old and tired when looking at the work.  In some cases I have grown as a painter, but in others I have not.  

I am continually looking on the web for  synchronicites.  I believe that Western art is coming to a conclusion (at least for this period).  There is always an ism, or what the critics consider book ends that will help them to figure out when one things ends and another begins.  Is this always the case?  Its hard to say whether there has to be anything at all that would describe these types of historic events.

I'm sure that there were plenty of artists that have fallen outside the book ends and have failed to receive adequate attention during their lifetime, or posthumously, as well put into perspective, repositioned and included in the faithful list of iconic artists from so and so time and ism.  What happens when there are no more isms?  Or worse, the lack of one is so blatant and troubling that they begin to try to fit square pegs into round holes. 

During one of my surfing sessions lately I found an artist that shows his work in New york.  Born 1959, painter.  Normally this wouldn't mean anything at all if it wasn't for the fact that I found an image of a painting of his with an image that I used from a national geographic.  Derivative comes to mind.  Wait, that's what I do.  In the words of the Fantastic Mr. Fox, Cuss.  

The image was the exact same one that I had used in a painting called cinematic beginnings.   When I say that I search the "cloud" for synchronicities I hadn't thought that it would pertain to my work.  Though I should be more forgiving as there are quite a few artists making work in North America and that I shouldn't beat myself up about it.  If people are working from popular or corporate images there is bound to be some overlap.  This could mean one of two things however.  

-One, that I am on the right track, that since this gentlemen is using these images there is something special about them that makes it worth while.  

-Two, that I am on the wrong track and headed towards obscurity.  The second, more dire circumstantial situation is the one that I have been dreading for years but have not had any indisputable truth to go by.  This is an indisputable truth though.  Cuss.  

Obviously this gentlemen has been painting for a long time.  I always thought that the found images game would be something that I would work out of.  It has made me very sensitive to illustrative techniques and I am finding these recycled images everywhere.  Ones that I have seen in my clippings of magazines and books and those that I have physically used in my art.  The question now is what will I do.  This gentleman's work was quite exhaustive and detailed.  He projected the images and work from reference creating a very painterly style.  I have gone in a similar direction where I attempted to make the image disappear while maintaining a sense of realism in the paint.  I focused on the use of colour and composition rather than brushstroke and paint.  This is perhaps the largest problem facing me at this point.  I have a solution to this problem.  

I have always been struggling with the direction of my work; where it was taking me, etc.  I assumed that by simply working I would get there.  That mediated steps would result in too much planning and would ultimately ruin my work.  This is partly true.  However if I look down the line I see a dead end.  I have always assumed what it would look like, now I know what it is.  If I am to escape this void that Western art seems to be spiraling into I have to look far ahead and escape before it is too late.  

Even now as I write this I am talking as if I am a prisoner of some system.  In an interview lately I actually said that I work with perspective because I feel that it echoes the system, but I am only perpetuating it by following it, whether I am pointing it out or not.

The only thing that I can think of that would save me from my terrible end at this point is to abandon structure and found images in favour of something that makes more sense.  The only problem is, I'm not sure if I can undo the damage that has already been done.  

New Blog for Current HotBox Project

http://hotboxriverwoodproject.blogspot.com/