Arteles Residency Outcomes

My stay at Arteles has been very rewarding; I have created many new ideas, the beginnings of new works and have made some fantastic friends from around the world. Among my new artist friends is a woman from the US, Ellery Royston, who works with sound. We have decided to collaborate on immersive sound and video installation, which is an exciting prospect.

Time moves slowly and silently out in the countryside in the middle of the Finnish winter. Long nights, short days and the sun low on the horizon create an environment very different to the one back home in NZ. I decided to explore time and duration in the context of a silent ordeal. I would invite my fellow artist’s to participate by enduring the slow melt of ice against their skin and to experience the thoughts and feelings this awakens.

I was informed by the old Finnish story of the Sielulintu, or soul bird, who visits the human body at birth and death. I gave the participants the chance to experience the cold of the bird melting into their skin on an area of their choice; perhaps where they felt they might experience the passage of their soul. The pain of the bird against their skin stretches time while it is being endured, but is a fleeting moment that quickly fades.

I discovered that the constraints of shooting the videos at Arteles actually created some unexpectedly interesting results. For example, I found it necessary to use natural light which created variations as the clouds shifted and the light changed. This gave an added dimension to the durational experience that I would not have discovered if I had been shooting in a studio with artificial light.

My intention is to continue working with the project to create a multi-channel video installation with accompanying soundtrack which, hopefully, I can show here in New Zealand.

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Ice bird melt on Ellery’s neck
marissa
Ice bird melt on Marissa’s stomach
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Cast ice quartz crystal melting onto a mirror

Works for Art Ache event

Creating some work suitable for the Art Ache event has been useful and an interesting experiment in pitching the work specifically to an audience. The Art Ache events are aimed at the general public who enjoy art, aren’t part of the art-buying connoisseurs, but would like the opportunity to buy and enjoy contemporary art. I’ve usually been working with video and object but for this project I needed to have prints that could be purchased and put on people’s walls – not something I usually consider with my art-making! I also had to consider how these pieces would reflect on my wider practice, but I like the idea that the public can have access to work and be able to find an entry point into contemporary art.

The thinking behind these pieces is that I wanted to create something that is accessible and that people could feel a connection to without having too much contemporary art knowledge. I want to make something they would want to spend time with. As well as being related to the Albedo work I have been creating this year, each piece references a famous art historical work that has been of inspiration to me. I hope that they will lead viewers to search out the originals and to see the relationships between contemporary and art historical work where they might not have looked before. Connecting to my interest in human experience of the otherworldly, the works that I drew on for the images are all depictions of moments of mystic experience; the Virgin at the moment of Annunciation, the swooning saints of Bernini and Caravaggio. I also love the obviously earthly pleasure on the faces of Saint Teresa and Mary Magdalene; is it the ecstasy of mystic experience or, as my model put it, “the ultimate O face”! Perhaps they’ve just been stuffing themselves with heavenly honey.

When creating these images I was well aware that there are plenty of photos out there drawing inspiration from classical and pre-modernist artworks. I’ve seen a lot of these sorts of images done for fashion magazines and while they are ‘pretty’ they don’t do much but provide high-gloss decoration. I didn’t want my work to stray into that area if I could avoid it! These fashion images are usually very heavily retouched, very glamorous, use fashion models and have a focus on beauty and perfection. I deliberately stayed away from any retouching (apart from a few stray hairs that had escaped from the models headwear) and left her pores, uneven make-up etc plainly visible. I hope that using the stark tonal palette keeps the images sculptural and austere rather than decorative.

They are printed A3 size on archival matt 300gsm art stock (and will not have the titles printed at the bottom as in these pics, instead they’ll have my sig )

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Art Ache

I’ve been creating some new images and video especially for a show called Art Ache that is happening this Thursday. They are in some respect companion pieces to Albedo, but a little different. The Art Ache show aims to allow people who are interested in contemporary art to be able to afford pieces they enjoy. These include a series of prints, one from each artist, that are part of an ongoing series
Art Ache event page
Art Ache website
Idealog article

Here is a my kitty helping with the shoot in my make-shift home studio. I can’t create large video pieces here, but smaller photoshoots are surprisingly effective.

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Lisa Reihana – Digital Marae

Lisa Reihana’s project Digital Marae is an ongoing conversation between the traditions of Maori marae carving and weaving with the use of digital techniques to create a modern visual language that honours the Atua and creates a space in which they can exist in a form outside of time on a continuum of past present and future. A digital marae with digital tukutuku panels, digital poupou, a whole digital wharenui.

Her large, singular portraits of import Atua are reminiscent of the carved poupou that hold up the roof, and the placement of her images plays around with conventions of both gender and importance of ancestors, determining their place within the wharenui.

In Devenport, R (ed) (2009) Digital Marae; Lisa Reihana. New Plymouth, New Zealand: Govett-Brewster Art Gallery. Reihana talks about the spiritual foundations of the marae and how she creates a welcome space within the wharenui by acknowledgement of the ancestors through the sacred karanga song;

“The karanga creates spatial form as the hosts and guests move through metaphysical zones of engagement.” (interview with Devenport, R. No page numbers)

The use of image, space and sound create an immersive installation space. I saw these works in Australia and found the size and luminosity of the works very powerful. There was a relationship between the atua and the human viewers through bodily connection – in my minds eye they were slightly larger than human, giving them an imposing otherworld quality. I appreciate the emergence of the figures out of the primeval darkness, the strong chiaroscuro effect and the richness of the colour and texture. I have always have an aesthetic fascination with the single figure portrayed in this way. They become a symbolic icon of an idea or archetype. It interests me how the Maori word ‘Atua’ is so similar to the word ‘Atu’; the term for the Tarot Trumps. Both are symbolic images that represent an archetype. I also see relationships to the work of Miria Kalman in the digital weaving; bright digital light, acidic, non-traditional colour, non-natural depiction of the weave.

There are certain Maori words I have picked up through my reading about Reihana’s work that I love;
ihi – powerful presence
wehi – awe
whare wanaga – house of esoteric learning

For me the images from Digital Marae with the most ihi are the 2 images where the Atua is facing front, is gazing at the viewer and has very little obvious digital manipulation.
Mahuika depicts an Atua who dwells in the underworld. She is fooled by the trickster Maui into giving him the fire that she carries at the tip of each finger (these powerful figures always seem to fall prey to the trickster!) Her dress smokes and runs with the lava of the underworld and her powerful gaze burns the viewer.

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Dandy shows a rather otherworldly figure, dressed in the garb of the Victorian gentleman, who engages with the viewer directly. He is a representation of takatapui (the closest western term would probably be transgender or non-gender). Rhine wanted to recognise and honour this section of Maori society by including them in the esoteric ancestral pantheon.


Lisa-Reihana-Dandy1

 

Devenport, R (ed) (2009) Digital Marae; Lisa Reihana. New Plymouth, New Zealand: Govett-Brewster Art Gallery.

Curnow, W. Leonard, R (ed) (2010) Unnerved: The New Zealand Project. Brisbane, Australia: Queensland Art Galllery.

Smith, H. (ed) (2007) Taiawho II: Contemporary Maori Artists. Wellington, New Zealand: Te Papa Press.

 

Work in Progress, April 2015

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This is a still from a series of short performative videos I shot this weekend with the help of my partner (he was very good as videographer and production assistant!). I’m currently working on the videos and ascertaining whether they do what I want, whether they work as art pieces, whether I want to do something else with them.

Creamy Psychology – Yvonne Todd

Last weekend I spent a couple of days in Wellington and took time to see a few exhibitions of work including Yvonne Todd’s ‘Creamy Psychology’ at the Wellington City Gallery.

The gallery had given over the whole 2 floors to the exhibition and that really gave scope to the work. What I enjoyed most about seeing so many works from the same artist over a period of years was to get a really good idea of her practice and how that was expressed through numerous groups of works. I can readily recall the differences and similarities between groupings and how ideas have carried through and been articulated in different ways.

I enjoyed the poignancy in the portraits of the beauty counter ladies. The photos seemed like the ones that would have been rejected from a staff portrait session for being ‘not quite right’ due to the depth and subtlety of emotion in the women’s expressions. My boyfriend and I came up with the possible thoughts that looked like they might be going through their heads; things like “I always hoped to be a geologist.” or “I don’t think I can face yet another seasonal lipstick.”

The portraits of young girls dressed up in vintage gowns had the creep factor you get from child beauty pageants. The artists statement commented on how young girls dressed this way get a certain crone quality, and I agree this is true. There is something about girls in over-elaborate dresses and make-up that makes them appear shrunken and shrivelled, aged before their time.

Interesting to me was how different the portraits of the men felt in comparison to those of women. The boardroom portraits of CEOs and retired surgeons were comical and jolly, whereas I found pretty much all the female portraits to contain a range of negative emotions from sorrow to fear to disappointment and many mixed emotions. The male portraits appeared more straightforwardly as a pastiche of middle aged executive portraiture. It got me thinking about who has power in front of and behind the lens – the men seemed to have more agency and were able to express their own personalities (even if they were seen as figures of fun) in a way the women were not.

I also really enjoyed seeing the artist’s collection of vintage dresses that appeared in the photographs and the various items and images that had inspired her over the years. This gave an added depth to my understanding of her practice and what sparked the ideas for the images.

This is my first overview of this exhibition, but I feel I will return to it and have some more thoughts I want to express in the next few weeks.