Wednesday, July 28, 2010
Secret keeper
Today i was humbled and honoured to receive my first story about the Limits of Love. It's well written, raw and real. It's a strange thing, being privy to a person's inner demons...I feel I have an awesome responsibility now to represent this person's pain as individual, yet universally experienced. I want the viewer to be captured by the image of perhaps a pinhole camera, draw them in and once you look closer, you can see both the text and the beauty that flourishes among the barrenness. Maybe a monochromatic, pale heart, surrounded by exploding colour and life, only a hint of which touches the interior of this heart. One thing is for sure; I most definitely like working cooperatively to form an image. I thank this person for their words; I will treat you gently.
Tuesday, July 27, 2010
Considering I am brand new to this blogging thing, please forgive any transgressions I may unknowingly make. I have no news for the day, except I composed a letter of expression of interest for the owner of Old Tyme Antiques, a shop on the north side that I have approached about borrowing a Victorian pie crust table from Maria's production of "Aunt Judy". I really enjoy this gig, unpaid though it is. I'm excited to see the show.
I also sent off an image of previous work to the editor of HERE magazine, for publication in the Art Listings section. The listing is for Limits of Love. Here's the thing: I felt I should quickly throw together some new collage on this theme, so the image and the listing matched up. I took a chance and showed it to an artist friend and asked for honest feedback...I'm glad I did. Not only did I junk that collage, but our conversation spun me off in a new (and hopefully better) direction. That is one of the primary elements I miss from art school: critique. Sounds crazy, I know. Everyone hates those horrendous, torturous public crits at the end of a project, or end of term. I don't miss the formal evisceration, but I do miss the interaction with other artists that can help crystallize or catalyze new ideas. So thank you to Melissa, NSCAD grad of classic rendering. I will be calling on you again to give it to me straight.
On the subject of the Limits of Love work, I have to say it's still all in my head. I mean, I'm kind of stuck. There are some pretty cool images floating around my head but I have no idea how to create them on paper. Well, that's not entirely true...it's just that the things I'm picturing would require a lot more time, money and planning than I have done at the moment. More photography, with that macro lens I don't have. Stretching bread dough between his hands, pulling it tight so it is translucent and fragile. Twisted up pages of the Bible, shaped into a heart form, photographed and how and where does the story go? A large heart organ being manipulated into a square box, portions squeezed and indecipherable. But how do I translate that to paper? That's my problem: translating what I see onto paper.
I also sent off an image of previous work to the editor of HERE magazine, for publication in the Art Listings section. The listing is for Limits of Love. Here's the thing: I felt I should quickly throw together some new collage on this theme, so the image and the listing matched up. I took a chance and showed it to an artist friend and asked for honest feedback...I'm glad I did. Not only did I junk that collage, but our conversation spun me off in a new (and hopefully better) direction. That is one of the primary elements I miss from art school: critique. Sounds crazy, I know. Everyone hates those horrendous, torturous public crits at the end of a project, or end of term. I don't miss the formal evisceration, but I do miss the interaction with other artists that can help crystallize or catalyze new ideas. So thank you to Melissa, NSCAD grad of classic rendering. I will be calling on you again to give it to me straight.
On the subject of the Limits of Love work, I have to say it's still all in my head. I mean, I'm kind of stuck. There are some pretty cool images floating around my head but I have no idea how to create them on paper. Well, that's not entirely true...it's just that the things I'm picturing would require a lot more time, money and planning than I have done at the moment. More photography, with that macro lens I don't have. Stretching bread dough between his hands, pulling it tight so it is translucent and fragile. Twisted up pages of the Bible, shaped into a heart form, photographed and how and where does the story go? A large heart organ being manipulated into a square box, portions squeezed and indecipherable. But how do I translate that to paper? That's my problem: translating what I see onto paper.
Monday, July 26, 2010
Possible Selves: Solo show at The Playhouse
I am also working on creating new work for my first solo show, opening October 1, 2010, at The Playhouse Annex Gallery. Here is the first draft of the essay to accompany the show:
Possible Selves: an exploration of identity
What is identity? How does it form? What psychological, physical and social environmental elements comprise identity? How does it grow and change, yet the basis remain the same?
I intend to explore the question of the formation of identity through images of architectural elements built and torn down. My background as a fine furniture maker and experience in carpentry has helped me understand how structures are built; the interior frame work and the numerous joints, connections and fastenings that are necessary for a structure to function properly. Much like a person is built, our identity is made up of numerous connections, experiences and turning points to produce a specific personality.
The neo-Erikson identity status paradigm, largely developed by James Marcia, focuses upon the twin concepts of experimentation and commitment in identity formation; beginning with our temperament, an individual experiments with elements of personal and social traits, either rejecting or committing to a desired behavior or concept. I intend to explore this idea with six to eight images, all beginning with the same architectural base. Each image will be built up and torn down using cut up photographs of local architectural elements and buildings. I will take both digital and manual photographs using a digital camera and a 1972 Minolta SRT 200. I will isolate and cut up the photographs, then reassemble them, beginning from the same architectural base. I shall use paint and ink to accentuate areas and tracing paper, tissue paper, vellum and other media to build up texture in certain areas. I may also draw scenes or images of my past as the background sky or use text to give the viewer a sense of what personality concept is being rejected or committed to.
Possible Selves: an exploration of identity
What is identity? How does it form? What psychological, physical and social environmental elements comprise identity? How does it grow and change, yet the basis remain the same?
I intend to explore the question of the formation of identity through images of architectural elements built and torn down. My background as a fine furniture maker and experience in carpentry has helped me understand how structures are built; the interior frame work and the numerous joints, connections and fastenings that are necessary for a structure to function properly. Much like a person is built, our identity is made up of numerous connections, experiences and turning points to produce a specific personality.
The neo-Erikson identity status paradigm, largely developed by James Marcia, focuses upon the twin concepts of experimentation and commitment in identity formation; beginning with our temperament, an individual experiments with elements of personal and social traits, either rejecting or committing to a desired behavior or concept. I intend to explore this idea with six to eight images, all beginning with the same architectural base. Each image will be built up and torn down using cut up photographs of local architectural elements and buildings. I will take both digital and manual photographs using a digital camera and a 1972 Minolta SRT 200. I will isolate and cut up the photographs, then reassemble them, beginning from the same architectural base. I shall use paint and ink to accentuate areas and tracing paper, tissue paper, vellum and other media to build up texture in certain areas. I may also draw scenes or images of my past as the background sky or use text to give the viewer a sense of what personality concept is being rejected or committed to.
My inaugural blog...
Greetings Earthlings!
Oh my, I never did expect to be a blogger. I had grand plans for a portfolio website, sure...but this is different. This is a link inside my brain, a place to feel out themes, form, concepts, and hopefully get some feedback. Gotta keep it professional, yet fun. Well written, yet informal. Hmm...no pressure. Actually, the primary reason I have created Possible Selves is to serve as a link with the people I've asked to contribute to a special art project I will be starting August 7. August 7-15 is my Artist in Residence term at the York Sunbury Museum at Officer's Square. The residency coincides with Fredericton's Gay Pride Week. I have singled out some people and put the question to them: "How have you experienced the limits of love?"
The Limits of Love
Beginning August 7 through 15, I will be at the York Sunbury Museum at Officer’s Square, completing an Artist in Residence term for the Fredericton Arts Alliance. This is the premise for the week:
What are the limits of love? At what point are certain people left out, pushed out or torn out of our hearts? The physical evolution of the heart from our ape mothers and fathers to our cave man brothers and sisters to present day neighbours is well researched and documented; is the evolution of love as well thought out? How is God moving us along in our ability to love one another?
From sex as procreation to women as sex objects and men as thoughtless sex fiends, where does love fit in among these restrictive stereotypes? And that's "straight" forward romantic love...What do we know about friendship and mentoring love? I can tell you from personal experience about the limits of love I've encountered. When I came out as a lesbian, my former Christian community reacted with fear, anger, hurt, disgust. They reacted with their version of 'tough love', which was to hammer me with Scriptures proclaiming the utter horror and evil I was embracing. Their 'tough love' wanted to break down my new found confidence and self love. I was pushed out of their hearts, left out of their community, and I felt like my faith was being torn apart.
For this art project I want to explore a very specific kind of limit. I want to explore that breaking point, that line in the sand that divides us from who we love. So I am asking all of you to share with me (anonymously) your stories of heart break, homophobia, and/or loss. It would mean a lot to me, and I think, on a broader scale, to our community. I will incorporate the text into a series of anatomical drawings of the physical evolution of the heart. Your participation would be greatly appreciated, and completely confidential.
To get you started, I’ve asked three basic questions. Please answer them in complete sentences.
1. What are the specifics of the situation? Example:
“It was my first year of college, and I was having lunch with my new class mates when someone started making fun of a poster advertising the campus GLBTQ club. No one there knew I was gay; it hadn’t exactly made the top of the conversation...I just sat there, speechless, not knowing what to do.”
OR
“The first time I walked into that “Lesbian Cabaret!” and saw the host - I knew I was hooked. She was in a white silk three piece suit, her eyes were ice blue and she had shocking blond hair. She was incredible...”
2. How did it make you feel? Example:
“I felt small and invisible. I felt threatened that if my new class mates found out I was gay, they would not want to hang around me. Or perhaps they would feel ashamed of themselves and embarrassed, project that onto me. Either way, it felt like a heavy weight had come onto my shoulders...and here I thought that going to college I’d finally be able to be myself.”
OR
“Just the sight of her made me feel alive in a way I never had before. At that moment, the whole world opened up...then just as quickly, the realization knocked the breath out of me. Oh God...I really, truly am...”
3. What did you want to happen? Example:
“I wish those people had some clue how they were hurting me. I wish I’d stood up for myself. Looking back now, I can see the scared kid I was. If I could tell her one thing it would be - stand up when you can, and no sooner than that. Don’t beat yourself up over it...we come out in our own time, when we are ready. “
OR
“I wanted to run away. I wanted to run into her arms. I wanted time to stand still..because I knew that by leaving that room I’d be entering back into my reality: homophobic parents, religious background, certain singleness forever...it was not the future I’d hoped for, but like it or not, life was about to change forever.”
The deadline for submissions is August 5th. I encourage you to write your story! If you are having any trouble, please feel free to contact me. Again, I would really appreciate your participation.
Cheers,
Marsha
marsha.m.clark@gmail.com
Oh my, I never did expect to be a blogger. I had grand plans for a portfolio website, sure...but this is different. This is a link inside my brain, a place to feel out themes, form, concepts, and hopefully get some feedback. Gotta keep it professional, yet fun. Well written, yet informal. Hmm...no pressure. Actually, the primary reason I have created Possible Selves is to serve as a link with the people I've asked to contribute to a special art project I will be starting August 7. August 7-15 is my Artist in Residence term at the York Sunbury Museum at Officer's Square. The residency coincides with Fredericton's Gay Pride Week. I have singled out some people and put the question to them: "How have you experienced the limits of love?"
The Limits of Love
Beginning August 7 through 15, I will be at the York Sunbury Museum at Officer’s Square, completing an Artist in Residence term for the Fredericton Arts Alliance. This is the premise for the week:
What are the limits of love? At what point are certain people left out, pushed out or torn out of our hearts? The physical evolution of the heart from our ape mothers and fathers to our cave man brothers and sisters to present day neighbours is well researched and documented; is the evolution of love as well thought out? How is God moving us along in our ability to love one another?
From sex as procreation to women as sex objects and men as thoughtless sex fiends, where does love fit in among these restrictive stereotypes? And that's "straight" forward romantic love...What do we know about friendship and mentoring love? I can tell you from personal experience about the limits of love I've encountered. When I came out as a lesbian, my former Christian community reacted with fear, anger, hurt, disgust. They reacted with their version of 'tough love', which was to hammer me with Scriptures proclaiming the utter horror and evil I was embracing. Their 'tough love' wanted to break down my new found confidence and self love. I was pushed out of their hearts, left out of their community, and I felt like my faith was being torn apart.
For this art project I want to explore a very specific kind of limit. I want to explore that breaking point, that line in the sand that divides us from who we love. So I am asking all of you to share with me (anonymously) your stories of heart break, homophobia, and/or loss. It would mean a lot to me, and I think, on a broader scale, to our community. I will incorporate the text into a series of anatomical drawings of the physical evolution of the heart. Your participation would be greatly appreciated, and completely confidential.
To get you started, I’ve asked three basic questions. Please answer them in complete sentences.
1. What are the specifics of the situation? Example:
“It was my first year of college, and I was having lunch with my new class mates when someone started making fun of a poster advertising the campus GLBTQ club. No one there knew I was gay; it hadn’t exactly made the top of the conversation...I just sat there, speechless, not knowing what to do.”
OR
“The first time I walked into that “Lesbian Cabaret!” and saw the host - I knew I was hooked. She was in a white silk three piece suit, her eyes were ice blue and she had shocking blond hair. She was incredible...”
2. How did it make you feel? Example:
“I felt small and invisible. I felt threatened that if my new class mates found out I was gay, they would not want to hang around me. Or perhaps they would feel ashamed of themselves and embarrassed, project that onto me. Either way, it felt like a heavy weight had come onto my shoulders...and here I thought that going to college I’d finally be able to be myself.”
OR
“Just the sight of her made me feel alive in a way I never had before. At that moment, the whole world opened up...then just as quickly, the realization knocked the breath out of me. Oh God...I really, truly am...”
3. What did you want to happen? Example:
“I wish those people had some clue how they were hurting me. I wish I’d stood up for myself. Looking back now, I can see the scared kid I was. If I could tell her one thing it would be - stand up when you can, and no sooner than that. Don’t beat yourself up over it...we come out in our own time, when we are ready. “
OR
“I wanted to run away. I wanted to run into her arms. I wanted time to stand still..because I knew that by leaving that room I’d be entering back into my reality: homophobic parents, religious background, certain singleness forever...it was not the future I’d hoped for, but like it or not, life was about to change forever.”
The deadline for submissions is August 5th. I encourage you to write your story! If you are having any trouble, please feel free to contact me. Again, I would really appreciate your participation.
Cheers,
Marsha
marsha.m.clark@gmail.com
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