OnE ForTy FiVe...
a time (in the afternoon or morning)
an address (without the street name)
the number of buttons in a jar
the number of centimeters of a shorter than average person
the cost of a skill saw on sale at Canadian Tire
the size of a large herd of cows
five pennies short of three rolls
when the train departs
the page in the book facing 144
(and the number just below the very nice shoe).
In this image I recognize the object to be a chair.
I know that it is sitting on a floor.
The wall behind tells me that I can not walk forward
but must exit the space to the left or the right.
The shadows also tell me something of the space surrounding,
of its shape and where the light is coming from.
And it can be said that the chair recognizes me.
It has been carefully crafted for a person, such as myself, to sit upon.
In this way I am welcomed to the space.
We are working on the exhibit 'Learning to Float'.
This is not necessarily referring to swimming or flying
but more as a way of being.
To do the work I am asked to be honest about my own experience.
I realized at this time floating seems impossible
but what if I have something to support me.
This piece is my way of teaching myself how to float.
We decided that what we want most today is to be able to focus on a single project and to see it proceed towards completion.
This photo is a perfect example of unfocused. It is also very beautiful and evocative because of its blurred edges and sense of movement. It is fun to see in many different ways, and to approach our projects from many different angles. That is creativity.
Today we are reassembling frames and stretching canvas over them making beautiful forms to paint on. The process requires attention, evenness of strength and exactness. Making them our selves feels very different from buying them ready made. There is a sense of satisfaction in the form itself.
We have not even considered the paintings which may appear on them.
It is very different experience making installations with forms and then trying to paint or draw them.
I would say that the act of painting is one of seeing and it allows us to discover something new.
It is a way of engaging with the forms in the intimate and also limited, space of the canvas.
Something of a conundrum.
We can easily make the close up, such as this screen disappear, just by focusing on what is distant. It is fun to experiment with all the different ways we can look at our surroundings and to notice the habitual ways we have of seeing. I have noticed that whenever I change my perspective new possibilities open up that I could not have imagined before.
In the process of 'f i n d i n g f o r m', the exhibit now in the Genesis Gallery on the main floor, we introduced 'the egg' as a form which perfectly contains potential. This form has become the central theme in the Collage Gallery which we began hanging today. This exhibit is entitled 'e g g x a g e r a t e d p o t e n t i a l'
and these are two of the new pieces.
This house began as a collage (shown in our August 29 blog) Sae began building it as a three dimensional form on the same day that I was introduced to the painting (shown in detail below), by Allen Egan. His painting is further inspiring its evolution.
We welcome a new artist into the fold,
Allen Egan is the artist of these two new acquisitions,
which seem already to be part of the conversation begun here in August.
Allen was showing his very inspired work at the Cabbagetown Festival this past weekend. We are hoping for further collaboration.
You can visit his web site eganacci.wixsite.com/allen-egan-paintings
Sina Lack and Jerome Paul came by the gallery today with their instruments, the Hang Bal, Gubal,
Hang Gudu and Pang Sui and played with us for the afternoon.
Please click on the link to have a taste of what we experienced with them.
Their is a very old saying :-
'To see from another's perspective you must stand in their shoes.'
This is an unspoken request when looking at art and is the reason why art has the possibility of expanding our view.
Shoes themselves are interesting forms. How they touch to the ground, how they lift off.
They tell a story of how we place ourselves here and how we arrange the rest of our body to balance.
It all begins with the feet.
Today was a mailing day, sending out invitations for the next show and opening of Daniel Hanequand's work;-
't h e v i e w f r o m h e r e' . Labeling and stuffing envelopes, sealing and stamping, and carrying them
in the rain to the post box before 5pm. It's a rhythmic job, when you get into it, which all of us seem to enjoy
accompanied with just the right music and the crunch of chips.
The image on the left was taken today at the corner of Church and Gerrard. The photo of our friend Piet Corr was taken a month ago in the gallery. The two seemed to want to go together with the lens on Piet's camera turning colour. I went to the internet and looked up 'yellow light' and this song appeared, by the Icelandic group 'Of Monsters and Men'. We decided to include the link here.
Piet this is for you.
A door between two spaces
an opening we can move through
going out or coming in
and the invisible barrier of a window
which lets us see the other side.
This doorway is to the Allen Garden conservatory located between Carlton and Gerrard Street east.
This doorway is the main entrance on the Palm building constructed in 1910.
We began with a question, 'what is the language of gesture?' An idea arrives,
not as words but as a vision, not quite distinct. We search for and find materials to make the vision manifest. But then the process begins and materials have a mind of their own, conforming to weight and gravity, light and shadow and what happens is something of a miracle, a total surprise
that we feel privileged to be witness to.
we circle round it, turn our faces towards it
for warmth, for light, for the transformation of food.
our first and ongoing necessity is to feed ourselves,
in times of abundance and scarcity.
hands collect the seeds, plant the seeds, care for their growth, harvest the crop
hands build the fire, cook the food, hold it to our mouth to eat.
Sometimes through grace and effort we are able to amass a surplus
it is only then that we are afforded the possibility of reflection,
to consider our existence here on earth,
to observe what we have discovered and to share that knowledge with words.
All of the above collages began with a photocopy image of this photograph
'Portrait of a Young Writer" held in the archives of the Jewish Public Library in
Montreal. Each of us was inspired to enter into a relationship with the
original portrait and in the process of collage I think we all came to see and
appreciate the character even more. As much as she has been transformed in
these works a strong trace of her remains.
Are we willing to receive good news?
or to even consider the news we receive as good?
or more important can we be witness to what is happening
in order to learn about ourselves.
On Martin Luther King's Day his niece wrote: "I pray that all polar opposites learn to Agape Love, live and work together as brothers and sisters--- or perish as fools."