carlyn yandle
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Home isn't someone else's investment unit

9/17/2024

 
New modular building blocks create a visual for more humane density
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I blame my dream-home fantasies on that OG influencer Martha Stewart.
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When the thick, slick Martha Stewart Living was queen of the magazine racks I was there for the Crafts: the rustic doorstop animals made of French linen tea towels; the velvet lavender sachets for drawers and for gifts. Soon I was sucked into the glossy paper vortex of step-by-step tableaux of Martha — in cropped jeans and crisp Oxford shirt — engaged in various Good Things like washing her paned windows using vinegar from a glass sprayer or sweeping her freshly-painted porch with a birch-twig broom. I was led to believe that people who weren’t already trained pastry chefs or architects could create the Halloween gingerbread haunted mansion, and that one day I too would have a fireplace mantle to display handmade snowglobes nestled between mason jars of glittered cedar boughs dangling with tiny crocheted snowflakes. Never mind that my wreath of pinecones tied with tartan ribbon and tacked to my apartment door wasn’t adding any rustic Christmas vibes to the purple-and-teal common hallways. This was all temporary.
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By the time Martha finished doing her five months for fraud, I was half way through 20 years in the same apartment, engaged in the more practical project of trying to live a creative life in a small space (sprawling in comparison to the majority of new builds in Vancouver). I ended up writing a weekly newspaper column on the subject and even partnered in a home re-vamp service that funded four years of art school. Dwelling design remains one of my Special Topics so when I heard first thing this morning (at the time of this writing) that the provincial government had released some free modular plans for small-scale multi-unit housing, I jumped onto the site for a look-see.
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Streetscape concept of multi-unit integration with single-family homes, Standardized Housing Catalogue, BC Ministry of Housing
Because when it comes to affordable housing in this town, things can’t get worse (barring, of course, the imminent earthquake a.k.a. “The Big One”). According to one report, last year Vancouver’s median home price was more than 12 times the median household income, making it the third most expensive housing market in 94 cities around the world. Many of the investment units in Vancouver’s soaring glass towers are now languishing on the market, because even if they were affordable, “home” does not conjure up visions of 35 floors of stacked 500-square-foot rectangles with one wall for windows and no outdoor space.
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The customizable building blocks are an attempt to provide an option to this modern-day warehousing of humans, a step toward addressing the missing middle between standalone houses and condo towers. They were developed following recent zoning changes that allow three or four units on the standard city lot, to the horrors of NIMBY owners in those single-family-home neighbourhoods and to cheers from developers. To curb design and construction costs and expedite the permitting process, the limited options of modular blocks are basic. One shows two bedrooms with a shared bathroom. The common-area block shows a surface that is both dining table and kitchen island with sink, with the rest of the kitchen along one wall. No balconies are indicated and there are not a lot of windows. Every unit shows stairs.
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Placement options on various lot sizes, from the Standardized Housing Catalogue, BC Ministry of Housing
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Common space options, Standardized Housing Catalogue, BC Ministry of Housing
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Multi-family dwellings on a standard city lot, Standardized Housing Catalogue
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On the upside, they are connected to the earth and integrate into established communities. They open up the possibility of having a baby, aging in place, living with or beside other relatives or families of choice. They are the kind of home that might incline a crafty type to collect pinecones from the mature trees in those longstanding neighbourhoods and glue-gun a wreath to hang on the front door. 
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It’s a Good Thing.

Awkward family moment informs art-making aesthetic

7/14/2024

 
When I first started out as a suburban-newspaper reporter I had a single original artwork tacked to the wall in my basement suite. It was a life-sized acrylic-on-paper, a nude holding her maybe-pregnant belly against a landscape of spewing factories and techni-coloured streams.

I watched this gaunt, world-weary figure emerge in watery brushstrokes from the hand of the newspaper photographer's girlfriend. This is how she worked, in their basement suite, pulling yardage from a large roll of cheap paper, painting straight from her head and heart, with no plan to keep or show or sell her paintings. She saw that this one resonated with me too — what twenty-something in a committed relationship doesn’t have this weighing on her mind? So she gave it to me.

Hanging it felt like supporting an ally, even if it was only hanging in my dark, featureless space that nobody would see besides the boyfriend on weekends. Then one day some of his family made the trip for a visit. They complimented my hanging flower baskets, my thrifty decor. I didn’t hear until much later that the painting had become a topic of conversation among various relatives, a bit of a joke about that subject and, by extension in my mind, this girlfriend.

I had none of the inner fortitude to see this painting or my choices as acceptable and eventually I rolled it up and hid it in a closet. I married into that family within three years. The boxed wedding dress joined the poster tube containing the offending painting for two more moves until I finally ditched the artwork at the Sally Ann. The dress is another story.
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Detail from 'Unbridled,' the artist's handmade silk wedding dress embroidered with significant events. (Carlyn Yandle photo)
Picture'I Dissent,' aesthetic design with a political position marking the death of Ruth Bader Ginsburg. Acrylic on panel, 2020 (Carlyn Yandle)
But I did keep something from that painting: some lessons that have informed an aesthetic that I carry to this day but might not even recognize until after each artwork is completed, or is at least on its trajectory.

The first is the power of attraction. Not to be confused with the pseudoscientific Law of Attraction, this is a drive to create aesthetically-pleasing, familiar domestic objects and fields that upon closer inspection have something else to say besides cozy or pretty. An early example of one of my pretty/pretty disturbing objects is Clutch (2007). Hundreds of sewing pins were pierced into a thrifted clutch purse in a colourful beaded pattern covering the entire surface. The clasp opens to reveal an impenetrable thicket of steely pointy ends.

Another valuable lesson is context, or time and place. Gallery-goers may prepare themselves to be confronted by artwork but I don’t wish that on houseguests. There are none of those Live-Love-Laugh type directives or IKEA Eiffel Towers and tulips on the walls at home, but what is there is selected to engage, not repel. Home is a place to feel safe. The studio is a place to not play it safe, but it’s still a covert operation, playing on that first impression of domestic objects that reveal cracks in the beauty of the everyday.

I’ve also learned that my creative energy comes from joy, not pain. I have no urge to make when I barely have enough hope for the day to put on pants. Heavy realities may be the driving force but the work develops from a position of hope for comfort and social connection, a hunger for nourishment of new ideas and new materials to explore. The joy is in learning while doing, imagining new collective futures.

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What first appears as a frilly white textile barely conceals the chaotic armature of conduit casing, hazard tape, metal pipes, and other construction-site debris behind layers of discarded Tyvek building wrap. (Nate Yandle photos)
Finally, my position is not fixed. In my mind I have that 1985 photo portrait of Lily Tomlin in a black T-shirt with white lettering that screams EVOLVE OR DIE. And look at her now. My sensibilities are always shifting and I am growing more at peace with the idea that what other people say about me is none of my business. When an artist friend turned 50 on an artists’ retreat the rest of us toasted her in a welcome to the I Don’t Give a Shit Club. When you’re part of that club you stop second-guessing every decision and tending to other people’s feelings first.

This is how I recently became the owner of Fuckwit. I was attracted by the sweet rosebud fabric appliqued in tiny blanket stitches precise as Letraset on a lacy linen. I like the artist's choice of font and word. It’s an overt, uncomplicated work that hangs near the front door, visible before guests would even have their coat off. If people get offended, blame the artist, not me. I just like the beauty in that crack.
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Original artwork by Kathryn Lissack (@kathrynlissack)

Playing with mud -- and new/old ideas 

5/22/2015

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PictureWhere it all began: The Mud Girls retreat that sowed the seed for new/old building modes.
Playing with mainly found materials, and whenever possible with other people, offers me the chance to learn about properties and potential of those throw-away materials as well as about collaborative problem-solving and new/old modes of social interaction. I try not to overthink that link between materials and the inherent social nature of our species but just go with the urge to make the connections.

Working with cob – natural concrete that uses clay, sand and straw – provides a glimpse of an alternative to the inevitable glass-tower existence, the reliance on fossil fuels and the hazardous extraction and distribution process.

There’s nothing like bunker fuel hitting the local beaches or the growing Pacific trash vortex not so far away from those freighters to inspire alternatives. The solutions to these problems require alternative thinking, which depends on playing with ideas.
PictureExcavating as exercise: Digging out a 60-inch diameter, 18-inch-deep hole. (Carlyn Yandle photo)
I got that first glimpse in a two-week cob-house-building workshop in the forest atop a Gulf Island, just days after I closed the door on my office job at a city newspaper. It was a tough adjustment, moving from a hierarchical corporate media culture to a loose, collaborative course-movement. 

By day I hauled boulders and danced the sand into the clay with the Mud Girls, the kind of people I had never cross paths with in a Vancouver editorial department. By night I slept alone in a tent on a mossy outcrop. 

PictureDrainage is essential for natural clay-building on the Wet Coast. (Carlyn Yandle photo)
How was it? my friends asked after I returned. "Wild" was the only way I could describe this foreign experience. 

Ten years later, I’ve been aching to dig my hands back into that feeling of the possibility of building something out of nothing, with others, testing our physical strength and forging connections with others who have a line on a local source for our materials.

The project is a cob oven, on a Gulf Island. The goal is to bake a pizza by the end of the summer.

Phase 1 is complete: creating a solid foundation for the oven. This is essential for protecting the cob from the Wet Coast climate.

PictureTeach your children well: Hands-on learning that building materials are as close as under foot. (Carlyn Yandle photo)
The first two days were all about excavation. I hacked through thick salal root and hauled out bucket after bucket of compressed silt aggregate. The kids were eager to get into the act of shoveling the dirt onto the screen, then pouring water through the screen until just the rocks remained. I laid down some found French drain then back-filled with the gravel and stones until the site was pretty much level.

Next up: Building a dry-stack stone foundation – with a little help from my friends. Stay tuned.

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Embedded labour: A solid foundation for the next phase. (Carlyn Yandle photo)
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Who says sculpture has no business in business?

3/27/2015

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Picture"Unfixtures": Found lamp bases, utensils, gesso.
I liked the idea of messing with the overlooked and the banal to open up possible new understandings about preconceived notions.


There was something delicious about a collection of attractive objects -- flat white familiar forms at a personal/counter-top scale -- that is also just a little disturbing for its wrongness. Those little electrical cords suggest hazard. They seem to say, Whatever you do, don't plug us in, so in a sense they have some visual power.

I was thinking about Martha Rosler's groundbreaking feminist video, "Semiotics of the Kitchen" (1975 - edited version below) when I came up with my "Unfixtures" sculpture series.
Ah, the power of uncertain objects. What was an experiment in found-object sculpture is an eye-catching visual for a company in the business of creative work.


PictureEggbeater Creative's new brochure (Clay Yandle photo)
"I love the plug part," my brother Clay said in a text the other day, after sending me pics of his company's latest brochures and business cards. "It makes it real... like you could fire it up and it would start doing whatever the hell it would do."

Unfixtures are a permanent fixture (when they're not showing in a gallery) at my brother's office. One of the pieces in particular seemed to be speaking to him as he was trying to come up with a name for a new web-design/branding partnership a while back.

"It was the perfect storm of me trying so hard to come up with a name and just staring at the sculpture led me to understand how this business was the mix of two companies," he wrote. eggbeater creative was born.

"It was whimsical and interesting, and then there was the obvious part of the eggbeaters working as light bulb (idea) metaphors. The sculpture had traditionally conflicted parts, but they were together in a way that worked." 

The company logo (seen at the bottom left of the brochure in this image) riffs on the sculpture and the lower-case 'e'.

Below: A time-lapsed view of a painting commissioned for Eggbeater Creative:

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Exhibit of a great mistake was just the push I needed

2/27/2015

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PictureVancouver-based creative force Omer Arbel and Monte Clark teamed up to embrace the power of happy accidents (Carlyn Yandle photo)
Last week Monte Clark gave four of us some insight into how an experiment by Omer Arbel went awry and ended up as a dazzling installation in his newish Monte Clark Gallery. 

The heavy, glittering swags appear as silver-dipped coral or precious Crown hardware retrieved after a palace inferno. The hardened bits of chaos are a dazzling example of why failure is vital in the push for new ideas and materials.

"Failure is a constant companion," says  Vancouver-based creative force Arbel, in Vancouver Magazine.

It was the perfect preface for my '3 artworks a day for five days' challenge that bounced over to me on Facebook. 

Risk is essential in my work but I don't have Arbel's creative empire to absorb expensive failures, so I turned to stuff lying around the house (a.k.a. Found Domestic Materials) in my thrice-daily experiments. The way I see it, the materials used below were already deemed waste, so if the tests didn't work out, so what? At least no new materials were harmed in the making.

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Paint chips as log cabin quilt block (Carlyn Yandle photo)

Day 2:

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"Toybits": cluster of plastic toy fragments. (Carlyn Yandle photo)
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Reorganizing broken toys with kids II (Carlyn Yandle photo)

Day 3:

Day 1:

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Re-organizing broken toy bits with kids (Carlyn Yandle photo)
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Playing with typography, New York Times Style Magazine (Carlyn Yandle photo)
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Reworking one coffee bag (Carlyn Yandle photo)
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Collages of mid-century women's magazines (Carlyn Yandle photo)
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Collages of mid-century women's magazines (Carlyn Yandle photo)

Day 4:

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Collages of mid-century women's magazines (Carlyn Yandle photo)
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Grid collage from New York Times Style magazine (Carlyn Yandle photo)
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Grid collage from New York Times Style magazine (Carlyn Yandle photo)
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Exhausted from doing grid collage using NYT magazine (Carlyn Yandle photo)

Day 5:

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Broken toy amalgam inspired by morning newspaper (Carlyn Yandle photo)
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Idea for a feature wall or screen, using inserts from wine bottle wood crates (Carlyn Yandle photo)
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'Girl with Hole in her Head' possible title of random wire-as-drawing play (Carlyn Yandle photo)
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3 artworks a day for 5 days -- and an extra challenge

2/20/2015

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Vancouver artist Connie Sabo threw the current Facebook challenge (three artworks a day for five days) to me this week. I'm taking on the challenge for the chance to create three art experimentations per day, as opposed to sharing three artworks on each of those five days. Because there's nothing like a daily deadline of three new works to eliminate my usual obsessiveness and overworking, while pushing in new directions. I call it Fun with Failure.

And just to ensure there will be no preciousness in the program I added another element to my personal challenge: none of the materials used may be new.  I'm using stuff that's already had a first use.

Here then is Day 1 of my Nothing New 3 Artworks in 5 days mission. The rest will be posted on Facebook for the next four days, culminating in a look at the outcomes of the challenge next Friday in this space.
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Coffee bag collage, 1 coffee bag, gluestick, paper, 12" x 12" (Carlyn Yandle photo)
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Typography cluster, discarded magazines, gluestick on paper, 12" x 12" (Carlyn Yandle photo)
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Paint-chip block, paint chips, gluestick on paper, 12" x 12" (Carlyn Yandle photo)
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Winter storms lead to brainstorms

1/2/2015

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A Christmas Day king tide served up some thick snarls of bull kelp and I seized on an idea.
PictureKelp Skein, in progress. (Carlyn Yandle photo)
Actually, I had no particular idea in mind; only quite a bit of wonder at the quantity of the stuff. After dragging great hunks of it back to the deck, I started to play. I organized the stuff into visual categories, and soon I was winding the tendrils into a skein, and slicing the bulbs into vessels. Some experiments were left in the elements and others brought indoors to desiccate (and hopefully not moulder and go rank).
Will my 20-pound giant ball shrivel up and break apart? Will the vessels turn into leathery cups? Time will tell and failure will be a teacher. 

In the meantime, I turn to the research portion of this playing with materials which leads to playing with ideas.

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Material test #2: Drying bulbs on a windowsill (Carlyn Yandle photo)
PictureKelp bags helped preserve harvests of shorebirds.
No surprise this high-tensile, miraculously durable, bouncy stuff has had many practical uses since ancient times.

The first nations of New Zealand called it Rimurapa, and cut into the honey-comb-like walls of the blades to create bags — Poha — to preserve and cook their harvests of muttonbird, an oily shorebird. Or they cut slits in the bags, filled them with shellfish, starfish and abalone, then tossed them in the water to seed coastal areas. Or they attached two inflated pohas and used them as water-wings in strong currents. Or lined woven reed hulls to make super-buoyant Zodiac-type vessels. The first nations in these parts transported oolichan oil.

That's all before listing all the nutritional attributes, and there was plenty of play in that bull kelp too. The high concentration of alginate makes the material a natural rubber ball.

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A high concentration of the chemical alginate creates elasticity — perfect for a ball.
PictureCalifornia maker Geri Swanson's kelp rattles are part of her nature-crafty product line.
If you image-search "use for kelp" you're hit with a barrage of ideas for thick rings of pickle recipes and a lot of crafty ways with kelp.

Among the fascinating findings are the Seattle area sound performance artist Suzie Kozawa, who makes wind instruments from bull kelp; and Everett, Washington fiber artist Jan Hopkins who combines bull kelp with sturgeon skin and other materials in her conceptual vessels.

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When a craft belies its materials the inherent beauty of that material is lost.
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Whistler, BC maker Cheryl Massey celebrates the reducing diameter of the entire length of one bull kelp stem.
But the beauty of the google-search is finding what you're not looking for, the unintended learning. That happened when I came across American artist/designer/maker Scott Constable and his manifesto-in-the-making of  ‘exuberant frugality’ (fine video in that link) that defines what he calls Deep Craft, based on the principles of deep ecology. Like Constable, I am intrigued by the inherent qualities of bull kelp and am still playing with how to make the most of those characteristics. He is thinking about bronze-casting the bulb and thick stem portions as furniture legs. I will stick to the meditative motions that will grow the kelp skein while keeping me thinking.

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Inspiration from those who make it, through Crassmas

12/12/2014

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It's not too late to say, Nay! I will not be coerced into this coming two-week commercial frenzy. I will steer my little ship into calmer waters! 

Instead of joining the throngs of harried consumers grabbing up plastic chocolate-pooping reindeer and ironic acrylic Christmas sweaters it's possible to turn all this Excessmas into Makemas — not to make gifts necessarily but just to make for the sake of it.
PictureEriksson's home-baked sculpture earns her a TV interview on God Morgen Norge.
Seasonal materials — gingerbread, sugar, snow and ice, fir boughs, candy, lights — get makers going. What starts with a simple plan to make, say, a gingerbread house, can develop into astonishing works.

Norwegian maker Caroline Eriksson took it to new heights last year when she devoted a week and a half of full-time making to compose this Optimus Prime (which really should have been called Insulin Prime). There are 700-800 pieces in this Pepperkokemann — which sounds really funny when you say it out loud. (via gizmodo) It's nerdy but there's something in all that cookie dough that evokes a delicious back story about a sweet gingerbread house that breaks out to lead the Autobot rebellion.

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Jacking up this surrealist season is Toronto fashion shock-rockers Dean and Dan Caten(acci) of DSquared2, who created these spike-heel ice skates a couple of seasons back.

I remain captivated by this very-Canadian wearable sculpture that the makers had the nerve to put into a product line, further blurring the line between surrealism and consumption. The power it has to create so much scorn says something about a culture immersed in acquisition over contemplation of an object. Adding to the cultural weight of this object is in the potential for performance art by the user.

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Austen, Texas artist Emily Blincoe packs a weighty punch into the empty calories of her Color Coded: Sugar Series.

A surprising recategorization of common objects or materials invites a re-think about those objects. A glut of candy organized by colour draws the viewer's attention into issues like marketing, excess, presentation. consumption and value. This fetishistic display of tooth-rotting, diabetic-seizure-inducing "food" endures as long as the no-expiration dates.

But when it's all too much (as Glaswegian Granny used to declare, on surveying the freshly unwrapped loot), we makers head for the woods. Or the beach — anywhere you won't hear the Chipmunks or Michael Buble or Mariah Carey droning seasonal mall music.

PictureA snowball installation speaks the language of textile art. (from cecageorgieva.blogspot.ca)
Making is also meditative.

Textile artist Ceca Georgieva, of Sophia, Bulgaria, works in the natural world, creating time-intensive land art pieces. This snowball installation exudes quietude and fragility, created through a repetitive process that evokes the kind of attention and meditation involved in textile art.


The impermanence of the piece, the precarious balance makes it an intriguing moment in time. Soon it will all blow over and we can start anew.


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Packing it all in for the Toronto design fest

12/5/2014

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It's getting close to a decade since I packed it all in: my needles and wool, my sewing machine and fabrics, my mid-level-management career. There was more to explore.

I've been mixing it up with a wide range of materials (and makers) ever since but even I'm surprised to find that my latest tools of choice for bushwacking new routes of making are the ol' crochet hooks, knitting needles, rug hooks and embroidery needles.

The line on the paper has always been too limiting to me; I need to pick up that line, play with it in my hands, turn it into area, then volume. I remain entranced by the possibilities of connecting something created by a silkworm or an industrial manufacturing plant to a mathematical model or a wearable with uncomfortable connotations.

The beauty of fiber is in its physical and metaphorical ability to connect the Art side to the Design side (not to mention the science side), weaving the two together until it's clear that playing with ideas cannot be put into separate boxes.
Picture'Spore' (2011) serves as promo visual for the Vancouver design group.
Except if we're talking shipping boxes, for the Toronto Design Offsite (TO DO) Festival next month.

A few object-experiments from my ongoing Fuzzy Logic series will be packed in there, as part of the Vancouver group of makers, selected by the Dear Human creative studio.

It's all part of the ‘Outside the Box’ exhibits featuring works from three selected Canadian cities — Montreal, Calgary and Vancouver — and five from the U.S.: New York, Detroit, Chicago, Los Angeles and Seattle.

It's a fine way to mine local design ideas and visions through an unexpected selection of objects that are shared in various locations via specific-sized shipping boxes.

The Vancouver contribution includes nine individuals and teams who live, design and make in the greater Vancouver area. The connecting thread is a pursuit of a design practice through material exploration, according to Dear Human. "Whether through common applications of unusual materials or transcending common materials through unusual applications, exploration is evident in each of the included objects." 

Rounding out the Vancouver Outside the Box contingent are: Cathy Terepocki, Dahlhaus, Dina Gonzalez Mascaro, Hinterland Designs, Laura McKibbon, Rachael Ashe, and Studio Bup.

PicturePlaying with fiber optics (Photo by Carlyn Yandle)
Vancouver Outside the Box will take over the windows at 1082 Queen Street West, Toronto, from January 19-25, 2015.

TO DO is an annual city-wide not-for-profit week-long festival that celebrates and showcases the nation's design scene, providing exposure and cross-pollination of ideas and techniques. There are too many exhibits, installations, talks, parties and films to list here, so check out the full (and growing) schedule here as well as the fun promo video.

PictureDetail of Fiber Optics (Photo by Carlyn Yandle)




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Down on your drawing? break out at Vancouver Draw Down

6/13/2014

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Remember when you were a kid you knew you could give a drawing as a present to any adult and that adult would love it, even though you would definitely not like a drawing-present yourself?

It's one of those things that separates the kids from the adults. You know you're a fully formed adult when you understand that the piece of paper a kid hands up to you is not a cheap excuse for a real gift but carries the priceless traces of free-spirited play. 

Consider this drawing of some figures in hats and gloves on a baseball diamond. The scribbles reveal that this five-year-old artist was fully engaged in the parameters of the game. But the happiness radiating from this drawing is not in the smiles on those figures' faces as in the engagement in the act of drawing. This is not a picture of felt pen marks on a piece of paper but a kid fully immersed in the idea, working out the positions, the scale, the action. He clearly started by filling the space with a diamond then plotting in his players, revising as he went, probably singing or making voices of the players as he drew.

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Now consider this unhappy drawing of, ironically, a McHappy Meal. This was a still-life school assignment, not a whim. I laboured over every drop of condensation on the takeout cup. The fries resemble lumber. Every layer in the cheeseburger and crack in the bun is accounted for. This drawing reveals the opposite of the free hand; it is the hand imprisoned by adult expectations of what constitutes a proper Drawing.  

Now sketching, I do that all the time, but that's just for figuring stuff out, just for me. Kind of like the baseball drawing.


Getting into or getting back into drawing for the fun of it is the whole point of the annual Vancouver Draw Down, culminating this Saturday all over town. This is not a competition, there are no grades; this is a chance to play with mark-making and be inspired by the creative ways drawing can happen. The fifth annual event takes its cue from the world's biggest drawing event, The Big Draw in the UK, part of the Campaign for Drawing, "a charity that raises the profile of drawing as a tool for thought, creativity, social, and cultural engagement," according to its website. (See YouTube video at bottom on why drawing matters.)

A few of the many ways to play Saturday, for all ages and experience, and with no registration required:

• Seabus Intervention (9 am - 5 pm): For the price of a ticket for the seabus, passengers are invited to use a Vancouver transit map to "create their own lines, routes and configurations."

• Costume Design Illustration (10 am - 2 pm): Head to the Arts Club Granville Island Stage rehearsal hall for a free four-hour session that explores illustration techniques, lead by pro costume designer Sheila White.

PictureA detail from Marian Penner Bancroft's newly installed Boulevard.
• Time/Line Artstarts (10 am - 4 pm): Downtown at Artstarts Gallery ("the first in Canada devoted exclusively to young people's art") it's all about time-based collaborative drawing experiments. 

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Boulevard Station, Yaletown-Roundhouse Station (noon - 4 pm): Trace the winter tree patterns of artist Marian Penner Bancroft's newly commissioned installation Boulevard and be a part of a collective drawing collage.

Download this file to print out a passport, get it stamped from at least two events, for chances at art-related prizes.


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