carlyn yandle
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Bees and bubble tea straws inspire new work

2/28/2014

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My mind has been buzzing with thoughts of legendary environmentalist-artist Joseph Beuys as I've been hatching an idea for a public artwork that is not so much intrusive as inclusive, especially if you're a native mason bee.

It is the convergence of my love of patterns of circles within circles and my growing understanding of the immense value of the Blue Orchard (aka Osmia) Mason Bee. This non-stinging little guy gets up early in the season, collects nectar and spreads pollen at the same time, and is a workhouse in the pollination business compared to the introduced honey bee.

Like most of us, Blue Mason Bees live on their own but are gregarious except their preferred condo complexes are holes in wood. It turns out they also live quite nicely in paper straws that are closed at the back end. 

Artists/gardeners/environmentalists/industrial designers have been innovating ways to boost the population of mason bees in response to colony collapse of the honey bee. 

Condo complexes set up in the Jardin du Luxembourg in Paris (above) and in the Paris Botanical Garden provide real inspiration, as do the smaller mobile homes, like the one below in Copenhagen.


PictureCarlyn Yandle photo
I've been experimenting with making the straws (see video at bottom) with an emphasis on design, found materials (paper bags and coffee cans). Now for a little colour.

My theory is that bubble tea straws could provide just the right waterproof structure for accommodating all those straws the females pack with cocoons. The straws would be easily removed  and the cocoons harvested, cleaned and stored in the fridge for the winter, ready to be set out next spring. 

I have no idea whether this will work, but the creative process is one of problem-finding and problem-solving.


PictureCarlyn Yandle photo
The plan uses the colourful clusters of the translucent angled straws because they provide built-in overhangs for each condo while allowing for the necessary south light to hit each doorway. 

The clusters-within-cluster design of fiber-optic cables (see below) sets the pattern course in a design that moves from pinky-finger width to something on a grand scale that can be seen from a block away by humans.

It's one of those situations where it will take some doing to get to some knowing.



PictureCross-section of a fiber-optic cable
  

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Duct-taping a torso just the ticket

2/21/2014

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Everything I need to know I learn on blogs, at least when it comes to making stuff. 

Most recently, I needed to display a knitted artwork for an upcoming show this weekend but I did not want a big ol' plastic men's torso crowding up my studio so I googled 'how to make a mannequin.'

Up popped yet another fresh and earnest blog, posted by another fresh and earnest maker. And naturally not only has she posted sequential how-to photos but does the right thing by citing the blog that originally inspired her, which happened to be the Burda patterns website in German and which she re-capped so readers aren't lost in translation. Nobody gets anything out of this deal but a little personal maker pride and a good feeling that they're sharing the love with everyone else who loves doing stuff with our hands.

I appreciate the loosey-goosey instructions that are mostly communicated in pictures, requiring innovating as I go.

And so I did learn how to make a mannequin, and it was good. 

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In fact, it was a damn fun Saturday afternoon activity, and it worked out just fine.
Step 1: Find a victim of the size you need.
Step 2: Put him/her in an unwanted T-shirt (it will be sacrificed for the cause).
Step 3: Wrap some plastic wrap around the neck and at the bottom edge of the torso.
Step 4: Completely wrap the torso in duct tape. One of you will get dizzy from turning.
Step 5: Cut the T-shirt/tape shell off up the back.
Step 6: Remove from victim and tape the back edges together, then tape across the  neck and the armholes.
Step 7: Stuff it with cushion foam chips.
Step 8: Stick the torso on some sort of stand (floor lamp base, dowel in chunk of wood, what-have-you. (I weighted a metal stand I had lying around with a 10kg barbell plate.)
Step 9: (I added this one) Sew up a fitted black microfiber casing.
Step 10: Staple the bottom together and dress (you and the mannequin).

The best part is that once the show's over, I can de-stuff the torso, lose the base and fold away the mannequin shell for future exhibits.

Just doing my tiny part in the hive full of maker bees.

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Some powerful signs at Sochi

2/14/2014

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PictureAlex Livesey/Getty Images
The signs, they are a-changing.

But to see them you have to look past the visual bombardment of dead-eyed-Kardashian-object images, pop-up balloon-boob ads, and the opening scenes of violence against women on CSI: Whatever.

The signs are there, at the current Olympics, on the helmet of  Calgary skeleton racer Sarah Reid, the fashion-baggy gear of female snowboarders, the bulk of the women's ice hockey team jerseys.

They read: Fierce, driven, focused, fearless.

For me, the Sochi Olympics has been a perfect study in semiotics (the study of signs). They're captivating in their  complete contradiction to the prevailing mass-media image of young women, and they point to an emerging, alternative 'system of signification,' as the academics might call it. Calgary-based Sarah Reid, 26, shows it in the haunting helmet she conceived with artist and goalie Jason Bartziokas (Alberta College of Art and Design grad '04).

PictureTeam Canada playing Finland at Sochi (Canadian Press photo)
The ice hockey team displays it in their uniforms and their team effort — so rarely seen in the culture of young adult women.

It took some hard lobbying on their part to get here on the ice or in the half-pipe, and it took a lawsuit win to  get them the chance to fly through the ski-jumping competitions. (International Olympics Committee members have a history of excluding women, notably because the sport may injure their reproductive organs.)

PictureGermany's Natalie Geisenberger steels herself in luge training at Sochi. (Reuters/Arnd Wiegmann)



PictureUS snowboarder Karly Shorr, risking her reproductive organs in the slopestyle qualifiers. (Reuters)
  

Although they're still banned from competing in a few Nordic Combined events, the women are alternative models to the Victoria's Secret variety for young girls. But we're not there yet. Not when there are only 24 women in the 110-member International Olympic Committee. (More neat stats here.) 

I keep these visual signs at hand, to show whenever one of the young girls in my life is confronted with another misogynist music video. See here? See how they run, ski, jump, spiral, play well together, delight in their own abilities?
Visual signs as new modes of thinking.
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Something potent in unapproved public art

2/7/2014

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It's official: the Dude Chilling Park sign, a guerrilla-art installation by recent Emily Carr industrial design grad Viktor Briestensky, has been reinstated, with full approval by the city's parks board.

Something was gained, but something was  lost in there too.
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It's not about the loss of the official park name. All you local monarchists can breathe a sigh of relief; there's no report of any move to officially rename the park itself (named in 1972 after the bordering street which was named after Queen  VIctoria's German rellies.)

It's encouraging that the City listened to the community on this, especially recognizing that Dude Chilling Park is a better locator for all of us who use this rare bit of green space in Mount Pleasant. That would mostly be the dog people who have been referring to this meeting spot by some version of that name since the public art piece of the tubular reclining dude by Denman Island artist Michael Dennis was installed there back in 1991 when the area was still pretty sketchy.

So, yeah, it's kind of fun to have that sign back — it even made a line for the Jimmy Kimmel show — but it's lost its original spontaneous, anti-authoriarian potency.

PictureKatherine Nielsen and Jennifer Skillen play with the numbers (Carlyn Yandle photo)
The wonder remains for the presumably guerrilla-art installation of the third zero to the monolithic '100' statue at the south foot of the Granville Island bridge that suddenly appeared then disappeared in 2008.

The clever appropriation of the existing untitled structure, its meaning and apparent materials speaks of the appropriation of this land. I loved that the extra zero had all the cold, inhumane appearance of the existing cast concrete but was knocked off in painted rigid foam. If art is about afflicting the comfortable, creating some community dialogue or shaking up public preconceptions, this was working.

I've searched for any information on what genius did it (and how it was installed) and the circumstances for its sudden disappearance. Was it completely unsanctioned, or part of a past public art biennale?

Both the Dude Chilling Park sign and the third zero are beautifully crafted urban landscape interventions but it's the one that was mysteriously removed that keeps me thinking about our social history. 




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