Category: Aesthetics

Wild, brilliant colour is rocking my concrete-grey foundations

11/17/2017

A wall of a Peruvian restaurant in Merida, Mexico is devoted to customers' reviews written on ribbons. Carlyn Yandle photo

Modern science calls it bunk but I am fully on board with chromotherapy, an alternative medicine branded by the labcoats as a pseudo-science. The preferred term is photobiology now, an acknowledged science that includes the indisputable benefits of light therapy. I prefer the more mystical "chromotherapy" because it's less about rational explanations and more about feeling. And, for the synaesthesiasts (more specifically, those of us who experience chromesthesia), the beautiful music.

Consider these accompanying images from southern Mexico. Bask in the warmth of these visual fields of wild, intense, unrestrained, unleashed colour jumping out of our monochromatic devices.

A sewing notions store display of zippers in Merida, Mexico. Carlyn Yandle photo

Still in my first couple of weeks here in the Yucatan, I am bobbing around the crowded city streets, slack-jawed at what just may be the direct opposite palette of a Vancouver B-Line bus on any given November rush hour. My outlook has shifted from a low-level, gunmetal-grey resignation to a hot-fuchsia/blood-orange exhilarating mixto, all from looking at the zipper selection in a notions shop (of which there are plenty and another reason for exhilaration), or a glimpse into a hot-pink and aquamarine courtyard restaurant.

But it's not all feel-good. I am seduced by vibrant art and I use it to seduce in my own making: first the beauty, then the crack in the beauty. It's working when I think, "This is pretty and pretty horrifying."

Bright, hand-stitched floral motifs on everyday clothing say more for the Mayans than "pretty." Carlyn Yandle photo

If colour didn't entice then Walt Disney could have saved himself the price of acres of paint and Disneyland would be just metal and asphalt. The superstore cereal aisles would look like a newspaper periodicals library. You get the monochromatic picture.

Colour is a social statement in the bright, face-framing embroidered embellishments around a huipil (blouse) worn by mainly older women, or the brilliant woven blanket hanging from a balcony of a colonial facade. There is some needling in all that needlework, but without the dazzling hues we might not clue into the significance.

All this visual heat here in the southern part of North America is creating my own little inner unrest, clashing with my northern hometown palette of bruisey skies infinitely mirrored through the city's colourless glass towers. My concrete-grey foundations are being rocked. And I like it.

A dazzling woven blanket appears to appropriate the space of colonialist architecture, in Merida, Mexico. Carlyn Yandle photo

Courtyard restaurants in Merida's downtown entice diners with fiesta-hued interiors. Carlyn Yandle photo

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One bit, two bits, green bits, black bits

3/13/2015

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Toy-bits (green) - made from broken toys (Carlyn Yandle photo)

This may be the third or fourth column/post I've written that could come under the headline, 'Overthinking will be the death of me.' There is definitely a book in there somewhere about the power of overthinking to sabotage the creative process.

My latest overthinking sabotage occurred as I was experimenting with binding up broken toy bits (consciously not overthinking why).

I was taking care of my sister's kids while idly binding one green toy remnant to another. At some point, the curious object appeared to be done. And it was good.

It's an intriguing object but when photographed is also a visually absorbing abstract. It has richness in its ability to conflate the second and third dimensions. It is heavy with cultural reference yet lightly humorous.

I was onto something.

Toy-bits (black): first attempt (Carlyn Yandle photo)

So, like every creative I know, the ol' mental processor starting whirring away in the background, rolling over this concept. Friends and I talk about this slightly obsessive stage when developing a new work. You're still functional in your daily routine but that whirring puts you in a slightly distracted state. It's sort of like falling in love; there's always something there to remind you of that growing passion. And when I fall in love with an idea, I fall hard. I'm consumed by the topic like the Paul Rudd character in The 40-Year-Old Virgin who can't stop talking about Amy or The Big Lebowski's John Goodman character who links any conversation to his days in 'Nam.

I've been seeing toy-bits inspiration everywhere, including in a car column in the morning newspaper. The picture of an engine reminded me of the toy-bits clusters and suddenly I was shoving aside breakfast dishes and breakfasting people and dumping my hoard of broken toys onto the table.

I will make that engine-y thing, I said. And therein lies the fatal flaw.

You can see it in the above photo; it's a mess. Even as I was binding it I thought, This is not working, this is not working. Why is this not working? It has no balance, no composition. it is artless. And it was a chore from the get-go.

Toy-bits (black) - final version (Carlyn Yandle photo)

After a couple of hours I quit because it clearly would have no logical endpoint. But if there's one thing I've learned about the creative process it's to let the failures hang around and stink up the joint for a while. In my experience, the only way to get to the source of the stench is to keep it in the periphery. And a couple of days later it came to me: I was so hell-bent on the outcome I had completely negated the making, which, when referring back to the green toy-bits cluster, was the essence of the thing: play.

I took it all apart, then started over, finding the fit between one bit to another bit, then adding one bit where it fit. (Maybe the book should be in Dr. Seuss language).

It had a beginning and an end, and the entire process was an adventure without a map. The result is a sculptural object with implied power that appears as part engine, part vehicle, part robot. It has composition, balance, architecture, intriguing sight lines and varying perspectives. It has something to tell me: Your instincts are good, keep going.

From the junk of life emerges new life.

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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.

Kelp 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.

Material test #2: Drying bulbs on a windowsill (Carlyn Yandle photo)

Kelp 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.

A high concentration of the chemical alginate creates elasticity — perfect for a ball.

California 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.

When a craft belies its materials the inherent beauty of that material is lost.

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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Art student's off-grid heater would make quite the gift

12/19/2014

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Dear Santa,

I know I haven't written since I was a kid, and when it comes to wants, I'm pretty much good. Unlike a lot of my neighbours who rent homes that are slated for demolition in the coming year or who have to hit the food bank at the end of every month when the money runs out, I'm safe and secure — for now.

You see, I'm a bit of a prepper. I worry about the security of all our food and the hikes in cost of living in the era of climate change so I've been doing workarounds for a lot of that. I have a kitchen garden and my main way of getting around is by bike. My work- and social life surrounds making, mostly with materials that have already served their primary purpose. If the power grid or the banks fail, I can at least charge up my bike lights and headlamps with my Biolite camp stove, using bits of cardboard and twigs so I can get out there and be of some use. My one weak spot, though, is heat. Condos with wood-burning fireplaces being a rarity in these parts, I would have no choice but to go outdoors and hang by the bonfires in the streets.

But now I see there is the Egloo, a table-top terracotta dome-thing that can throw off 70C degrees of radiant heat using just a few votive candles. Pant! Pant!

It's the brainchild of Marco Zagaria, a student at the Academy of Fine Arts in Rome. Trouble is, it's not quite available yet. Zagaria has been hand-making the prototypes on a potter's wheel (promo video below) and is currently crowd-sourcing funding — already surpassing his goal by 15 per cent at the time of this writing — to have them mass-produced. So here's where you come in, Santa. I don't know if I can wait, what with us all teetering on this edge of the Ring of Fire and seismologists referring to the imminent major earthquake as The Big One. I figure if you can squeeze your girth into a gas fireplace exhaust vent you can put an Egloo under my tree pronto.

However, as is my nature, I am prepped for the disaster of that not happening as well, so I've sourced some of Zagaria's own research and have latched onto a snippet of his virtual collaboration that he tagged as one of his YouTube 'favorites', a simple arrangement of one clay plot bolted inside another, resting on some thin cinderblocks. (See YouTube clip, at bottom.) It ain't pretty, but it will do the job in a pinch and uses stuff in my immediate vicinity.

Just goes to show, it takes a creative like that Italian art student to arrive at that balance between form and function that marks brilliant industrial design, which begets attraction which begets demand which begets profit motive which begets financial backing which begets wide-scale production which begets marketing to preppers like me.

What am I saying? — you're Santa. Surely you know all about the value of artists in economics and sustainability innovations.

Wishfully,
Carlyn

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Art that has tongues wagging is working

3/15/2013

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A few weeks back, one of the local dailies ran a staff photo of a grumpy-looking woman wearing a hand-drawn sign around her neck that read: “Mount Pleasant needs a pool not a poodle on a pole.”

God, I miss the newsroom sometimes. When that kind of photo lands on your desk (so to speak) you do a little happy dance. This is the money shot, the hook into a hot little story, the art that guarantees the front page of a community paper. And the alliteration in the scrawled sentiment doesn’t hurt either.

It's the kind of story that has the community buzzing, the phones ringing, the (e-)letters pouring in. It has, as they say, legs. It promises follow-up stories with new angles, fresh emotions. It fends off the greatest fear for an understaffed newsroom: crickets. (Watch how a CTV news story adds fuel to the fire.)

Successful public art does the same thing. Love it or hate it, it gets people talking, debating, engaging. As I write this the tweets for #MainStPoodle have neared 1,000 since the pooch made the papers. (My December post on the freshly erected poodle is here.)

It's all grist for the mill for those on the media sidelines but now that I'm out from behind the desk and in the rejection-rich realm of art-making, I wonder how the poodle-producer, Montreal artist Gisele Amantea, feels about people griping over the seven-foot-tall porcelain pooch’s $97K price tag. How does any public-art-maker, for that matter, not feel at least a little wounded by the slings and arrows launched against their own creative expression? An opinion piece in a newspaper is tomorrow's fish-wrap (it sounds archaic even as I write it) but public art endures. It could torment the critics for decades; the criticism could torment the artist for life.

New York City artist Dennis Oppenheim’s 1997 public artwork, Device to Root Out Evil installed in Coal Harbour was never intended to be permanent but plenty of Vancouverites squawked that the piece known as the 'upside-down church' was “sacrilegious” or worse: view-hampering. But does an artist of that international stature have all the steely resilience to chalk up the chatter to 'community engagement'?

(Above: photo by Papalars)

I wonder because I felt that pang of rejection as I was photo-documenting the installation of Crossover, the scramble-style four-way crosswalk in Steveston in 2011. My design was an attempt to weave together the history of the Japanese net-makers and the modern-day marine flavour of this corner of the Lower Mainland using a simple, enduring motif. I was not prepared for the few individuals who showed up while I was snapping photos, griping at anyone within earshot that this was a colosal waste of taxpayers' dollars, not to mention a safety hazard. (I'm not so resilient that I could resist following up on the hazard part and I'm relieved to learn it's a safety improvement.)

The other day an artist friend who had to return to the salaried workplace said she never realized how much rejection she had to deal with as a full-time working artist. I'm starting to see that this business ain't for sissies.

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The art of designing beyond the outdorky

3/8/2013

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I'm not a sports person. Elementary-school Sports Day was an annual hell. But the bike-decorating portion, now that was my kind of competition. Even today I get choked up when I catch a glimpse of that one artsy kid in a community event proudly parading a bicycle with crepe paper woven through the spokes, homemade fringes on the handlebars.

Cycling and creative work go together. It's the mode for many artists, either out of financial necessity or personal resolve to think outside the car. The bike has been referenced and re-worked in staggeringly imaginative ways, all over the world. But during my daily ride to the studio, when my morning brain gets into gear, or on my way back home, when my aching parts get some easy physical release and my lungs some fresh air, I often think about what would make biking a little less...outdorky. Especially in the sog. Or the dark. Which at this time of year has people screaming, Enough already with the soggy dark!

I'm not talking about the usual raingear and lights and reflectors — although there are some new innovations that are making it all a helluva lot easier, like Mountain Equipment Co-op's rechargeable, quick-release bike light — but gear that will actually attract people to embrace workday cycling. We've got the bike lanes and the sensible equipment; now we need to add a little form to all that function so we can jump off our bikes and into the workplace as seamlessly as if we were getting out of a bus or car. We need to get past the clacking bike shoes, mushroom helmets, and day-glo hazard vests. If it takes more time to look half-way presentable at a meeting over coffee than consuming that cup of coffee, it's a deal-breaker.

Bike shop in Altlandsberg, Germany. Photo from copenhagenize.com

Designers know there's a demand for taking an aesthetic approach to daily cycle-commuting, in both the bike and the clothing. 'Cycle chic' is going mainstream, thanks to folks like Mikael Colville-Andersen and his Cycle Chic Manifesto that includes the vow: "I embrace my responsibility to contribute visually to a more aesthetically pleasing urban landscape."

I'm not deluded enough to assume I'll ever look chic on a bike but I am still jonesing for a black flocked equestrian helmet. I'm also waiting for some designer to come up with waterproof knee-high riding boots — maybe neoprene? — that meet up with a black flared knee-length waterproof shell coat with embedded reflective motifs. Giant mums would be nice, on the back and sides that appear when hit with headlight beams and streetlights. Others might prefer a bio-hazard motif or the ubiquitous skull.

Photo from hovding.com

Not so crazy, when you compare these designy dreams to the Hovding, the prototype of an inflatable helmet that follows the same technology of an airbag and looks like a cowl scarf. Yes, it's a one-time use item, and yes, it's over $400, but in my lifetime of on-and-off cycle commuting, my helmet has never been put to the test (touch wood). And the Hovding includes 'black box' technology that can record evidence of crash. (See it in action, and the fashion-conscious Swedish designers, below:)

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Wild, brilliant colour is rocking my concrete-grey foundations

One bit, two bits, green bits, black bits

Winter storms lead to brainstorms

Art student's off-grid heater would make quite the gift

Art that has tongues wagging is working

The art of designing beyond the outdorky

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