carlyn yandle
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Attraction, repulsion wrapped up in one sculpture project

6/5/2019

 
At first I thought all this must still be debris from the Japan tsunami. But that was eight years ago and the surf in my remote neck of the woods keeps throwing up snarls of monofilament netting, plastic shards, nylon rope, bits of fibreglass hulls, and styrofoam. So much styrofoam.

I’ve been collecting up the stuff, inspired by this Gulf island’s own Styrophobe who’s taken on what some would say is a Sisyphean task of removing even the tiny beads of polystyrene from the clefts of rock along the shoreline.

My gathering is a tiny, maybe even futile, gesture but I’m giving form to the invisible: the bits and pieces we overlook on the foreshore or in the forest that, when lashed, bound, and woven together demand attention. These small but critical masses of debris are inspired by the found-material sculptures of Judith Scott. As I lash, bind, and weave I think of how the kids in my life would like to be in on this: hunting for material, making form from their hands and imaginations.
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Inspired by the sculptures by Judith Scott, this mass is texturally rich with culturally-embedded petroleum-derived materials.
My gathering requires connecting with others to access materials. The Styrophobe, who’s also the guy in charge of the local dump, stands on the top of the garbage mountain, holding up uncertain objects for my consideration: How’s this? This stuff looks pretty good. Could you use this?

In 15 minutes I fill the back of the pickup truck with a curated collection of colourful plastic throwaways: pool noodles, watering cans, yards of orange fencing, jerrycans, twine, tape, cleaning-pad refill boxes, five-gallon buckets and lids. I fill up with purple things, red things, plastics in acid green, electric blue, hazard yellow, and caution orange — all the colours of the petrochemical rainbow.
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A fan of the local Styrophobe is overwhelmed by the throwaway plastic in this garbage mountain in the forest.
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A curated collection of non-biodegrable recycling rejects fills a pickup truck.
After a lot of material prep (cutting off snags and sharp bits, wiping and washing off surface debris), I haul it to the local school where the kids, teacher and I dive in and play with the unwanted stuff. We have plans and we don’t have a plan, which is the right place to be with material exploration. This is where we learn to work with each material and not against its inherent nature, a great reminder of the futility of forcing solutions. This is where we learn to follow our hands, to work on our own or collectively over days and not minutes, to consider colour, form, and techniques for putting it all together, to create something that resonates with this time and place out of nothing anybody wanted.

It’s an important start for the generation that will be forced to deal with this legacy of stuff long after the plastic-agers die off.
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Kids take to the colourful cast-offs during Day One of a sculpture workshop.
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A useless thing with many functions

4/10/2019

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The brilliant part about being an aging female is your growing self-acceptance. Maybe this is because you don't feel that ever-present gaze anymore so you’re not feeling as judged. Or maybe it’s because you’ve just had enough of all that and it’s tiresome and dammit you like to be cozy so screw them.
 
Part of my self-acceptance is stepping out of the ‘should-storm’  of art-making and doing what I love to do with my hands: hunting down materials that have already had their first use and playing up their inherent qualities through knotting, weaving, tying, stitching and binding. I want to work repetitively, easily, without technological assistance and without haste or waste. And in doing so I’m carving out space and time to calm down, reflect and to think deeper — more crucial as the distractions threaten to take over.
PictureNate Yandle photo
In this way the work is not just in the form or connotations but the well-being and challenge that is relatable to makers who may or may not self-identify as artists. Wrapped up in there are issues of endurance, innovation, history of labour, the learning of the skill, dedication (and frustration), the specific culture and history of the method, the muscle memory that extends back to childhood, and the relationships built through the gathering of the materials.
 
Through this making I make some hay over the established boundaries between the privileged art world and real life, between craft and sculpture, between tactile and political action.
 
Scaffolds is composed of found spun-polyester building wrap, tarp and nylon cord over an armature of waste construction materials including caution tape, PVC piping, rebar, conduit, baling wire, and junction boxes, all attached through simple knots.
 
Special thanks goes to the construction workers who delivered these materials from their many jobsites to my studio for my useless work with many functions.

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Nate Yandle photos
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Mad Max movie inspires big thinking on broken toy sculptures

9/19/2015

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Just for the record, my Toybits were created far, far before Mad Max: Fury Road hit the theatres — although the resemblance of those Metallica-esque assault vehicles to my small sculptures is uncanny. 

For some inexplicable reason (even to myself) I have been collecting the toy fragments that appear to follow in the wake of my Lego-loving nephews (and one pint-sized niece) for some years now. I sorted them by colour and last year started binding them together with found fiber-optic wiring of the same colour. The right size seems to be about 14 inches wide or high. Any more and the inner bits become obscured; any less and they seem unfinished.

I imagined these colour assemblages as live models for abstract painting — which would make those paintings not abstracts at all, but figurative works. That inherent contradiction adds to the confoundedness of these pieces that are actually put together like puzzles, with each piece added as they 'fit' onto the plastic mass.

After I inhaled the visually delicious Mad Max movie, I wondered how the Toybits series, six of which are now on display at Port Moody Arts Centre gallery until Sept. 28, would look at a fearsome scale. 

I made a playdate with Mr. Photoshop in some new virtual landscapes. Voila....
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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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One bit, two bits, green bits, black bits

3/13/2015

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PictureToybits (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.

PictureToybits (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.

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.
PictureToybits (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.

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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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A Season of snarls

7/11/2014

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PictureMacrame-ing cable wire. Carlyn Yandle photo
A big shout-out to the recycling staffer at my local Return-It depot who painstakingly went through a bin full of snarls of computer cables to select the ones with the most colourful clusters of wire for me.

I find it tough to march right into these kind of dirty, noisy man places but a girl's gotta do what she needs to do for her art. And I needed some cables to macrame for an upcoming show.

I'm in love with cable wire because it almost vibrates with the culture of our times and can be used in place of and in reference to traditional fibers. It's in overabundance (wireless home - hah!) and really pretty.

But to get it you've got to do some shucking. And this is how I came to spend many of these past fine days decapitating each, uh, connector-plug thing, skinning the plastic conduit with an X-acto knife, pulling away insulating woven aluminum or cellophane wraps and bundling the colourful clusters into skeins. (Below: before and after.)

PictureFlorence, Italy-based artist Kasey McMahon's life-sized 'Connected.'
I can't resist mixing traditional fiber arts with industrial materials as a starting point and letting the materials kind of take over, shaping concepts. Sure, you could make a few bracelets or wrap a few light fixtures with the stuff but the power of the mountains of those wires, cables, old plastic laptops and toxic dead rechargeable batteries resonates with issues of globalization, environmental hazard, over-work and over-connectedness. Yum!

No surprise that there is an emerging — no, burgeoning — genre of sculptural and installation work that uses tossed computer bits to evoke those themes.

Below left, Democratic Republic of Congo artist Maurice Mbikayi's "Anti-social Network I" is one in a series of works that attempts to grapple with his "digital demons." Below right,  it took Polish sculptor Marek Tomasik three years to install an enclosure composed of old computer parts in a 14th Century castle in Poland.

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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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Innovation can be a risky business

1/16/2014

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Coming up with new ideas is not without its hazards. The world-renowned Noma restaurant is a case in point. Chef-patron Rene Redzepi uses what grows in the area, innovating astounding food creations famously foraged from the local land and sea. Sometimes the magic works; sometimes it doesn't. He's even admitted to his own spontaneous bowel reactions to his experiments.
PictureMountains of Christmas lights headed for the grinder in Shijiao, China (Atlantic Magazine)
One outfit in the southern Chinese town of Shijiao has innovated a low-tech method for squeezing a livelihood out of the great bulk of broken Christmas lights. Making use of the empty shipping containers returning to the global export hub and North Americans' addiction to buying cheap throwaways, the strings are thrown into a grinder, then shovelled into a water bath that separates the heavier metal wire fragments from the plastic insulator bits. The metals are eventually separated into reusable copper and other metals, and the plastic is used in slipper soles. (Check out the fascinating video.)

Granted, there are problems, like the possibility of lead in the plastic that ends up cozying up to the soles of feet and the spewing pollution from copper processing.

That necessity to make a living is one mother of invention, a prime example of the hard birth of a global leader in innovation.

PictureBaled copper. Carlyn Yandle photo
Considering the glut of stuff and our continued rampant consumerism, it's becoming unconscionable to me to use materials that are not either post-market or readily re-usable. That's easy to face down in the making of sculptural objects. I find inspiration through foraging in my own environment, where culturally-weighty artifacts from spider-webby doilies to crushed copper play with concept. 

But I'm stymied when it comes to painting. I love the exploration but can't stand the materials. I rely on petroleum-based paints and resins, first-use softwood stretchers, brushes and canvasses. Acrylic paints allow me to do the layering I can't achieve in oils, creating that fine line between the handmade and digital.

PictureUntitled, 2013, Distract series, acrylic on canvas, 24" x 30" on panel.
I feel it all coming to a head: Am I willing to lay down the paintbrush to reduce my own carbon footprint? Not quite.

But I am taking a few baby steps. I've been experimenting with composing larger paintings out of my painting studies, to incorporate the patterns of both the painted surface and the piecing, not unlike a quilt made up of well-chosen materials that have outlived their original purpose.

 It may just be that necessity to reduce my consumption that pushes me into innovating in painting. Like other innovations, there will be failures and disasters. Somewhere in there is a new way to approach painting.

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Making merry makes the maker

12/20/2013

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The Crassmas season is one big distraction to me. But once I remind myself that a gift does not have to be a solution to someone's problem but a simple, seasonal gesture, I embrace the chance to make, and make it merry.

The place is a happy mess. Wool strands are stuck to my glue gun nozzle, my slippers are splattered with spraypaint. Black plugs of leather from my new punch tool are lodged in my laptop keyboard and tiny glass beads have rolled into every corner of the apartment.

There is some method in all this mad, frivolous playing and decorating, but I only see the playing with ideas after the fact.

Turns out my spontaneously created (ie. still in pajamas) 'copper pipe' wreath (sliced wrapping paper rolls and copper spraypaint) was a practical exercise in understanding patterns of circles within circles — the focus of a major project next year.


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Glass-bead snowflakes, a dark-weeknight distraction, was a lesson in math ( a five-inch-diameter object requires a five-foot strand of beaded wire) and an experiment in creating area and density from line.

Crocheting chunky-wool slipper booties had its own lesson in scale; in this case, what looks cute in a kiddie size looks hideous in an adult version. (Breathe easy, teenagers.) 

The gingerbread A-frame cabins involved more industrial design than I anticipated and more geometry than I normally like to endure but was essential for gaining the most area out of four cookie-sheet squares of dough. The possibility that math can be fun is matched by my new-found fascination of some basic chemistry that reveals the power of heat to turn granular sugar into glass, and the power of water as the only solution for pots cemented with rock-hard sugar syrup.

I can't rationalize the pounds of candy and icing sugar I bought for the four kids to decorate the gingerbread camp. That I would ever indulge in that sort of seasonal folly is a freakin' Christmas miracle.

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