carlyn yandle
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'Foundlings': Kids' works of terrible beauty

7/2/2019

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Clockwise from top left: "This Little Lump", Sylva and Shyla; "Garbage Catcher", Coco; "Little Worker", Kahlio, Basha and Ari.
Everyone is feeling that relentless creep of plastic that is threatening to consume us, the consumers. I felt myself drowning in the tsunami of stuff over this past year of grad studies at Emily Carr University. Art, as one instructor stated, is a wasteful business. 

Even as I retreated back to my green, pristine Gulf Island I was hit with it at the end of the long drive through forest to the local dump: a mountain of garbage. This, from a small off-grid community known for its environmental consciousness. 

My art practice is driven by a need to physically grapple with the unfathomable when words are not enough. In the strange way that an idea for an artwork takes hold, that sight of that mountain of petroleum-derived recycling-rejects led to my latest project: Foundlings.

For a while I’d been trying to land on a low-barrier, low-skill technique that could involve kids in the making of objects from found, non-recyclable and non-biodegradable materials. Then I landed on the work of late American sculptor Judith Scott, whose many exhibitions of her curious bound and woven fiber/found objects have led to discourse on “outsider” art, disability (she was profoundly deaf, non-verbal, and had severe Down’s Syndrome), intention, new sculpture forms and the privileged art world. 

Within a month of escaping the art institution I was driving a pickup-truckload of colourful non-recyclable, non-biodegradable bits from the home-grown garbage mountain to the island’s only elementary school.

Before we got to the making part I sat down with the students and shared some images of Scott’s work for inspiration. We talked about how this artist’s method of wrapping, binding and weaving fibre around objects adds curiosity to what is on the inside. We talked about how working with familiar objects and materials in unusual ways can lead to new ideas. And we talked about how an object can be terrible and beautiful at the same time, does not have to be a recognizable thing nor have utility.
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‘Curated’ materials gleaned from the island’s dump.
We worked over time on the pieces, some kids on their own and some in groups of two or three, adding even more fibre and found plastic detritus from their year-end trip to the local provincial marine park. On the final day of school I arrived to pick up the final pieces and was astounded at the creations. They were richly textured, humorous and foreboding, and proof of why I collaborate with children: they consistently demonstrate the importance of letting hands and imaginations fly.
They each titled their pieces in their own hand and I installed them for exhibit on forest plinths (moss-covered stumps from the last big clearcut) in time for the annual Arts Fest. With no chance they’ll degrade in the weather they remain there, pretty and pretty disturbing: our inescapable stuff.
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Kids assembling the armatures of their pieces in the first phase of the Foundlings project.
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Part of the Foundlings project, installed in a Gulf Island forest.
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Snow Pillow, by Mikiko
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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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Big painting shift at little house on the prairie

9/19/2016

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PictureDay 12 painting: Embroidered details in a scene of a newly "thrashed" hay field.
I've just returned from a month in the big country of southwest Saskatchewan: big skies, big farming operations, big empty days that were all too much at the start of my artist residency at the Wallace Stegner House.

Suddenly agoraphobic, I pulled down all the blinds and paced around that lovely century-old house, wondering what on earth possessed me to throw myself into this imposing patchwork landscape. I am not a landscape painter; that's my dad's bag.

Plus I came by plane and an eight-hour car ride, so even if I did want to paint, I didn't have my usual large stretched canvases and totes of paints. I did bring a few of my usual travel essentials: embroidery hoops, needles and floss — and an old bed sheet. I knew there was just a couple of stores in town, and none would be selling art supplies so I packed a tiny travel set of liquid acrylics, a few brushes and a pad of mixed-media cardstock.

My sketchy plan involved, well, sketching with my father, who has spent some of every summer in this tiny town of Eastend ever since he filled the Stegner House with his landscape paintings 15 years ago.

We were quite a pair: me, not at all comfortable with the whole plein-air tradition, and him, increasingly unfamiliar with his life's work of painting that involved biking into the country to sketch then returning to his basement to paint in the heat of the day. (Actually we were mostly a trio, his wife acting as facilitator for whatever this was, supplying us with water bottles, sunhats, sketch pads and willow charcoal, and generally getting us on the road.)

We circled around this vague idea of mine as we circled around this dead-quiet, struggling little town every morning. But the awkwardness turned to anguish back at my studio as I undertook the tedious pursuit of finding some interest — or even the point — in painting puffy clouds and dun-coloured hills.

A week later and out of sheer frustration at my lack of landscape-painting prowess, I resorted to dropping diluted paint on a taut scrap of bedsheet in an embroidery hoop just to watch it bleed. I threw the first painted scrap away and did another, with a little more intention, then threw that away too. Within a couple of hours I figured out the right water-to-paint ratio to create a slightly controlled bloom with each stroke. A lot of other distracted behaviour (baking apple crisps, walking by the river, venting via text to my artist friends) meant that each additional stroke was added to a dried layer and by the end of the afternoon, a landscape was emerging on a miniature stretched canvas. That one I didn't throw out. But it was still a little hazy. That's when I thought about using my stash of embroidery floss for final line work. 

I sat in the cool of the front screened porch that evening and embroidered some more information onto the painting. It was a clumsy first effort but soon I was enjoying the daily practice of biking in the morning with my father, painting something inspired by the ride in the afternoon, then embroidering some details in the evening, inviting others to join me for stitching sessions on the front porch.

I did this every day until I had 12 little paintings, each a progression from the last. I saw them as blocks for a future quilt, which led to a well-attended culminating exhibit, "Scenes from a Quilted Landscape."

But now I'm viewing them as something beyond a quilt and beyond the horizon. I'm calling them Points of Interest: something to build on and build with.


As with all creative pursuits, forcing solutions is futile. My original idea of coaxing my father back into his painting studio by getting him to share some of his process with me was a non-starter. These days he finds everyday joy in the moment, whether that is spotting a hawk while biking the backroads, playing a languid rendition of The Girl from Ipanema on piano in the hot afternoons, or watching the town's many cats on the prowl from the front porch of the Stegner House while his wife and I embroidered the summer evenings away.

I'm not sure if he knew it but he passed on to me the most valuable lesson for painting a scene: You have to actually see it.


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My first effort: a clunky rendition of the Wallace Stegner House
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Day 2: Black bridge behind the Stegner House, in black stitches
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Day 3: Fun with architectural detail and embroidered lettering
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Day 4: Sky and hills and embroidered sunflowers facing the morning sun
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Day 5: Our hangout: coffee shop and pottery studio, surrounded by gardens
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Day 6: The silty back roads, llike biking on velvet. (Wheel-seizing "gumbo" when wet)
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Day 7: Embroidery showing the flight path of a hostile hawk
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Day 8: Big skies and tiny grain elevator
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Day 9: Old Beaver Lumber building in the nearby almost-ghost town
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Day 10: The observatory, in some of the darkest skies in Canada
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Day 11: "The Town of Eastend" rock formation in the hills, in embroidery

Slide-showing the process:

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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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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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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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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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Learning to play, to learn

5/29/2014

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I would rather watch the little kids in my life play than watch the best TV. But it's tricky because they don't like to be observed and if they feel I'm too interested, they are on to me and it all comes to a halt. 

I have to refrain from the urge to referee, guide, demonstrate or facilitate. Because it's only when they're sure the adults are not interested that the seriously unstructured play comes on, with all its small power struggles and shared moments of joy. (See legendary Lynda Barry talk about play at the end of this post.)

I'm fascinated by the ability of kids to spontaneously engage in creative collaboration (a.k.a. 'play') with other kids they didn't know 10 minutes before. It's a lesson in the power of putting ourselves out there creatively, to let go of control and all expectations. 

PicturePlaying with toy bits after hours at the VAG. (Carlyn Yandle photo)
In the past week, I took my inner kid out to play with strangers in two distinct venues: the Vancouver Art Gallery, in preparation for the opening of Douglas Coupland's major solo show, and at the first Arts & Crafts Social at a small Mount Pleasant neighbourhood gallery.

After-hours at the Vancouver Art Gallery, we were all quickly introduced before we were invited to attack and stack Coupland's priceless/useless toy bits to assemble his imposing 'Brick Wall' at the entrance of the exhibit, under the artist's direction. We were just playing but in retrospect we were problem-solving issues of density, colour, weight, communication, and give-and-take. We were just talking but on reflection we were wrangling with issues of value, object-images, collections, consumption, globalization and categorization.

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A few days later, I hauled out one of my portable projects and headed to the inaugural Arts & Crafts Social (#HAWCsocial) at Hot Art Wet City Gallery hosted by Rachael Ashe and Kim Werker. 

The beauty of a drop-in, BYOP (project) event is that if you're feeling a little shy, at least you have your work to focus until you're comfortable enough to mingle. The tables soon filled up with conversation-starters beyond the beer and wine: stabby felt needles, crochet and rug hooks, Thai take-out, Sharpies on canvas, a digital drawing pad and an old manual typewriter. 

You play, you learn — about other methods, applications, directions. And you get to hang with people not typical of your usual social circle. To me it was worth the admission-by-donation just to get a glimpse of the unrestrained mind of Billy Patko (below, left). Which got me thinking: what would Patko's prolific doodles look like in a large-scale format? (See  Photoshop'd sketch, below.) 

Just playing.

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Coupland's show, Everywhere is Anywhere is Anything is Everything runs May 31 to Sept.1. The next Arts & Crafts Social at Hot Art Wet City is June 25, 7:30 - 11pm.
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How not to crash at the big art shows

5/9/2014

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The mammoth art museum experience is like an all-inclusive resort for the mind: there's so much coming at you the brain binges 'til it can't party anymore. 

Unless you're an art history major, what's hanging on those soaring walls and placed on those marble floors at the big art palaces like the Louvre, the Rijksmuseum and The Met is filled with cranial-clanging mystery, intrigue, obscurity, beauty and repulsion that can crash the whole neural system in something approaching Stendhal Syndrome. There's only so much visual field one garden-variety brain can take in. You need to pace yourself, preferably over several days. 
PictureAlison Woodward's emblematic, multi-layered drawings suggest carcasses.
Same goes for big education-institution shows so this is the how I tackle the annual Emily Carr University Grad Show, now open daily until May 18 on Vancouver's Granville Island.

With hundreds of final works in media arts, sculpture, industrial design, ceramics, illustration and visual arts packed into two buildings I take the cavernous rooms of randomness in small bursts over a few days, usually with one friend at a time — a sort of playdate. But the only thing organized about this date is the area of creative work we're going to linger in. It's the difference between sports on a school field and free play in the forest. 

The real play is in the conversation that is sparked just by being in the milieu of this cacophonous visual field. It might start off as first impressions of an individual piece but often ends up in a whole different kind of thinking, and that's where the exhilaration lies. It's all just as important in the creative process as working in the studio.

The beauty of online column-writing is infinite space, so, in the spirit of the gargantuan art museum and its daunting theme-free collections, as well as the need to let the brain out to play, I present here a few of my own pics of emerging visual artists at this year's Emily Carr grad show whose works contest the two-dimensional tradition.

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A detail from Jessica Probyn's large gestural painting reveals a threaded leaf-shaped garland.
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The ethereal effect of Colette Stubbings' large 'Channeling Dreams' is enhanced by a ground of creased, ripped and crumpled paper.
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Rose Fior's 'Ominous I' is an off-square panel that includes areas of gouging, thin washed and dimensional globs of paint.
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The visceral subject of Sarah Erica Berman Goble's work moves from two grounds of paper to the wall itself.
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A detail of Scott Lewis' inked, ripped paper on canvas evokes both disputed public spaces and stark landscapes.
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Maya Gulin explores the pattern effects of acrylic in this detail of her deftly layered mixed media painting.
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