The Underfoots are a collection of creatures from various places around the world. They are all manifestations of the overlooked, mossy intricate worlds underfoot.
meet the underFOOTs
community art
The Beaver Lodge (l.e.e.d. platinum 2009)
Furtle: the fiery fertile [bread oven] turtle (2008)
Since, the bread oven and cart were forcibly dismantled. one day an intern filled the oven full of wood, lit it, and subsequently in the inferno the base of the oven cracked, and continued to burn a hole through the night. It was not until the next day that someone noticed and put it out. By then the hole was so significant, and in an impossible to reach place below the cooking plate. Continue reading
As the World Turns : Rankin Inlet, Nunavut (2009)
SYMBOLS OF CHANGE;
A collaborative process where school children in Rankin Inlet are encouraged to ‘draw out’ their vision of what symbols can be used to illustrate change. these drawings were then brought into the studio and painted with hand made gauche with a mind to putting painted emphasis on only those details in the drawings that the children elaborated. these works were supplimented by a documentary film (with the questions and process guided by the kids participating) and exhibited in the local school, a small gallery near Stroud in the UK and at the University of Toronto.
exhibition of the film work and painted works in rankin inlet, nunavut, canada-2009
exhibit poster -2009
the exhibition in ruskin mill, gloucestershire, uk – 2009
each class came out in rotation to share and celebrate the kids work (with me)
WORKSHOP PROPOSAL FOR INTERESTED STUDENTS. Feb. 2009.
Background: I am an artist working in Toronto for a national charity called Evergreen, and have an exhibition organized in south-western England for mid-April of this year. I could easily sit down and paint a number of paintings on the subject which interests me, namely, the evolution of environmental/social change in Rankin Inlet. I thought it would be more interesting, and valuable, to host a series of workshops which teach through experiential education by engaging students in creating their own symbols of change. These symbols will then be drawn onto large paper, which I will then turn into a large series of paintings. The resulting work will travel with me to England where these symbols will exhibited. Half of the proceeds from the sale of this work, in England, will go to the school to buy art supplies, and this will be emphasized in the exhibition.
Workshop Content: speaking about symbols and their function in our everyday life, and allowing students time to brain-storm about the kinds of symbols they are surrounded by. This leads into the discussion of change, and writing out what kinds of change they are surrounded by. How do they think things have changed? Are changes good? Finally we begin the process of finding the symbol, the one most important detail, a detail which encapsulates all that is the story, the process of change. These is the symbols we find in groups of ten, and illustrate individually on paper and with materials that I provide. Guidance and some artistic guidelines will help to provoke creative work which will be effective, both in the sense of being a valuable learning experience through dialogue about change, but also will give some insight into the community and the lives of people who live here.
Overall Goals: I will leave Rankin Inlet, in two month’s time, with a body of work for this exhibition, as well as a short documentary film about the process. Through making this work as an artist-in-residence within the school, I will be able to provide means of creative expression for interested students which will then travel and give them a chance to have an international audience hear their unique voices. This project will both allow the students the chance to to tell their story to a large audience, and give the audience the opportunity to support the community whose work they are viewing, and contribute in a holistic way to the development of the arts in Rankin Inlet. This is the difference in intent between commercial and community art, and I strive to become a more successful community artist. Success in this sense is measured by the integration of the project within the community, and the mutual benefit found in the process.
Additional Ideas: There is a possibility, as an introduction to this workshop process to host a couple of events, short talks, film screenings, within the school. I could give a short talk on the nature of environmental change, and the usefulness of symbols to educate people about our environment. It would be valuable to also find a member of the community who could mirror this talk by speaking about the evolution of culture in Rankin Inlet. Finally, we could exhibit the work here for a short time, before it travelled to England in the end of March, giving the students who participated a chance to see how I have painted their drawings of change, while opening up the work to the public. This event could be a one night show sometime in mid-March, celebrating the achievement of the students.
Specifics: We would need thirty interested students (especially those interested specifically in the arts) to participate in two half day workshops in groups of ten. In four hours we would cover background, brainstorming, discussion of symbols and, for the last two hours, drawing our symbols of change. In between the groups would be assigned some light, creative, design based homework, before finishing in the second four hour session at a later date. Each student will have two large sheets of paper (approx. 20”-30”) provided by me on which to explore these symbols with pencil and charcoal. We will be using erasers extensively as a way of changing their symbols, and as a practical joke about making changes. These drawings will then be taken back to my studio and painted. There is an opportunity to facilitate up to three dedicated students to assist as apprentices in the project in helping with documentation, paintmaking (since they will be painted in home-made watercolor), and some of the painting process.
Kitkooli-1998-First Nation’s Outdoor Classroom-Double Iron Farm-Salmon Arm, BC
built 15 years ago with birch bark ties.
so many of these structures include this tunnel which traps cold air when covered on both ends by animal hide
though when we built another one in kelowna illegally on college grounds, the archeology department was called in
they were asked to asses whether the structure was traditional in origin, because they wanted to demolish it.
the professor i met with said that the procolonial design had only the entrance from the roof,
down a long notched pole, but then some white folks said it was improper for women to enter this way, with the skirts they were then forced to wear
and a women and children’s entrance was adapted.
i question the simplicity of this story, that the design of structures was imposed, especially as this cold air tunnel, as in an igloo, seems to have other practical value.
regardless the structure we built without permission at okanagan university college, on grounds that have now become new dorms, was slated to be destroyed, but they could not remove the poles with an excavator, because it would fall into the pit
so this skeleton of our structure remained, and i have scoured the grounds trying to find its footprint
as i also try and visit this first example of a kitkooli that i built with 8 first nations youth when i was 15 years old,
and see how time tells on this structure which i have seen reflected in structures and programs i have built in toronto
finding each tie of birch bark, which we soaked for a week tied down in a pond
are still in place and holding after a decade and a half
and represent, after the structures i built today in the urban landscape lasting for one or two years before being demolished, a culture which builds learning that lasts and honors the product of that learning.
huh, i just remembered that Glen passed on a film of russian teens hearing songs and stories with first nations youth at the interpretive center (i will edit and upload the film next month). The project has grown to include these kinds of healthy cross cultural sharing ceremonies, and it feels very much like a spiritual center, or pilgrimage site, for my work in toronto, running strong in an oddly normal small town in bc.
The Natural History Emporium of Mystery; story and depth of place (captured in a museum display)
who?
who?
who?
who?
silkscreen version used in the field by josh berger in the first green city adventure camp, at evergreen brick works
This project is about discovering the natural community of the Brick Works, orienting participants in public programs to the yields of the naturalized space, and creating a culture of storytelling around it. All of these specimens are artifacts that in the future could become fossils, but they are able to be the inspiration for stories today that are shared and used to facilitate a deeper connection to place. By physically connecting the map space and specimen display, there will be an open invitation to experience nature, history and storytelling from every individual experience (whether or not visitors are directly participating in formal Evergreen programs). The culture of the Brick Works will continue to grow and evolve as these stories, artifacts and places become interwoven in this artistic interactive display.
Installed in with funds from Evergreen’s Interpretive budget in 2011, the interpretive display was crafted by Charles Jevons (Swordcraft.ca) and the slate map sandblasted by Cobalt Fabrications. the Concept of a personal/public nature museum is well articulated in the book: coyote’s guide to connecting with nature. This project is a collaboration with Lee Earl, outdoor educator at Evergreen Brick Works.
Wind Birds: part of a true tail of wind turbines, hitch-hikers, and how they effect the local birds of central France.
These paintings were made both as emblems for the 30 day journey spanning the northern half of France and into Holland back in 2007, and as sweetener to the deal proposed to those who had hired us to stand in for avian experts and create an environmental impact study to interpret how wind turbines effect birds. This task we did diligently, not fully understanding the implications to the health of the bioregion, crafting a study littered with fully articulated impacts on birds as well as lofty goals for mitigating impact-peppered with a strong disclaimer-we are artists, not biologists (see excerpts here). I exchanged the ten paintings, plus the environmental impact report for transit back to montreal on a cargo ship, and funding for my friends project in India kick-starting traditional craft economies.
each bird portrait was made half from memory, half imagination, then the closest relative identified in the field guide to birds we were seeing in the farms and fields proposed for the wind turbine project. each work is titled for this bird, and the descriptions on the back are like the game, two truths and a lie, each one holding two true facts and one imagined one.
this method of painting from imagination and memory relies on spending weeks in the field observing birds behavior and identifying them in a field guide. this sourcing of imagery for painting relies on first hand knowledge to be able to then use the strongest memories and impressions from the physical experience of being close to actual birds to paint from. this is an important distinction to me since it relies on drawing people into connection with the natural world, going out to observe and eventually find empathy with the winged sentinels of the forest.
each work is ink and watercolor, 9″ x 11″ and stitched to cardboard, as these were the most efficient materials i have found to use while camping and hitch-hiking.
a story of birds and wind turbines in the massif central mountains of France.
the following photographs and text contain a true story which unfolded through the fields, mountains and motor-ways of france in 2007. there is nothing more to describe. i love to create new experiments in how imagery and commentary can stand in for conventional dry storytelling, therefore, the story may connect to the images, or it may not. see what you can imagine through the visuals and text. enjoy. in a sense the paintings above are the conclusion, as they marked the end of this adventure, and were left in the executive offices of the wind turbine company who hired us, the ceo saying as i departed; “my wife will love these….”
beginning with the rising of the sun, in a small wood holding the cold remnants of a food fire from the night before, tilly and i pack our bags.
we want to catch the Spanish transport truck driver who said he was leaving for Spain at 9 am. exiting the forest, across a mono-cultural field of unknown crops (an appropriate breakfast guess is that they are cereals) and crossing the motorway on a bridge which spans two roman roads.
the new concrete vein intersecting the old artery to the heart of Rome. in ten minutes and five degrees of warmth that the sun is giving to the awakening world, we arrive to a lack of greeting.
the packed truck parking lot from the night before is abandoned, those who have slept and drank their fill of a legally required eight hours, have moved on as the sun thought about moving up.
Tilly is disappointed. we canvas the station, her fluent French allowing more conversational requests for lifts south. this interaction cheers her. despite this, three hours pass.
am worried about losing sight of her when she is asking truck drivers for lifts while i am at the exit with my thumb out on one hand and a sign in the other. a fine line between paranoia and caution
we are settled past the stage of being frustrated at people not stopping, and silently resolve to remember there is nothing to do about it, and waiting becomes a breathing exercise, or playful ways of displaying the sign, or some skin to passing drivers. at the exact moment we forget that people stopping is a part of reality, a sedan pulls up with a trunk full of hay and horse hair.
Bert and Greg are now our vessels to flow from the forest into the Sheraton hotel at the Paris airport, to be refilled with a five course lunch.
we now, within the hour, work for a multinational company, and are a little dazzled. in the car, along the Paris vein, we are asked if we know anything about birds. and we ask fourteen questions.
we are like reporters soliciting information out of general curiosity, and are paid with much information about our escorts, and their role.
Greg is the president of INNOVENT, a company based in France that he started in 1993, before wind power was in fashion or even profitable in France.
his first turbine was erected to make his factory more energy efficient (and as an added benefit more ecologically sound, saving the world through saving money).
Greg’s first turbine tumbled to the parking lot, and the turbine blades which caused the problem are still sitting in the yard. he fixed it, and is now in the process of installing turbines all over France.
in response, we ask another question. why do you want to know if we know anything about birds?
he tells a story of a beautiful, carefree week in the French mountains looking through binoculars at avian intricacies.
being a sucker for a good story i believed it wholeheartedly, and began imagining the beauty, of a british columbian mountain, and long days of stillness and quiet in the forest, and the potential of snow and rain and needing to survive, of climbing trees for health and joy and to keep the direction in this remote alpine forest site.
tilly wasn’t responsive to his story, probably because she is more honest, and knows she doesn’t know anything about birds, except they can fly
i accept, and we take flight past the Sheraton, and into the massif central mountains.
over the Sheraton lunch we overhear, and oversee the signing of 20 million euro contracts, between the Finnish supplier and our two friends and patrons, Bert and Greg. Erkki , the fin, doesn’t disguise his excitement when his profit is signed on paper, and he immediately snatches the signed sheets as a child, but no one seems to notice.
Erkki gives gifts of vacuum sealed caribou from the Finnish wilder-land, and Greg asks Bert to get the innovent socks from the car urgently.
see a window, and jump through it to find that i would have been better off inside. i give a drawing to Erkki, hoping that it would act as a gift from Greg and Bert
the paper, on which i happened to draw wind turbine in the Scottish landscape, with connecting roads and sky as a seminal step in the HOW IS THE WEATHER project, transforms into a personal gift from me, making the lack of reciprocal gifts from Greg and Bert all the more clear.
sox are given and all is forgiven, but this moment brands itself somewhere in the back of my mind. PARDON ME, COFFEE BREAK. BRB blindly tilly and i are escorted by train to central France, a distinctly different mode of transport through the landscape, more impersonal even though your are in much closer proximity to so many people, maybe because of this.
while there were people willing to drive out of their way to take us to somewhere we needed to go when hitching, some folk wouldn’t give up the seats that our tickets had reserved for us, when asked politely. we were relegated to the play area, a mock 2D city where the children can drive around aimlessly, without any real ability to change anything, a feeling probably repeated in their teenage years.
this marks a beginning of the change in our thought patterns. we now are almost in Vichy, and have to decide what supplies we will need for the mountains, since innovent is sponsoring this bird-watching, and we have to decide what our stories are.
stories are fun to make up when you don’t have to. when we excitedly sat down on Greg’s leather seats, we were wandering Jewish artist who mumble, when we exited, we became biologists…wandering mumbling bumbling Jewish artistic biologists.
i changed my pants to prove it. we were now to play a game akin to so many others we had as rebel clowns, but without the face paint, and group of silly support to keep up in character.
we are introduced to Jean Claud Dupris, who has been waiting for two and a half hours at the train station, because he and his moustache did not get our message.
Jean Claud dupris and his moustache unceremoniously, but respectfully dump our stuff in his family van, and hustle us towards unknown destinations.
it is hard to explain to someone that we would rather be outside camping in the rain than inside a hotel, and harder if you are pretending that you are a biologist and not just a nature addicted tramp, or a pair of them.
in the leather seated horse carriage which brought us to Paris, Jean Claud was painted as a primitive man. someone who is rural. and also someone who can be somewhat stubborn, and if this is the case, we were instructed to say that we expect him to fulfil our needs to facilitate the project being completed, and if he has a problem with this, then call Greg. this, as is my general experience, confrontational position was fruitless, and made a somewhat stubborn moustache a downright donkey.
tilly was the one who had to spin the yarn, to weave out biologist’s lab coats out of our art education.this, as is my general experience, confrontational position was fruitless, and made a somewhat stubborn moustache a downright donkey.
standing in the lobby of the hotel that Jean Claud drops us in, we are asked publicly how many beds we require by the patron and her Dalmatian.
tilly, in her rhythmic ignorance of the sick minds of men, says of course, one. hysterics are building.
the ridiculousness of the situation are bursting forth, and i give a stranger drinking at the bar with a missing tooth a Monty python wink wink.
tilly misses the joke, but it sets the stage for me to see the humour in Jean Claud ignoring our pleas to sit down and talk about what we need from him.
as it was somewhat similar to sucking water from rock, we let him lizard his way out the door and home, with a 9:00 meeting planned.
five weeks have passed, and i have only recounted two days, the pace shall have to be more of a summary.
after Jean Claud leaves, tilly and i sit down to a ritual Friday night meal, real hysteria breaks in and we find perspective.
what the hell has just happened.
we awake in the woods, and are escorted through Paris’ five star food to Jean Claud and a hotel meal, from transient to responsible faster than you can say mammal.
one of our first tasks as biologists, once we managed to create enough heat to run a vehicle off Jean Claud the following day, and just are brought to a little village without our imagined needs being met, was to find out if birds were mammals.
let it suffice to say that the learning curve was an acute angle.
this is only the first chapter of a novel story, which is just as long.
in the future i would like to elaborate, to turn it into a different medium.
i would like to record tilly and i speaking about this story, and animate that with these photo’s.
but possibly simpler is better and we will let this story be as much as it is, enjoy it. i’ll elaborate if and when i make time.
foolishNATURE 