The Scope

Q&A with some 24 Hour Art Marathon Participants

The 24 Hour Art Marathon has officially started. Here are a few of the artists participating…

Panshard Collective

Trudy Marshall, Peer Support Program Coordinator, ILRC
Susan Langer, Inclusion Facilitator, ILRC, SWASP

What exactly will you be working on at the Marathon this year?
This year the Panshard Collective will be sponsored by the ILRC and the Community Inclusion Project. We will construct a woven piece with raised relief made from recycled clothing. Members will also work on individual pieces that reflect their access to art.

Why are you participating?
Inclusion means getting in and getting dirty. We won’t sit on the outside looking in… We will get in and mix it up. The Panshard Collective will work together to promote artistic expression from a cross-disability perspective.

What’s your survival plan?
Some of us cannot sit for long and may not have the stamina to do 24 hours at once, so we are sharing the load. We are doing HAM in shifts. Some of us will be around longer than others.

What’s your most memorable Marathon moment, if you have one?
HAM 2008 and 2009 allowed us to experiment with art forms, like mosaics and weaving. We were also able to modify the art projects to include all members of our collective.

—

Fatima Hammond

What exactly will you be working on at the Marathon this year?
Doing at least one street scene of somewhere in the A1C rendered in Batik. Batik is a hot wax resist method for dyeing fabric.

Why are you participating?
To relive the spontaneity and immediacy of creating art in avery short period of time. Feels like being in art school again but with more refined skills. Oh and I had an awesome time in it last year, so i am going back for more.

What’s your survival plan?
Be prepared in advance with drawings and materials. Work at it until mesmerized and then go for a walk/see others’ work/eat/dance and then repeat as necessary.

When was your first experience with the Marathon?
Last August.

—

Janice Godin

What exactly will you be working on at the Marathon this year?
I’ll be painting a abstract female nude contour on a large canvas with acrylics.

Why are you participating?
I’ve been wanting to participate for several years as several friends of mine who have participated have loved it.

What’s your survival plan?
Two words… diet pepsi. Others may chug coffee but, for me, diet pepsi is the way to go.

When was your first experience with the Marathon?
I have yet to do a marathon but I’m really looking forward to this years.

—

Kelly Bastow

What exactly will you be working on at the Marathon this year?
I will be making an ink drawing on a big piece of paper. Don’t know what it will be of, yet.

Why are you participating?
I always wanted to in previous years, but never had the guts. So this year I was determined to get off my butt and do it. I also heard it was really fun.

What’s your survival plan?
Not sure! Lots of caffeine, probably. Hope my hand doesn’t get too sore from holding a brush for a bunch of hours!

When was your first experience with the Marathon?
This will be my first time participating.

—

Adam Riggio

What exactly will you be working on at the Marathon this year?
The version of myself appearing at the Marathon is a fiction writer, and I’ll be working on a series of short stories, reworking and completing drafts and outlines, as well as developing new ideas. This becomes performance art because I’ll be asking the Marathon’s visitors to help me write. We’ll brainstorm story and character ideas that I’ll arrange in an increasingly complex wall of post-it notes behind me. And the stories which emerge will be collaborations between myself and the collection of people who come to the gallery that day.

Why are you participating?
I recently took over a small press, Crackjaw Publishing, which is based in my new home of Hamilton, Ontario, where I’m working on my PhD in philosophy. I’m in the process of completely relaunching Crackjaw, and by Xmas 2010, I hope that Crackjaw’s focus will be an online short story store where for a small fee, people can download stories of high artistic quality in pdf and e-reader formats. I’m participating to prepare some of my own work for the story store, and to generate some advance buzz about the company and the site for when the official launch happens in November/December.

What’s your survival plan?
My survival plan is pretty simple: wake up, shower, and eat a good breakfast just before the actual start, and then just keep working. My old job as production manager of The Muse had me staying up for 24
hour stretches weekly, and maniac that I am, I’d still go to any classes I had booked the following day. And then sleep for 14 hours.

When was your first experience with the Marathon?
I’ve known about the art marathon for a long time, but I never really thought of myself as an artist until three years ago when I decided to write fiction again. I only discovered that writers had a place at 24HAM when my old friend Michael Collins took part in 2009, writing a very strange (but not strange enough if you ask me) novella. He and I have talked over the past year about expanding it to the length of a complete novel, and publishing it under the Crackjaw label. When I decided to apply for 2010, I thought of my randomly collaborative writing method to kick up the intensity of the project, and generate more stimuli to keep me awake.

—

Jamie Lewis

This year in the marathon I’ll be painting some surreal work and maybe mixing it up by using mod podge and whatever comes to mind to add a collage. The marathon is a great way to get to know fellow artists and get some of your work out there, and I loved participating last year (my first year in the marathon). I plan on comsuming disgusting amounts of coffee and soda in order to stay awake.

—

Jonathan Green

What exactly will you be working on at the Marathon this year?
I will be starting and finishing a lithograph print in 24 hours. From graining the limestone, to drawing, etching, and then printing an edition all in 24 hours. The print will be based upon my current interest of exploration, in particular that of the Polaris expedition and the tragedy found within it.

Why are you participating?
I am participating as it is hands down, one of the best festivals that deals with the arts in Newfoundland and engages with the community. There is so much creativity on display here and positive energy, it’s a celebration of what we have here.

What’s your survival plan?
I’ve been known to quaff a few energy drinks in such times. Eat good food, and just push at it.

When was your first experience with the Marathon?
2007 Art Marathon. I was up that night in St. Michael’s printing a lithograph, a previously prepared one but still my my first one ever with the help of the b’ys. Was super hot and humid, sweating on the stone. Got my edition printed at 2am I think. So I’ve had a history of lithography and art marathon. Just needs to be upped this year.

—

Matthew Jackman

What exactly will you be working on at the Marathon this year?
I’m planning on just kind of going with the flow and using mixed media, but I’ll be sure to have a large focus on watercolor and prints.

Why are you participating?
I am participating in the marathon to help pay for Art School, to get some of my art out in St. John’s, and simply to be able to participate in this marathon in the most artistic city I’ve ever seen.

What’s your survival plan?
Coffee.

When was your first experience with the Marathon?
This will be my first experience with the marathon

—

Shiro-Tan Halverson

What exactly will you be working on at the Marathon this year?
Poster-Type Art With Traditional Colored Pencils.

Why are you participating?
A friend asked me to do it with her.

What’s your survival plan?
Coffee. Lots Of Coffee.

—

Cynthia Dunphy

What exactly will you be working on at the Marathon this year?
For the Marathon we are planning a collaborative performance piece constructing a “Soft-House” using found materials. The building process will include interactions with both Marathoners and the public

Why are you participating?
To bring together our common love for performance art and recycling!

What’s your survival plan?
Coffee.

When was your first experience with the Marathon?
Our first experience was two years ago. We brought our sketch books and drew with a group in the parking lot who were playing music.

—

Deborah Jackman

What exactly will you be working on at the Marathon this year?
This year i am still undecided onwhat I will work on, I am either working on a sculpture using recycled ten candle holders or a mixed-media collection of shadow-boxed characters. If time permits I’ll do both…

Why are you participating?
I participate because it raises funds for Eastern Edge Gallery , Awareness to the broad, BROAD diversity of arts in this province!

When was your first experience with the Marathon?
It won’t be hard to stay awake with the clacking and clanging of sounds from bands , machinery like hammers and drills, and the buzz of loud chatter from all the artist

—

Jillian Parsons

What exactly will you be working on at the Marathon this year?
I no longer have access to a welding shop, so there’s a hole in my heart where I should be fusing metal to metal. This year I’m going to try doing some small scale metal work using copper and solder. Soldering doesn’t give quite the same rush that welding does, but I’m going to imagine that I’m just welding on teeny tiny scale. Or, I might do something completely different.

Why are you participating?
I enjoyed my experience last year, which was my first as a participant. It became a fun roadtrip with a few of my fellow members of Stockpile Artists Collective, and the Marathon itself was good opportunity to get out and meet other artists and stay up late making art.

What’s your survival plan?
This year, I’m smart enough to scale my project for the time provided, with allowances made for getting out to see more of the events that were ongoing during the Marathon. Last year, I came with the plan to make art for 24 hours, but once 12 o’clock came that Sunday, there weren’t many people who had stuck it out to the end. That was a bit disappointing but at least this year I have a better sense of what I’m getting into regarding the overall vibe of the Marathon. And of course, I’ve still got the power of Earl Grey Tea on my side this year.

When was your first experience with the Marathon?
My first experience with the Marathon festival was going to the Annie Sprinkle presentation, but my first experience as a participant was last year, where it was more like the 29 Hour Art Marathon for me.

Painting video on the walls

Media art duo SWEATSHOPPE has developed a technology dubbed “video painting” that uses cameras, projectors, and computer vision software to track a paint roller, projecting video wherever it moves to create the illusion that video is being applied to a surface. We caught up with Bruno Levy and Blake Shaw to ask them about their performance tonight (10pm-12am) at the Eastern Edge.

When did you come up with the idea for video wheatpasting?
Bruno: Blake initially thought of the idea of painting video. I was working on a A//V performance with a friend of mine and had brought Blake in to help with the programming and technology. I don’t remember exactly when but Blake came over one day after he had been out partying for three days with the idea of painting video. We wanted to change the space with the application of video to the walls during the performance. For example: while we would perform music, people come out with paint rollers and paint a panoramic scene of the desert on all the surrounding walls. We wanted to apply video in a way that would allow the viewer to loose themselves a bit more in the performance experience. We were really inspired by some of the video mapping that was happening in europe, especially the work of Anti-VJ and wanted to create a similar magic that could alter the association that we have with the spaces we occupy.

Blake: I was really into a lot of work going on with urban projection at the time. The idea that we are able to create our own reality really appeals to me, and so I think video painting became this way that Bruno and I could propagate our own fantasy future together. Through being able to develop digital technology on our own I hope to be planting the seeds of the physical future, who knows how long it will be before there is liquid crystal paint and every kid is out there scrubbing pornography onto the city walls?

Why street art?
Bruno: The urban environment added a potential of scale. When we did our original test indoors it did not carry the same weight. We wanted to do what we where doing on a big scale and that meant our city. I think when you do art in urban environments, you observe the city in different ways, you look out for walls, textures, architecture that accentuate the artwork, you place your work in the areas that makes the work come to life. In a way, for us, the urban environment and the internet is a socialist platform, it allows anyone to make their works public, the work does not have to be for sale or have a artist statement. The communication of the work happens with the work itself.

Blake: Video painting in the streets as opposed to the studio really changed everything. Originially we were painting onto a projection screen and at that point the paint roller might as well have been an extra bulky mouse. As soon as we removed it from such a sterile setting it created an illusion. When people see it, it usually takes a few minutes or a short conversation with us before they realize that its video projection and not actually paint.

Have there been many times when authorities have stopped you when you were working on a video painting? What happened?
Bruno: We where near Penn Station in NYC, a black car blinking red pulls up, Im behind our car taking photos and hear: “What the f… are you doing?”

“Huummm, we are making art.”

“That’s not art thats fu…in’ graffiti, do you wanna go downtown?”

Then Blake convinces the cops to turn off the projector, and voila, no more mark. The cops were a bit stunned and asked for for an explaination. After a short tale of floating blurbs, open gl, and matrixes, the cops asked us if we were millionaires, started praising our creation and wished us luck, and that was that.

Blake: Yeah, I’m just glad he didn’t pat us down.

SWEATSHOPPE, The Landing from SWEATSHOPPE on Vimeo.

Q&A: 24 HAM festival highlights

Everybody’s there, everybody’s happy, and its logo is a sweaty, jogging ham. It’s the Eastern Edge 24 Hour Art Marathon Festival, and it’s the best summer-closing event in the entire pork- and art- centred universe. The actual marathon itself, wherein local artists buckle down and create for the full 24-hour period while gallery goers watch and rock out to a bit of music, happens from noon on Saturday, August 21st until noon the next day. But they’ve also got a whole slew of events planned from August 13th to the 22nd. We caught up with gallery coordinator Michelle Bush to ask about what’s going on this year, and what she’s excited about…

Can you tell us about some of the outdoor art installations?

What are performance art kits?

What are you excited about this year at the festival?

The festival has always been interactive and participant oriented. Can you speak about that a little?

Check out the festival website at http://www.24hourartmarathon.wordpress.com for the full lineup and check back at thescope.ca for online coverage.

Burtynsky: “Make sure they put that valve on.”

Recycling #23, AMARC #5, Photograph (c) Edward Burtynsky, courtesy Nicholas Metivier Gallery, Toronto & Hasted Hunt Kraeutler, New York.

On Day 20 of the ongoing BP Deepwater Horizon oil spill in the Gulf of Mexico, Chevron Canada began work on what will be the deepest oil well ever drilled in Canada, about 430 kilometers Northeast of St. John’s in the Orphan Basin.

On Day 24 of the ongoing BP oil spill in the Gulf of Mexico, The Canadian premier of Oil, a collection of sobering large-scale photographs taken by renowned Canadian photographer Edward Burtynsky, opened at The Rooms.

The pictures are an accumulation of over a decade’s worth of work, research and travel, and they explore our unending greediness for the precious black stuff. And they do so with all the kindness and forgiveness of a swift punch in the face. From aerial shots of the smoking Alberta tar sands to ragged Azerbaijan fields dotted with forgotten derricks and lurching pools of sludge, the pictures are brutal and horrifying and beautiful all at once.

The show is premiering here for exactly the reason you might expect: this province is about to get its hands very dirty in the big oil business, and Oil succintly conveys everything that entails, right down to what we’re left with after it’s all gone.

Sarah Smellie sits down with Edward Burtynsky to talk about Oil, oil, and some advice for Danny Williams.

So, you’ve been doing this for a long time and you’ve seen a some of the worst that we, as a species, have to offer. But you’re also on the board of Worldchanging.org and are active in sustainability and long-term thinking movements, like the Long Now Foundation. How do you stay hopeful?

Well, I think that once human beings recognize a problem, they’re actually pretty good problem solvers. Although this one is pretty formidable, in terms of just the sheer numbers that we’re talking about. And also it’s formidable when you start looking at China and India and their embrace of all things Western, in particular consumer culture and looking for happiness in material wealth. In many ways, their contentment often came from the societal and familial relationships that sustained them, and their footprints were very low. One can say many were poor, though not necessarily unhappy—I think there’s a misconception that we have in the West that if you’re poor then you’re unhappy. I’ve seen a lot more poor people happier than a lot of the rich people on this side of the world.

I think it’s in that world that there is more camaraderie. There isn’t always a competition, and they kind of share and take care of themselves. I see all that in Third World countries. But it’s the Third World embracing our trajectory and capitalism and consumer wealth and dependence—that, to me, is the greatest concern. I mean, we could dial back a bit what we’re doing, although we’re not doing a good job of that. But it’s a question of whether, as they dial up, we can be along their side and help them dial up without dialing us into oblivion. Because there’s no way that the whole population, as it grows to nine billion, can actually lead a life like we have here and actually have a planet left. So the trajectory is bleak, unless some major changes of attitude and expectation are challenged.

And you see that happening?
Well at least it’s being talked about. At least in the media it’s now part of a discussion. I remember in 2005, 2004, a lot of us were sitting around tables going, “Why isn’t anyone talking about this, why isn’t this front page news?” versus not even making it to the back page. But now it’s hitting the front page, and I think that’s encouraging. But I don’t think people quite understand the degree of what has to happen to try to contain this problem.

What do you think of the coverage so far of the BP oil spill? Do you think the coverage and the reaction has been proportional to the severity of the situation?
Well, I was just there, photographing it. I talked to a lot of the people who were covering it since it started¬—people who were trying to photograph it, reporters, people who were in New Orleans—so I did canvass a bunch of opinions. I was left with a lot more questions than answers. I think there are just a lot of unknowns.

What I did notice was that there was an incredibly massive PR machine at work there, trying to contain the whole perception of it, and the severity of it. There are a lot of questions about the degree of the damage, like when you’re up in the plane, you can’t see it. A lot of it is under the water. Now, is that a particular type of oil? Is that because they’re using this dispersant on a huge scale that no one’s ever used it on before? There are stories that they’re injecting the dispersant way down underneath, where they can get at these globules before they even get up onto the surface. Some of this is not verifiable, because at ground zero, you can fly three thousand feet above it, but they’re keeping a lot of the media away. So media are in the high zone.The three thousand foot ceiling is massive, it’s hundreds of square miles. You can fly lower on the very perimeter, but there’s almost nothing going on there. So there are a lot of questions about what’s going on and how much is verifiable or not.

The truth will be outed, I believe. Maybe. But it may actually start to slip away from consciousness if the visuals don’t come. They’ve proven that if the visuals aren’t there, then people forget about it. But there’s still that much oil hitting the Gulf of Mexico, and whether it’s ending up on the sea floor or somewhere else, you know you can’t have that much oil in a natural body of water and not expect some severe consequences. Unlike the Exxon Valdez spill, where there weren’t hundreds of thousands of people dependent on work along those shorelines. A third of the seafood and fish for the United States of America comes from the Gulf of Mexico. So, it’s one of the richest seafood producers that the world has, and the whole thing’s up for grabs right now. No one knows what is going to happen.

Newfoundland is apparently on the verge of boundless offshore oil riches. What would you say to Danny Williams if he were to walk in here right now?
Well, I’m not so naive to say that… I mean, if it’s there and it’s economically viable, there’s still going to be a demand for it. You can’t flip a switch on this. You can start to slowly slipstream one alternative energy source for another over time, but there’s no possibility of a sudden truncation. So the need for oil is still going to continue.

There’s a huge lobby group from the oil industry that went after the minerals department in America and fought to not have to put on these half a million dollar safety shut-off valves. But they would never let deep sea wells run without them in the North Sea for instance. BP has to use these shut-offs, anyone operating in the North Sea has to use them. But, somehow, they come to America and they’re able to lobby their way out of this half a million dollar thing. And I think they wish they hadn’t, because this is going to cost them billions, and half a million looks like chump change right now. Five hundred thousand dollars. They spent twenty-five million dollars to remove that piece of equipment and save five hundred thousand dollars per well. Well, that was pretty dumb. [laughs]

So, I think I’d say to Danny, “Make sure they put that valve on. Make ‘em pay that half a million.”

Edward Burtynsky’s exhibit of photographs, Oil, is on exhibit at The Rooms now.

Lisa Moore, curator

Helen Gregory, Lament II (detail), Acrylic on canvas.

St. John’s Lisa Moore may be best known as an author of local-set literature—her novel, February, about a woman widowed as result of the sinking of the Ocean Ranger came out earlier this year—but a quick look at her page on Wikipedia will tell you she studied Visual Art at NASCAD before her writing career began.

Well, this month, Moore delves back into the art world by way of curating a show of Helen Gregory’s paintings at The Rooms.

This is Moore’s first time playing curator. “This is a privilege for sure… I think it’s inspiring to work with other artists, and in lots of different media and forms and genres.”

Gregory is, in Moore’s opinion, “one of Newfoundland’s more exciting artists.”

The exhibit explores museum collections, with a focus on organic forms.

“[Gregory] is exploring how we collect as a society, what obsesses us about the past,” says Moore, “and the show is utterly unique, thought-provoking and gorgeous.”

The official opening and public reception for Unrequited Death is 7:30 pm on Friday, December 4 at The Rooms.

—Juls Mack

Better together

Photo by Danielle Reardon

Just two months since its official launch, The Pick-Me-Up Artists’ Collective—consisting primarily of recent art school graduates—is boasting thousands of online hits and plenty of interest from the public.

And while their first exhibition took place in a makeshift space, their latest exhibition, “Of a Surface” is being hosted at the A1C Gallery.

“We’re actually very surprised that people were so ready to accept us,” says founding member Hillary Winter. “I don’t think there have been a lot of people in the last five or ten years coming out of school and trying to do this right away. Usually people will go off and work on their Masters or go, or do Education and then get back into art later, but the majority of us are fresh out of school and ready to go.”

Winter says that while so much attention so soon is a pleasant surprise, the group’s objective of self-promotion has been at the forefront since the beginning, just one year ago.

“In the initial stages of development the web site was our main priority,” says Hillary. “It can be accessed by so many different people in so many different age groups and social classes.”

In contrast with the group’s interest in social media and online communication, the theme chosen by the collective for “Of A Surface,” their first themed show, is texture.

“Maybe technology has such a huge impact in our lives that we have to counter that by making work that is very physically grounded,” says Winter. “It is people getting in there and getting messy—which is so different than typing on your computer.”

For Winter, the goal of the Pick-Me-Up group includes a broad definition of media and forms.

“A lot of us—there are 18 members right now—the majority of us graduated from Grenfell, so we all have similar ideas around accepting all different types of art forms. We don’t want to be strictly traditional art. We have collaborated with dancers and we’d love to be working with music and theatre—all of which we’ve talked to other organizations about getting involved in. …Visual art is so often seen as a picture on the wall. Dancing is just as visual as a painting, so is theatre- so are all these different forms.”

Pick-Me-Up continues to pick up members, with new applicants coming forward all the time. Powered by their online presence, the group is not restricted to only accepting new artists living in St. John’s.

Says Winter, “We’re always taking in new people. We want people to fit under our little umbrella of trying to promote ourselves and taking our art seriously.”

‘Of A Surface’ runs at A1C Gallery until December 12th. For membership information and upcoming events, visit The Pick-Me-Up Artists’ Collective online at pickmeupart.com

Looking forward, looking back

The Eastern Edge in 1994.

Eastern Edge Gallery celebrates its 25th anniversary with a Silver Soiree Gala.

By David Keating

Eastern Edge director Michelle Bush, assistant director Mary MacDonald and board chair Sarah Hillock are sitting among 25 years worth of half-unwrapped sculptures and paintings. And many more pieces arrive every day from past and present members from far and wide.

“The idea was to have 25 past members and 25 present members exhibit,” says Bush, looking around.

“Of course,” she laughs. “There are more than fifty works now, because I’m no good at saying no.”

Founded near the beginning of a Canada-wide emergence of artist-run centres, for the 25 years of Eastern Edge’s existence the gallery has tried to be a doors-open institution for all artists and all community groups.

“I think Eastern Edge tends to fill in for educational institutions that other cities have for the arts,” says Hillock. “We don’t have the Grenfell College art program from Memorial in St. John’s. Of course there’s the Anna Templeton Centre, which is an educating body, but we do lectures and workshops and our ‘Art School 101’… It’s pretty essential to St. John’s and to the community.”

Eastern Edge has not only been a resource for developing local artistic talent. Over the years, numerous national and international artists have had their introduction to the province via the gallery.

Communication is part of our mandate, says Bush. “We’re not just exhibiting work. I’d say 98 per cent of our exhibiting artists come here… to interact with the public and to get feedback on their work and to have that kind of one-on-one.”

“It’s one thing to see someone’s exhibition, to read a text about it, but it’s another thing to get the chance to ask people questions directly,” she says.

“I think it has benefits the visiting artists as well,” says Hillock. “It’s interesting for them because we’re such a community… I think that affects a lot of the artists and the way they work here. Which is different, than a major city where it can be much more competitive.”

Along with having mounted a sixty-something piece members exhibition on October 31st, the staff and volunteers are putting the finishing touches on their upcoming Silver Soiree gala—their big birthday to-do.

“It’s going to be a really fun evening,” says Bush. “But not only that, it’s the opportunity to bid on some amazing works of art from some well-known and some lesser known but up-and-coming emerging artists.”

Among the works being auctioned off are paintings by Will Gill, Pam Hall and Gerry Squires.

With the Silver Soiree, one the gallery’s most important fundraisers of the year, Eastern Edge is making a push to invite in the city’s art patrons, philanthropists and collectors.

“Hopefully more and more people will recognize who and what Eastern Edge is and what role we play in the whole arts community here,” says Bush. “The history of Eastern Edge just goes to show how important it has been. There are lots of artists who people know—and maybe they have their work in their collection—who were involved with Eastern Edge for so many years.”

The Eastern Edge 25th Anniversary Members Show and ‘Time after Timeline’ open Oct. 31st and runs until December. Admission is free.

Eastern Edge’s 25th Anniversary Silver Soiree takes place on Saturday, Nov. 7th at the Johnson GEO Centre. Emcee and auction host is comedian John Sheehan. Music by The Once. Tickets are $45. Call Eastern Edge at 739-1882 or visit easternedge.ca.

To preview the Silver Soiree works up for auction, visit silversoiree.blogspot.com

Guess Where St. John’s Metro

I imagine Darrell Edwards loved playing hide and seek as a kid.

(Should I duck into the closet, should I climb a tree, or should I hide in plain view?)

The creative director at a local marketing company recently started a photo sharing group where people play pretty much the same game, but with photos.

Hosted on the photo sharing site Flickr, Guess Where St. John’s Metro is a place where people can post pictures of the city and have people guess where exactly they were taken.

I contacted Edwards to ask him a few questions about the group.

Where’d you get the idea for Guess Where St. John’s Metro?
The idea for the group came from me getting home from a trip to New York City. I took over 300 shots there just on the streets and subways and stuff. Then I stumbled upon the Guess Where NYC group on Flickr. I posted a couple of those shots to that group and it was awesome seeing how many people guessed all of the shots in that group so easily… In a city like that you’d think it would be a challange.

So basically I gaffed the idea from that group.

When did you realize it would work here?
I realised it would work here the day after I posted my first pic to the Guess Where NYC group. Our city is quite a bit smaller than New York, but there’s a lot of really cool nooks and crannies… architecture from 100 years ago that people just dont pay attention to. So if you took shots of those sort of things, framed it up in a different way, or just showed something from the perspective of someone who was there, not just driving by, I figured it would be challenging to guess where those shots were taken.

A good example is a shot I took up at the top of McMurdo’s Lane looking back towards the building that used to house The Heritage restaurant. Henry street is in the background, and there’s a couple walking by. The background is kind of blurred…

Now, to me, that location is completely obvious, even with the blur. I have lived up over the hill, in the vicinity, for close to 10 years now. I pretty much walk down this street every day, and I’ve photographed the hell out of downtown… But on the group I have someone guessing it’s a scene from LeMarchant road.

It’s awesome to see what different perspectives people have on things, even if the guess is incorrect! It’s just plain fun.

You can find the pool at http://flickr.com/groups/guesswherestjohnsmetro/pool/

It’s likely that Kevin Woolridge is working on a comic book as you read this

Local cartoonist Kevin Woolridge is participating in 24 Hour Comic Day — the annual challenge to create 24 consecutive comic pages in 24 consecutive hours — for the first time this year.

The first one happened in 2004, but the idea has been kicking around for a long time.

Anyway, we found out he was working on it, so I asked him what he’s working on, and how he’s doing so far.

—

Kevin:  For me this challenge is really about breaking my own mold.

I’ve been drawing the characters in The Little World for about 5 years now and lately that’s all I’ve been drawing. The characters in that strip are all made of basic geometric shapes, pretty easy to draw. So much, in fact, that a little girl at AAMP’s Artfusion a few weeks ago sat at my table with her notebook and started drawing the characters herself. It was really cool.

So I decided to do this 24 hour comic in a completely different style. I’m very much making the whole thing up as I go along, and I have no idea where it’s going to end up.

We’ll see where the next 19 hours take it.

Page 2 of Kevin Woolridge’s Staff of Ra.

—

Some of Kevin’s tweets from today:

24 hour comic day. hour one. slept in. oh dear.

hour two: one page done. not sure if i’m fully prepared for this.

hour three: this is hard to do when you’re at home. second page done. i have no idea where this is going.

Hour four: takin a break to eat. i don’t care if it’s against the rules. man’s gotta eat.

hour five: pizza eaten. pencil drawing. pen waiting.

hour six, i think: four pages done. damn that hour i took for lunch. having my first monster energy drink. no bawls in the goulds.

hour seven: wait, no way it’s been that long. that’s weird. oh well. just keep drawing. just keep drawing.

Painting the town

John Hartman. Photo courtesy the Nicholas Metivier Gallery, Toronto.

Looking at a painting by Ontario expressionistic painter John Hartman, you know cities mean more to him than a simple collection of buildings and roads on a landscape. They live, they breathe, they’re things with history and personality.

His exhibit Cities is coming to The Rooms’ art gallery this month, and Elling Lien caught Hartman en route.

You have a painting in this exhibit of St. John’s so I know you’ve been here before… When did you come here first?
I was invited to be a guest artist at St. Michael’s. That was a month-long stay in the middle of the winter in 1996, which was pretty interesting. I fell in love with the place. The coast of Newfoundland is a lot like where I live, except it’s it’s much bigger in every respect. I live in Georgian Bay, on Lake Huron in Ontario.

The sea is bigger than Georgian Bay, the rock hills are bigger in Newfoundland, but the landscapes are sort of similar. The Wesleyville area is a lot like it. It’s a granite landscape.

Where did the desire to paint cities come from?
Well, it was a gradual evolution. When I would paint Georgian Bay and Newfoundland I was always interested in the communities. I never painted a pure wilderness-type landscape. Then I became increasingly interested in the kinds of infrastructure in the communities—roads, bridges, that kind of thing. I found myself slowly gravitating toward larger and larger spots as I developed a kind of working method for representing all this stuff that we make cities out of. It slowly evolved from about 2003, and by the time I got to 2006 I was doing almost exclusively cities—and much larger cities than when I started.

What is it about cities that appealed to you?
I’ve always been interested in places that are on the water. Really they are sites that I think would have been interesting even if there were no city there. They’re very beautiful landscapes. There’s a really nice quality of light, because light over water is so much richer than it is over land.

Then with all of the buildings, bridges, and roads, I get to add more and more layers of things.

I’ve always been interested in the history of places. When I was doing paintings of Newfoundland I would often put little vignettes in the skies. I think this is just another way to explore the relationship that people have with landscape.

John Hartman, The Southside Hills, St. John’s, 2004, Oil on Linen, Nicolas Metivier Gallery, Toronto

Tell me about the St. John’s painting that’s in the Cities exhibit: “The Southside Hills”.
That’s the one from Waterford Creek looking out over the dry docks with the Southside Hills on the right? The hills are a chocolaty brown colour?

Yes.
That’s the view you see when you come in on the Trans Canada Extension, coming to the bottom of the harbour.

You can’t stop a car to make a sketch or take a photo, and you only see that view for an instant, so I had to construct it from memory.

I recognised the angle immediately, but it’s true, every time I’ve seen it I’ve been hurtling along at 100 kilometers an hour.
I tried to find a place other than the highway that had that particular view. I’ve taken the car, I’ve exited, I’ve gone up to Shea Heights… I tried walking out where Irving has those oil tanks… I couldn’t get the view from any spot other than that one spot on the highway.

So you did it from memory?
Well I did take a few snapshots out my window, but mostly it’s from a memory of what’s there.

It does look like more of a memory.
Yeah, a lot of my work is done that way, where I spend a lot of time sketching, walking around, looking at things, taking photographs, and then I just assume an imaginary viewpoint.

After I’ve done enough reconnaissance of a place, all the different parts fall together and I can say, “okay, this is what it would look like from up there. You’ll see the Basilica, you’ll see The Rooms, you’ll see the Battery… All that.”

How did that painting go? Do you remember?
The paintings are very slow to come. Like I said, to start there’s a lot of collecting information.

I would have done a watercolour study ahead of time to figure out the composition. Then I put the composition on the canvas—draw it on with red paint. Then the execution is very fast, because it’s very juicy, thick paint that brushes very heavily on the canvas. It doesn’t leave you much room for changing things. So you have to commit yourself to what’s there. So it’s a slow process that speeds up and is frenetic and manic at the end.

I read something that when you were younger you’d imagine yourself flying over landscapes and imagining them that way. Is there a connection between flying in your dreams and making these paintings?
I don’t know. It was a wonderful feeling, to be able to fly around. I don’t have those dreams anymore, so maybe I’m just trying to reach out to that feeling by painting.

Some people are lucky and do it all the time. But mine sort of stopped.

To make the paintings is the same process. You’ve got something you’re familiar with and you’re imagining it from a viewpoint above it. I’m sure that’s how the dreams work.

An opening reception for John Hartman’s Cities will be held at the Rooms Provincial Art Gallery on Friday, September 25 at 7:30 pm. A gallery tour of the exhibition with Hartman will take place Sunday, September 27 at 2:30 pm.

Off the Cape

Screen captures from Will Gill’s video “Cape Spear”.

Visual artist Will Gill makes his first foray into video at the Eastern Edge Gallery.

By David Keating.

On artist Will Gill’s first trip to Newfoundland in 1996—a holiday by himself in November driving around the Avalon Peninsula—he formed an almost instantaneous connection with the island where he would soon come to work and live.

“There was something about the people and place when I came here that seemed just perfect for the way I am, the way I like to live,” he says. “The temperament of the people, the generosity and so on. And it was that that made me think right away: this is it. I fell in love right away.”

Two months later Gill returned to begin an apprenticeship in the foundry of local sculptor Luben Boykov—an association that would continue for the next 11 years.

The move to Newfoundland for Gill was preceded by four years of University at Mount Allison in Sackville, New Brunswick and time spent after graduation in Halifax. Raised in Ottawa, the East Coast had a draw that continued to pull the artist further away from home.

“When I came over, this was totally a shot in the dark. Halifax wasn’t really the place for me, so I was still looking even further east,” he says.

Since settling in St. John’s, Gill has established himself as one of the province’s most respected contemporary artists. In 2004 and 2006 he was nominated for the prestigious Sobey Art Award, and received a Large Year Award from Visual Artists Newfoundland and Labrador (VANL) in 2006. He also holds to his credit multiple nominations for the Newfoundland and Labrador Arts Council’s ‘Artist of the Year’.

Thirteen years after that first trip, Gill’s long migration from Ottawa to the furthest reaches of the East Coast culminates in his new work, Cape Spear.

“There’s something magical about Newfoundland but something particularly magical, and raw [about Cape Spear,” says Gill. “I think maybe it’s to do with being so close to the ocean and so close to that borderline of danger and death. People get wiped off, or taken out once in a while there and that’s a total tragedy, but it’s not really that surprising. That’s what happens if you go down by the rocks.”

“Mother Nature can grab you. She’ll do it.”

Filmed on location at Cape Spear, Gill sees the video as a reflection on cycles and elements in nature, or the ‘overwhelming nature of nature’.

Cape Spear is Gill’s first exploration of video as a medium. While sculpture and painting continue as the mainstay of his work, he foresees more video projects in the future. Pressed to offer up interpretations for the piece, Gill resists the temptation to editorialize or contextualize the experience for the viewer.

“To try and explain something that I’ve made, I don’t like doing it… How much should be public. How much should be explained. How much should be kept secret. I think the magic in a lot of work is that there is an unknown and if you knew everything about everything… For some people, it’s the magic of not knowing that is the most important thing.”

Experience Will Gill’s Cape Spear at Eastern Edge Gallery until October 17th. Other upcoming Will Gill events include a joint installation with Annette Manning—Salt Concentrates—at A1C Gallery opening on September 11th.

Comment on this article online at thescope.ca

The 25 Greatest Works of Art Ever Made in Newfoundland and Labrador

by Craig Francis Power

This year, the artist-run centre Eastern Edge Gallery is celebrating 25 years of fostering provocative, controversial, exciting art. Since this is the month they hold their biggest party of the year, the 24 Hour Art Marathon, to help celebrate we thought we’d bring an outspoken local art critic out of hiding and ask a provocative, controversial, exciting question: What are the most important works of art ever made in the province?

—

Christopher Pratt

House in August (1969)

Often imitated, never duplicated. The shadow cast by Pratt’s long career as a visual artist is comparable to the looming presence of the Catholic church in Newfoundland. This is one in a series of paintings depicting out-port homes with blinds covering the windows; a none too subtle reference to death.

—

Excerpt from Fall.

Marlene Creates

Water Flowing to the Sea… (2002)

Time, loss, landscape. Creates’ photo installation captures the ever changing and evolving character of the natural world as it relates to our own mortality, inverting the photographer’s relationship to subject by taking photos from the river’s point of view.

—

Michael Flaherty

The Grey Islands (2009)

Living on the Grey Islands off the Northern Peninsula for three months while building an inside-out kiln for the purposes of making the islands into a piece of conceptual ceramic sculpture sounds pretty important in the face our province’s absurdly conservative aesthetic choices. See: www.thegreyislands.blogspot.com

—

David Blackwood

Fire Down On The Labrador (1980)

Reprinted ad nauseum, Blackwood must be making a killing from this one image alone. So insufferably iconic, this work sets contemporary Newfoundland artists’ teeth on edge. How do you deal with a piece like this that so dominates our collective imagination? In any event, there’s no denying the importance of his output in developing our province’s visual culture. See: St. Michael’s Printshop.

—

Image courtesy The Beothuk Interpretation Centre, Boyd’s Cove

Gerald Squires

Spirit of the Beothuck (2005)

Apparently the result of Squires’ mystic vision in the Newfoundland wilderness, this bronze sculpture of Shanadithit embodies our collective guilt over the Beothuck’s genocide, and our attempts to alleviate said guilt. I just wonder how First Nations people feel about it. Let’s ask Rebecca Bellmore.

—

Don Wright

The Red Trench (198?)

A gigantic blood-covered gash of a vagina. What controversy? No. Couldn’t be. It hung in the Arts and Admin building at MUN for years. Whenever someone uses the word “cunt,” I see The Red Trench flash momentarily in my mind’s eye. That’s how you know someone’s made important work.

—

Pam Hall’s On the Physiology of Female Reciprocity from New Readings in Female Anatomy (2000)

Pam Hall

Re-Writing the Body: Towards the Reading Room (2000 and ongoing)

This massive, ongoing collaborative piece is a collection of written accounts of women describing, sometimes in just a few lines, how they feel about their own bodies, their lives, their work under a patriarchal society. Touching, painful, angry, funny, and as important as fuck.

—

Photo of the work by John Haney

Kym Greeley

Alone Together 2

The long lost love child of Chris Pratt and Andy Warhol, Greeley’s art manages to exist where the lineage of Newfoundland landscape painting and more contemporary practices intersect. What makes it work is how she reveals how our relationship to landscape is increasingly mediated by industrial and technological processes. Her paintings also look fucking sweet.

—

Manfred Buchheit

Container Ship at the Dock (1978)

Is there anyone who’s captured downtown St. John’s more completely? The guy’s an image encyclopedia. Perhaps even moreso than his artwork itself, Buchheit’s influence as a mentor extends to a vast generation of Newfoundland artists—a loyal and passionate loose association of acolytes, students, and collaborators. This guy is the Godfather.

—

A detail of the work

Barb Hunt

…and the rocks knew us

A huge, indigo silk-like backdrop studded with round white and grey beach rocks. Braille. The night sky. The ocean. A beautiful tension between the visual and the tactile. If you think NL’s textile work is limited to rug-hooking and sock darning, think again, cause this piece will dropkick your ass into next week.

—

Mary Pratt

Silver Fish on Crimson Foil (1987)

While not exactly a feminist on par with Carolee Scheenmann, Pratt’s depictions of everyday domestic beauty are often tinged with something somehow a little menacing or brutal. Blood, gore, kitchen knives, dead animals. Oh yeah. She’s also responsible for our province’s obsession with photo-realist painting.

—

Bill Rose

Fetish (1998)

Ah yes, thank you. My kind of man, is Mr. Rose. The wit, the scathing critique, the satire. Despite our famed national sense of humour, comedy in NL visual art is a truly fucking rare occurrence. We’re a ponderous, pretentious, contemplative boring lot yawning on and on about the SUBLIME. Thankfully, Bill Rose makes up for all that, poking holes in the innumerable myths that make up our culture.

—

Will Gill

Cloud (2006)

I had a dream where Will Gill and I rode together on the back of a purple unicorn up a ramshackle ladder into a pink cloud where, dismounted from our trusty steed, we looked down upon the province of Newfoundland-Labrador, laid out below us in all its majesty. I looked at him, and said: “Man, thank God you’re here.” This piece was in that dream.

—

Michael Massie

Come Sit and Have Some Tea (2005)

Massie’s skill with silver is inspiring a generation of artists (First Nations and otherwise) within this province and beyond. Combining traditional stories, imagery, and myth with clever art historical references and contemporary life, Massie has garnered a national reputation. He deserves it.

—

Andrea Cooper

starring: part 2 (2002)

The attack of the 60-foot woman meets the NL landscape. First time I saw this, I kept trying to see up Cooper’s skirt. Does this make me a misogynist? Technologically impressive for its time, this piece laid the groundwork for Cooper’s continued interest in technology, sexuality, the absurd, and the female body. We miss you.

—

Scott Waldon

Unsettled #01, Ireland’s Eye, Trinity Bay (1998)

I remember there being something of a shit storm when these photos hit the street. “Why, dis buddy ain’t even from Newfoundland!” “Dis here is our culture, and we don’t need no Yank takin’ pictures of it!” Etcetera. While entropy has a long history in the larger art world, this was the first time Newfoundlanders saw it so close to home, presented in such stark, devastating detail.

—

Helen Gregory

Skeletal Study With Sea Bird Remains (2000)

National Gallery of Canada, anyone?

—

Anne Meredith Barry

Island Light (1982)

Anything I say about this woman’s life, art, and influence upon NL visual art would be shit compared to what’s already been said by people far better than me. Let’s just say Thank You.

—

Rae Perlin

Newfoundland Scene

See above.

—

Video still from the Tenth Annual Drag Race

Mike Hickey

The Drag Race

Part performance art, part community engagement, part party, the Drag Race features the best (and worst) drag queens St. John’s has to offer in an annual, ridiculously funny, sometimes unnerving foot race in high heels. Lots of bumps, scrapes, blood, tears, laughs and victory.

—

Photo by C. Darlington

Anne Troake

Pretty Big Dig (2003)

If you choreographed a bunch of back-hoes into a charming, hilarious dance routine, you also might have made this list. But you’re just some greaseball waster reading this on your smoke break, sitting on a milk crate outside the A&W on Kenmount Road. So don’t worry, Troake has already done it for you. Brilliant, funny and beautiful.

—

Sacrament from Drink

Grant Boland

Drink (1997)

Not one piece, but an entire show at Christina Parker Gallery back in 1997. The baton was being passed. We all had this emerging wunderkind on our hands who painted like the Arc-angel Gabriel, and who was interested in booze. He was one of us.

—

Photo by Steve Topping

Steve Topping

The Stage

A derelict, abandoned fishing stage where a select few are invited to hang out, talk art, drink, smoke, play cards and listen to country music. A kind of ongoing installation, laboratory, performance piece and haven, the line between art/life isn’t blurred, it’s eradicated. You don’t know about it, but that doesn’t mean it isn’t one of the most important art events happening in the province.

—

Luben Boykov

The Gate

When I die, I’d like Luben Boykov to install a bronze statue of me outside Eastern Edge Gallery, flipping both middle fingers up at the Narrows, Cabot Tower, and whatever lame ass tourists are buzzing around off the cruise ships, looking for faux-Folk Art trinkets to haul home to Belleville. Mmm. Heaven.

—

To read lists by other prominent local artists and curators, click here. Feel free to write your own list in a comment.

24-Hour Art Marathon Q&As

Illustration by Kiki Tohmé

On Saturday, August 22 over 100 artists will be setting up work stations in and around Eastern Edge Gallery to create a piece of art in 24 hours which will later be auctioned to the highest bidder. Half the proceeds go to the gallery, and half to the artist.

So how does one keep making art for 24 hours? What are some memorable experiences from years passed? We asked participating artists advice on not only how to survive, but how to thrive at this year’s highly anticipated 24HAM 2009.

Jonathan Kennedy

What exactly will you be working on at the Marathon this year?
I’m gonna be working on some weird-ass digital collage type stuff. I’m hoping to pump out four or five, but who knows?

Why are you participating?
I’ve been meaning to participate for the last few years but I never ever bothered. (I blame work and laziness, mostly.) This year I thought to myself “Dammit, you are doing it this year.” Seems like a fun event.

What’s your survival plan?
I’m a university student, staying up all night working on stuff is second nature.

When was your first experience with the Marathon?
This will actually be my first time. Please be gentle.

—

Deborah Jackman

What exactly will you be working on at the Marathon this year?
well this year i plan to create some acrylic and or watercolour works based on sketches i’ve done over the last year … i’m hoping to get three painting done … I like the concepts i’ve come up with and really look forward to recreating them on a larger scale in the buzzing busyness of the 24HAM space.

I am hosting a section of evening performances as well as performing Vocal Improvisation/and Dance during the evening performances with Drummer Daniel Murphy. I will perform a duet of Vocal Improvisation with Craig Squires on Saxaphone during the Soapbox .Plus, i will model with other women wearing Cara Winsor -Hehir’s Fashions at the Anna templeton Centre.

Why are you participating?
WHY IN THE FUCK NOT !! HA HA HA !! no really what an opportunuty to work and share space with other artists working in insurmountable mediums and watching the wonderful, excellent and supurb chaos , delirum and mayham unfold right before your eyes… and turn it into some hot fucken art!! not to mention Eastern Edge , the bestest ever contemporary Artist Run gallery off all time … and i do not digress here! it’s true ! ask around !

What’s your survival plan?
speed, high energy drinks .. (just kidding ….) ha ha ha , eat well , play music , soak up the buzz and energy of the other artists’ …. smile alot, laugh even more and bring chocolate ….

When was your first experience with the Marathon?
As far as entering the Marathon i think some years ago i was a part of it …but last year i really got into it and wondered why it took me so long to GET WITHTHE FRIGGIN PROGRAM!” I’m ADDICTED NOW!

—

Adam Clarke

What exactly will you be working on at the Marathon this year?
I am working on a comic called “Robot Heartbreak & Other Stories”. It will be a mixture of short comic strips that will depict everything from modern folklore (like every “true story” that happened at the Spur) to Adam Sandler running for president. I may throw in some written short stories, too, if it suits the project.

Why are you participating?
Because the world needs love. And by love, I mean cartoons that look like they were drawn by an autistic child with no hands.

What’s your survival plan?
Gluing my eyelids open, having limitless paper and ink, drinking 40 gallons of coffee and playing Chris De Burgh’s “Don’t Pay The Ferryman” on a loop til my MP3 player dies.

What’s your most memorable Marathon moment, if you have one?
Writing and drawing “Glenn ‘n’ Karl: RNCBC” last year with Curtis Kilfoy. Between the ridiculous stream-of-consciousness atmosphere of being surrounded by friends, strangers, fellow artists and endless streams of coffee, as well as the attention the comic got, it was fantastic.

—

Mark Adams

What exactly will you be working on at the Marathon this year?
This year, I plan on making some prints using Intaligo and Relief printmaking methods. I would like to work quite hard on an elaborate, multi-layer and large relief print, while scratching away on metal plates for smaller intaglio prints.

Why are you participating?
Mainly because i’ll have the time off to travel there to do it. I’ve always admired the event as it brings so much art and so many artists together. I also haven’t done any printmaking in months, so it will be good get back to it with some help from Eastern Edge.

What’s your survival plan?
Coffee…lots of it. haha, being up late and working on art is nothing new for me. i’m entering my fourth year at SWGC’s Visual Arts program and being up late at night doing project work is typical, especially in print. I can usually be in the print shop for 8 hours or more running around and working with most of the stuff i do.

What’s your most memorable Marathon moment, if you have one?
Actually, I don’t have any moments yet. this is my first Marathon and just by default, this will be a memorable one, for sure. I am really looking forward to it!

—

Andrea Vincent

What exactly will you be working on at the Marathon this year?
The majority of the time I will be embroidering with human hair on wood veneer. But to mix it up a little (and to save my eyes) I will also crochet small sculptural pieces using fishing line.

Why are you participating?
The timing feels right. Last summer’s marathon was the first I’d missed since I started volunteering a good few years ago, and I swore I wouldn’t miss another. I arranged my trip home to St. John’s so that I could be there and decided it is a good time to participate.

What’s your survival plan?
Many cups of coffee with cardamom and cinnamon mixed in. And many cups of steeped ginger and mint to sooth the stomach ache I will likely have from all the coffee.

What was your first experience with the Marathon?
Ohh! my first experience with the marathon is a favorite memory of mine.

It was my first time staying all night as a volunteer, my first time getting into the Ship and it was my first time in the thick of an art community in St. John’s. We spent the night working the gallery door. When our breaks came we’d run up the road and into the ship to watch the coast guard play, and then back down to the gallery to work on the door again. I’m sure that was the night I decided I could and should be an artist, or at least involved in the arts.

—

Soren Sigurdsson

I will be working on some screen printing projects, mainly involving clothing.

This city is fortunate to have a large, active arts community for those who like to create, or observe. A marathon (or festival as it has become in recent years) is something , I feel, everyone should get involved in. Art lacks in so many peoples lives, and i hand over my heart think, most want to get their hands dirty, or feel they want to do more creative things, but simply cannot find the time. Here it is!

As a game plan coffee, cigarettes, good conversation, and stimulation from others ideas and works will be enough to get me through the fun-filled 24-hours.

This will be my first time participating, but with all that is planned, how could I say no?

—

Darcy Fitzpatrick (Photo by Mark Bennett)

What exactly will you be working on at the Marathon this year?
I’ll be doing my best to provide live-blog coverage of the 24HAM via Signal, the St. John’s blog, taking photos, shooting video and mashing into words the spectacle as it happens.

Why are you participating?
The 24HAM is THE event of the St. John’s micro Summer. It’s like an eruption of creative energy concentrated into the smallest possible space, all in the time it takes the Earth to give itself a wee lil’ spin. I want to give anyone who can’t be there a glimpse into what that looks like and possibly even feels like. And I expect to have jugs of fun doing so.

What’s your survival plan?
Is coffee a plan?

What’s your most memorable Marathon moment, if you have one?
Back when computers fast enough (I use that term loosely) for video editing only came in big and bulky grey boxes, I lugged mine and its equally bulky CRT monitor down to Eastern Edge along with this relatively new piece of technology called a miniDV camcorder. The plan was to muck around, look like I knew what I was doing, and basically just see what this crazy-sounding art thing was all about. It was a much smaller-scale event back then, maybe a couple dozen artists, but it blew my little mind. The equipment I’m bringing this year has shrank in size considerably, and the amount of people participating has definitely grown, but the spirit of the event has remained consistent – a spirit I would summarize with one word: turbotrontastic9000.

—

Brittany Traverse

What exactly will you be working on at the Marathon this year?
I’m planning on doing smaller drawings (with maybe a little painting or collage) of people and typewriters and the little things in my bedroom that I see every morning when I wake up. Small art inspired by small amounts of tedium.

Why are you participating?
The marathon is fun! I make art, but I’ve never participated as an artist in the marathon. Two years ago I donated an already finished piece to the live auction and it sold. I guess it gave me the confidence boost I needed to actually take part this year.

What’s your survival plan?
As Twisted Sister suggests, “stay hungry.”

When was your first experience with the Marathon?
I volunteered doing door or a merch table when I was either 13 or 14 (2003 or 2004). I have been volunteering fairly regularly since, and worked at the EE during the marathon two years ago.

—

Tracie Boudreault

What exactly will you be working on at the Marathon this year?
I plan on doing some acrylic paintings. I paint trees and I have stocked up on Canvas and can’t wait to have paint up to my elbows! I plan on doing quite a few! Who knows what the wee hours of the morning will get out of me!

Why are you participating?
I love to paint and I think this is an excellent opportunity to get some of my work out there for others to see. Plus I just think its cool to just paint for 24 hours straight.

What’s your survival plan?
I am brining a friend! She will be my moral support and hopefully she will tickle me when I start to fall asleep! And I will do the same for her of course ;)

What’s your most memorable Marathon moment, if you have one?
I didn’t even know the marathon existed until about 2 months ago! So I guess my most memorable marathon moment would be the night I found out it existed! I have been pumped for it ever since! Woot! 16 days!!!

—

Charlotte Morgan

What exactly will you be working on at the Marathon this year?

This year I will be painting images of imaginary and real creatures onto wood. very similar to the fairies, gnomes, and birds I was painting last year, only this year my pieces will be more fairy tale themed.

Why are you participating?
I think its important to support artist run centers. its also good exposure and lets people in the community see my work as well as my process of making it and its really fun!

What’s your survival plan?
I figure I’ll be good until about 2am, then after that, caffeine, lots of it!

When was your first experience with the Marathon?
This will be my third year participating in the marathon, the first year I made purses with Kyla Collins.

—

Trudy Marshall

What exactly will you be working on at the Marathon this year?
I will be working with a loosely knit group of people called the Panshard Collective. We work together to promote artistic expression from a cross-disability perspective. Last year we glued pieces of panshard or found glass on plexiglass to reflex movement of our culture- namely, creatures from the sea. This year we will be working with panshard, other found objects and words of unwisdom on sheets of glass. We will also attempt to create a more accessible form of strip weaving with used cotton. Members will also work on individual pieces that reflect their access to art.

What’s your survival plan?
Some of us cannot sit for long and may not have the stamina to do 24 hours so we are sharing the load. We are doing the 24 HAM in shifts.

What’s your most memorable Marathon moment, if you have one?
Coming in on Sunday morning last year and looking at the work that my partners had completed at night. The piece gained movement and went outside the square. Thank you night shift.

—

Cathia Finkel

What exactly will you be working on at the Marathon this year?
I’m planning to work on two things – One is an embroidery piece of a rooster the other work will be a painting.

Why are you participating?
I find the Art Marathon on of the most enjoyable events of the year. It is always a pleasure to be among other artists seeing their work evolve over a 24 hour period. The camaraderie and spirit of this unique event is both inclusive and dynamic.

I am always pleased where I can offer any of my support to the Eastern Edge and their pursuits.

What’s your survival plan?
Lots of good coffee, friendly banter and watching my son create a thoughtful and engaged art work. (He has been a participant for the past 2 year),

What’s your most memorable Marathon moment, if you have one?
I have been attending the Art Marathon for about 8 years. My first experience was when I was on the board of Eastern Edge.

Here it is – Please feel free to correct my spelling mistakes if I have missed them – Also let me know if this is O.K. Cheers Cathia Finkel

—

Anita Singh

What exactly will you be working on at the Marathon this year?
I will be working upstairs at St. Michael’s Printshop creating artworks using a variety of printmaking techniques.

I plan to so some layering with my images; working with monotype, photocopy litho transfer and possibly etching and/or relief.

My subject matter might be combinations of landscape, bones and patterns, textures, shapes and colors found inside the human body.

Why are you participating?
Eastern Edge gallery is one of the most important organizations in St. John’s for artist and people interested in the arts.

The 24 hour marathon is best community multi-fun party, i meet new people, hang out with friends, i can show others how i work and get to see how others make art etc..

What’s your survival plan?
get a sleepover babysitter, coffee and a flask of whiskey

When was your first experience with the Marathon?
2001 was my first experience… i didn’t make art that year. i was giddy by my now husband who was making art.

—

Christina Dicks

What exactly will you be working on at the Marathon this year?
I’ll be working on a summer series of mixed media paintings, all with an underlying theme of natural and organic vs. urban and sharp. There will be lots of vibrant colors and interesting materials involved for sure.

Why are you participating?
Mostly for the challenge. To see what I can come up with in 24 hrs. To make art with friends and just to be in a room filled with great creative people. Also to support the Gallery. Eastern Edge gives so much to the Arts community so I think it’s definitely a worthwhile cause.

What’s your survival plan?
I’ll be sure to try and stay in a creative mindset all night long… along with so much caffeine, laughter, and pure adrenaline.

When was your first experience with the Marathon?
Last summer was my first experience, not as a participant, I just stopped by with a friend who thought I would enjoy it. It was very late night and things were a little hazy, but I do remember saying to myself ‘This is awesome. I want to do this!’ This year I’ve been lucky enough to be part of the planning committee, participate and volunteer.

—

Michael Roche

What exactly will you be working on at the Marathon this year?
Acrylic on canvas my theme will be “newborn” i will be exploring the nature of life, if you want more you will just have to come watch!

Why are you participating?
I like the challenge of creating a completed painting in a single sitting. It requires planning and really tests my skills and endurance.

What’s your survival plan?
A mix of Artistic inspiration coffee and sugar!

What’s your most memorable Marathon moment, if you have one?
I would have to say watching the artist work who brought his forge and anvil to the show.

—

Will Gill

What exactly will you be working on at the Marathon this year?
I will be working on a small series of paintings on wood panel. I am going to work spontaneously with acrylic paint, collaged elements and maybe chalk pastel.

Why are you participating?
Because it’s turned into the most anticipated and exciting art event of the year! I love it. I feel a strong bond to the whole thing because I was on the board at Eastern Edge in 1989 when we came up with the idea for an event that focused on making art, music, writing etc etc for 24 hours straight. It has certainly grown since then thanks to the efforts of dedicated marathon coordinators and Michelle Bush. I remember the rush and ultimate exhaustion of working for 24 hours the first year. Its pretty addictive, you do it once, swear you’ll never do it again because you’re so wiped, then can’t wait for the next one to happen the following year.

What’s your survival plan?
The truth is for the past few years I have been a measly spotlight artist (3 hour creation period as opposed to 24) There’s no glory in it, like being a full marathon artist, but you get to make stuff, then walk around for hours, and see what other people are doing and take in some of the music. For me, that’s the excitement. Plus, I have a wife and three year old, it would just be too insane to do the full marathon.

What’s your most memorable Marathon moment, if you have one?
There are lots.

Mike Hickey and Cyril Butler have come up with some memorable (to say the least) late night performances over the years.

The weiner shaman is a world renouned clairvoyant not to be missed.

But memorable in terms of stupidity would have to be the year I tried to carve a big piece of wood throughout the night with a tool called a lancelot, which is essentially a chainsaw blade attached to an angle grinder. I somehow managed to get through the event without losing too much blood. Not a recommended marathon tool.

The best thing though is seeing the look of relief, pride and thorough exhaustion on the marathoners faces Sunday at 12 noon.

—

Darren Ball

What exactly will you be working on at the Marathon this year?
I’ll be working on a large 18″ by 24″ inch monochrome piece.

Why are you participating?
Mostly to see the incredible work people come up with, and to hang with the other artists.

What’s your survival plan?
Tea, lots of Orange Pekoe Tea, and possibly a few doughnut or Bagel runs.

When was your first experience with the Marathon?
during the summer of 2006, i stumbled across a flier for the marathon, not being as into the arts community as I’d like to, i resolved to sign up, and did so.

—

Patrick Canning

What exactly will you be working on at the Marathon this year?
A pretty big painting. I have a 4′ by 5′ surface prepared for the marathon and it’s been four years or so since I’ve worked quite that large. I use only the cheapest dollar store craft paints and brushes. This year I think I’m gonna experiment with some fun pattern rollers I found and I think this years painting will be more amorphous/organic then the previous years which were more geometric. But nothing is composed beforehand.

Why are you participating?
It’s always the highlight of year for me. It’s a blast to get to be creative and socialize in that kind of environment. It’s a great place to meet people and there is always something interesting on the go.

What’s your survival plan?
Get as much done as possible in the afternoon before the bands start playing. Art Marathons ain’t nothing without dancing. If I can get it 60% done by 7pm then I should probably be good and done by 5am without feeling like I’ve missed to many exciting things.

What’s your most memorable Marathon moment, if you have one?
I think anybody who saw Mikiki’s late night performance with the champagne bottle several years ago will never forget that even if they tried really hard. That and Vampires of Love’s “Sexyback” from three years ago, for the same reasons. http://www.youtube.com/watch?v=YaiJhOZ9N58

—

Answers by Daniel Miller

What exactly will you be working on at the Marathon this year?
Amnesty International volunteers from every corner of St. John’s will be coming together to make the Amnesty International Art Project happen.

Volunteers will will be writing letters at a small booth continuously over a 24 hour period. As we finish our letters we will place them into a collage. We will aim to write 5 letters an hour and have 120 in the collage. Once the 24 hours is over, the collage will be photographed, disassembled and the letters will be mailed.

Why are you participating?
No one questions that writing is an art. Is letter writing an art? We think so. The great thing about this project is that it marries the public importance of human rights advocacy with the private joy of artistic creation. Also, this is an incredible way for Amnesty’s volunteers to connect with the community and vice-versa.

What’s your survival plan?
Team spirit, volunteer cooperation, and inspiration from over seas human rights workers who we are writing for.

When was your first experience with the Marathon?
This year is our first year. Of course, a number of our volunteers have been attended before: that is why we put this project together. We cannot wait to be inspired by the HAMmy atmosphere. Hopefully we can inspire some others too.

—

Dolores Bedingfield

What exactly will you be working on at the Marathon this year?
I think I’ll paint something to do with the sea. I’m interested in the effects of light.

Why are you participating?
I’m participating because it sounds like fun and I want to meet other artists.

What’s your survival plan?
Survival to reach goal: use acrylics for underpaint and keep going until tired; sleep a few hours, then back at it until closing.

What’s your most memorable Marathon moment, if you have one?
First time participant.

—

Neddal Ayad

What exactly will you be working on at the Marathon this year?
Good question. It will be partially participatory, involve Rorschach blots, and much black paint and india ink will be used.

Why are you participating?
Why not?

What’s your survival plan?
If we were in the U.S. my survival plan would consist of Mountain Dew (my preferred caffeine delivery system) and Marlboros, but we’re not so I’m going to have to tough it out. Like Survivorman.

What’s your most memorable Marathon moment, if you have one?
My most memorable moment isn’t really printable, but it involved (stage) blood and metal. But not in that order.

—

Steve Topping

What exactly will you be working on at the Marathon this year?
I plan on producing a series of simple drawings of construction projects I have built.

Why are you participating?
I am participating in the 24 HAM in the spirit of benevolence with my community.

What’s your survival plan?
Eat every 3-4 hours and drink as much or more water than beer.

What’s your most memorable Marathon moment, if you have one?
You don’t want to know… ask me in private sometime (a rather dark tale)

Lets say it is when I planned and built, with the help of Kym Greeley, an outdoor tarp shed roof the size of a tennis court….. we had to take it down in winds of 70kph without dying or killing anyone else.

—

Ginok Song

What exactly will you be working on at the Marathon this year?
Working from charcoal figure drawings I’ll use the impasto technique to quickly lay down on canvas an impression of my subject matter. My subject matter could range anywhere from still life to scenery but usually involves the human figure. At this juncture in the process I’ll then begin a technique called Decalcomania. This is a mono print process were the original painting is pressed onto another canvas to create a one of a kind print when carefully removed. After that process I could be left with two creations depending on how it turns out, the original painting and the newly created mono print. I believe this kind of method is ideally suited for an art marathon. It’s exciting, fast and tends to encourage the creative juices to flow.

Why are you participating?
I am a member of the Eastern Edge Gallery for over five years now and I’ll do what ever I can to help support such a wonderful facility. We are very fortunate here in St. John’s to have an artist run gallery that any artist can avail of.

What’s your survival plan?
My survival plan will consist of having enough materials so I won’t run out like I did last year also having lots of coffee and depending on my fellow artist to keep me engaged in good conversation and inspiration.

What’s your most memorable Marathon moment, if you have one?
This is my third year participating in the Eastern Edge 24 art marathon, each year they get bigger and more exciting so I am really looking forward to this year.

—

Clouston Glass Designs: Douglas Clouston and Jane Bonia

What exactly will you both be working on at the Marathon this year?
We will be creating as much glass and jewellery as we can in 24 hours.

Why are you participating?
Well, other then the free meals and snacks given out to participants, its a good opportunity to meet other St. John’s artists who may be up for a collaboration in the future, and it’s a good way to get our names and jewellery out there.

What’s your survival plan?
“Kick em’ where it hurts” ….. or I guess really just try with all our might to stay awake.

When was your first experiences with the Marathon?
Jane took part in the marathon last year under the group JaM Jewellery. As for Douglas, he will be losing his marathon virginity this year, he has never participated in the 24 Hour Art Marathon before!

—

Marie-José Williams

This is my first time doing this marathon and I am doing it out of curiosity but also because I thought it would be an interesting experience… something different to do as well as an opportunity to meet new people.

I am hoping to be working on my next painting in a series called “the little fisherman”. It will be an acrylic painting.

I will probably be there for only 2-3 hours.

—

Peggy Tremblett

What exactly will you be working on at the Marathon this year?
I don’t usually have a plan, I just go and sit until something ends up on the canvas. It almost always ends up being ugly girls with attitudes.

Why are you participating?
I’ve done the marathon for a bunch of years now and I am always so inspired to be there, watching other people create. It’s a great opportunity to get your work noticed, and to find new art and artists to fall in love with, plus it’s a wonderful fundraiser for the gallery. I admittedly get a bit distracted at the marathon each year, always caught up in watching Charlotte Morgan paint those tiny creatures, or Patrick Canning cover a canvas in something beautiful, so it takes me a while to be able to sit down and create. But being inspired is always a wonderful thing.

What’s your survival plan?
I rarely ever last the full 24 hours. I feel old and worn out after about 19 hours and always finish up and go home for a nap. It’s a 19 HAM for me. Perhaps I will try to stay and work the entire 24 hours this time. So..my survival plan is to drink lots of tea and listen to something loud on my headphones when I start to get sleepy…perhaps some Slayer?

What’s your most memorable Marathon moment, if you have one?
Being an isosceles triangle last year.

—

Tim Pottle

What exactly will you be working on at the Marathon this year?
Not entirely sure, been doing a few thumbnail sketches so I dont go down there with nothing in mind. Been a few coat hangers in the drawings, so maybe something about abortions. Hopefully it will be eyecatchingly offensive. (maybe paint something in the vein of a hind quarter of moose, hanging in ashed, tied up with a piece of that yellow plasticy rope that has a tendency to fray, and sometimes the frayed pieces can be a bit scrotty on the hands. or abortion…)

Why are you participating?
Meant to do so the last two years, but due to being out of town with work I wasnt able to. Also heard that it was good times down there.

What’s your survival plan?
Alcohol, cigarettes, and whatever else I get my hands on. Also some motivation may come from other artists. If I see them finishing a piece within a day, I will keep at mine.

What’s your most memorable Marathon moment, if you have one?
This will be my first, so hopefully make a few this time.

—

Anna Felaxos

What exactly will you be working on at the Marathon this year?
This year I am working on a piece about the state of exception: What does it mean to be accepted, tolerated, and celebrated as an exception to social and moral rules of the everyday? I have no children, no homeland, and a susceptibility to shock, thus my longing for stability never catches up with my reputation as an exceptional person. The categories of fulfillment never fit with my aspirations, and I seem fated to fail –and fail well. My performance this year will not attempt to shock, though this seems an inevitable outcome in the state of exception.

Why are you participating?
I am participating in the marathon this year to show my support for the event and to ensure that there is something for everyone who chooses to attend. Some people will show up for beautiful oil painting. Others will come to see sculpture and textile work. And still others will come for the fish, the flags, and the fury.

What’s your survival plan?
I plan to survive the marathon by pacing myself. There’s no sense in spreading yourself thin unless you have enough goods to party around the clock. I plan to drink plenty of water, have a few Tic Tacs, and become more angelic with every hour.

What’s your most memorable Marathon moment, if you have one?
The first time I participated in the marathon was many moons ago when I had my First Communion at the gallery. It was a chaotic endeavour, which involved a hamburger, a can of Coke, and a bloody mess. I have very fond memories of other artists and their work over the years. In addition to creating funky haircuts, telling salami fortunes, and constructing paper lanterns, marathon artists have inspired all those who have attended over the years. I toast them all with a glass of champagne for allowing us to see the world through a glass, darkly.

—

Darren Whalen

What exactly will you be working on at the Marathon this year?
I will be painting a large scale portrait of the deceased front man of the highly influential new wave band Joy Division. I have been fascinated by the true rock story of Ian Curtis and the music of Joy Division since seeing the film Control.

A soundtrack of non-stop Joy Division will be played on site as a companion to my painting performance. To create what will hopefully be an inspired image I will feed off the vibe and mood of the music and draw on any nervous energy I might have. I will paint using acrylics mixed with water and medium as it will dry quickly and enable me to create layered effects in a relatively short amount of time. I intend to really loosen up and enjoy the process.

Why are you participating?
For years I have shown my support for the 24 HAM by attending, but I have never actually participated until now. I have been somewhat reluctant in the past to put myself out there. However being the withdrawn artist can get so very boring.

What’s your survival plan?
I am going to depend on drugs and alcohol to keep me going all day and all night long. No, but seriously . . . I have put some thought into this and here is the plan: For starters I will go into the event well rested. For the first time at a 24 HAM there will be a paint brush in my hand, and not a drink. I will also avoid heavy meals as it would only make me groggy. Rather, I will eat healthy light snacks and lunches throughout the event to keep my blood sugars and energy up. Frequently I will take breaks from my own project to float around, mingle with the other arties and feed off their energy. I think caffeine loaded energy drinks are crap and art supposedly inspired by altered states of consciousness is a bit of a farce.

When was your first experience with the Marathon?
I don’t have any real vivid memories or interesting stories to tell about my first experiences with the 24 HAM. Previous years I would show up in the evening, have a few drinks, say hi to a few friends, and take in some music and art. Being a non-participating artist always meant I would get the, “why aren’t you participating?” all night from my art buddies. I was contented just to see what everyone else was up to.

—

Michael Collins

What exactly will you be working on at the Marathon this year?
I am going to write. No editing, not overly concerned with coherence. Ideally an experimental novella of great daring will be the end result. I am aware it may instead end up being 17,000 words of rambling nonsense.

Why are you participating?
Deep-seated sense of self-loathing. Jokes! No really, the real reason is my longer fiction projects are always too grandiose, over-thought and large. They collapse under their own weight. I want to see what’ll happen if I force myself down an alternate root. I always work best in last minute panic. I figure this will be like 1440 last minutes!

What’s your survival plan?
I plan to rest my wrists and my eyes for 15 minutes out of every hour. I’m going to pace myself on the caffeine. I’m going to close my eyes and think of England.

What’s your most memorable Marathon moment, if you have one?
I hung around in the parking lot for an hour last year with a guy from the Netherlands (it was his first time here). A friend of mine took out some african drum or other, sat on the asphalt and and sort of spaced out while playing. It is not a particularly interesting or funny memory but it is my only one.

—

Ricky King

What exactly will you be working on at the Marathon this year?
I have been filling up pages with these little random doodles for years. People always seem to enjoy them but really seem amazed at how fast I can produce them. This year I plan to test my abilities by filling a full sketch book with these spontaneous drawings. Expect to see lots of cocky birds and beavers.

Why are you participating?
It seems like a good way to meet people and especially meet other local artists. It’s also nice because it’s time that you can dedicate solely to art with few outside distractions which is importannt because I’m easily distracted.

What’s your survival plan?
I’m really going to try and avoid doing much drawing before the marathon. My main concern is keeping the work fresh from start to finish…. and hand cramping, that’s also a concern. I may have to become ambidextrous in the next week or suffer the consequences!

What’s your most memorable Marathon moment, if you have one?
I’m not really a marathon guy so this is my first time, but when I saw the logo I thought “no ham can outrun me!”. (feel free to omit that one)

—

Sarah Hillock

What exactly will you be working on at the Marathon this year?
I haven’t decided exactly what I will be working on yet. Either a cow painting or something totaly new.

Why are you participating?
I’m participating as a challenge to myself. I am a totaly reclusive artist, I don’t even work well in a studio with one other person. So the challenge will be being able to concentrate in order to both create a work that can stand alone and also be a performer in the moment of creation.

What’s your survival plan?
I think headphones are going to be essential to my survival as well as a good supply of cookies.

What’s your most memorable Marathon moment, if you have one?
The marathon is full of firsts for me. I danced with Djolali for the first time publicly two years ago and I was so scared. Every performance after that was easier. This will be my first time performing a painting in public and I hope it will be the same.

—

Jillian Parsons

What exactly will you be working on at the Marathon this year?
The work I’m going to do for the Marathon isn’t entirely planned out yet, so I can’t tell you exactly what I’ll be up to, but I’m likely going to be up to some of my old tricks involving grass seed, dirt, burlap, and a 1975 Sears Kenmore Sewing Machine.

Why are you participating?
The decision to participate this year was primarily fueled by my involvement with Stockpile, an artist collective based out of the Atlantic provinces that was founded by Mark Prier, Philip Robbins and myself. This is our second year for it and we thought that as part of our activities we would come out for the 24 HAM, so now it’s become a road trip of sorts with Phil and I bringing along artists Mark Adams and Jordan Bennett. Others from the collective wanted to join us but work commitments are keeping them home this time ’round, so I think we’ll try to be ambassadors of Stockpile. I’m pushing for emblazoned sashes, but I doubt my ability to convince the rest of team that it’s a good idea.

What’s your survival plan?
My survival plan is to channel the 4th year of my Visual Arts degree, since I made it through that a few years back. I still keep the fires burning with occasional all-nighters, now that I’m a bit older (and hopefully wiser), and I have Earl Grey Tea on my side. Surprisingly, I didn’t learn how to harness the power of caffeine until after I finished my degree, and since this isn’t the 24 Hour Art History Essay Writing Marathon, I think I’ll do ok.

What’s your most memorable Marathon moment, if you have one?
This is my first time participating in the Marathon, but my first experience with it was last year when I attended the opening event featuring Annie Sprinkle.

—

Jaclyn Humphries

What exactly will you be working on at the Marathon this year?
I will be mainly experminenting with making jewelry out of used or broken musical instruments, I also plan on creating fabric jewelry and maybe some beaded jewlery. I like to switch it up.

Why are you participating?
I am participating because i want to get involved with the craft/art community in NL

What’s your survival plan?
Switching between differnt pieces that i will be creating to keep my brain wokin’ and lots of caffeen.

What’s your most memorable Marathon moment, if you have one?
This will be my first expierence with the marathon!

—

Allen Wallbourne

What exactly will you be working on at the Marathon this year?
At this years 24 Hour marathon I will be working on an embroidery piece I have had in the works for a while but been putting off. It is a 45 by 45 cm stretcher covered in a beautiful floral pattern featuring light pastels of purple, pink, yellow and blue. On the material I am insanely embroidering hundreds of bees pollinating the flowers.

Why are you participating?
This is my second year participating in the marathon and I am very excited for the return. A fellow Grenfell art student and close friend, Lisa Wakeham, is one of the co-coordinators of the marathon and I am glad to help her out in any way I can.

What’s your survival plan?
My survival plan is to steal all of the creative energy from the artists and use it to get me through the night, plus one or two coffees from Hava Java or course.

What’s your most memorable Marathon moment, if you have one?
My first experience with the marathon was last years wonderful line up of events. I was just returning from a distance education program and I heard about the event through other art students. I had to get involved and flicked together an emroidery that took me well over 24 hrs to do but im insane like that anyway.

—

Luca-Jean Kelly

What exactly will you be working on at the Marathon this year?
I’ll be doing mostly sketchwork and working with inks, though hopefully I’ll get around to finishing up some marker drawings.

Why are you participating?
I’m participating mostly out of interrest to see what it’s like and who I’ll meet. I’m not very involved with the arts culture here yet and I’m looking to change that.

What’s your survival plan?
Lots of caffiene and sugar.

What’s your most memorable Marathon moment, if you have one?
This is my first art marathon, so we’ll see how it goes :)

—

Erica Norris

What exactly will you be working on at the Marathon this year?
I’ll be doing airbrush paintings, and maybe some other paintings depending on my mood. I have no specific plan, it usually just comes to me the week before or on the spot. I normally do a sea creature or animal painting early in the day since theres more families around, and move onto other things later in the day.

Why are you participating?
This is my 5th year doing the marathon; its become habit! Its a fun time, you get to meet lots of artists, creative people, and some great performers. Its good to get your name out there and try to find a market for your art. Also, its great that the gallery benefits from it too so they can keep up supporting the arts.

What’s your survival plan?
Usually I take a break for a late supper and head up to get some sushi, then as the night goes on take a few breaks to check out what everyone else is up to and see a few performances. Its always good as fewer and fewer people come to visit to have some good music to keep me going.

When was your first experience with the Marathon?
It was 5 years ago. I did digital art and was amazed that people actually bought my art! I was young and inexperienced and I’m not sure I had actually sold anything major at that point. Since then I’ve gone on to sell quite a few paintings and pick up some commissions, too.

—

Marie-Claude Thibodeau

It is my very first participation to the 24 Hour Art Marathon and I really don’t know what to expect. I see it like a new adventure. I would like to paint a sunset or sunrise but it is not decided yet. It is a great challenge for me because I am not sure to be able to make it, I need to acquire more self-confidence and this is my goal.

—

Ashley Neville

What exactly will you be working on at the Marathon this year?
I’ll be working on acrylic paintings. Probably mostly portraits and still lifes of objects.. maybe one or two abstract.

Why are you participating?
I’m participating because I’m an artist and this gives me a chance for some major inspiration and motivation….and it seems fun…. and i wanna see what everyone else is doing.

What’s your survival plan?
I’m not sure what my survival plan is.. I’ve never done this before so I don’t know what to expect. I imagine it will feel a little like being at art school… minus the not having time for a shower or eating. The 24 hr hour art marathon will probably be a lot more fun too. Maybe I’ll take my mp3 player for my sanity’s sake.

What’s your most memorable Marathon moment, if you have one?
This is my first experience with it. I’m not from St. John’s so I only really knew about it this year… should I be scared? :O

—

24 HOUR ART MARATHON SCHEDULE

Unless noted, all events happen at the Eastern Edge Gallery, 72 Harbour Drive.

Friday 14 August at 8pm
1984 Kick Off Dance Party: DJs Will Gill, Pat Dunn, Rachel Harding, DJ Kerf, David Whitten; Performance by Alexis O’Hara (Mtl); Hosted by Cyril Butler, $10 with costume.

—

Saturday August 15
24 Hour Open DJ & Graffiti Jam: Showcasing rising DJ talent (12pm-12pm); Grafitti Jam with Monty Hall & friends (12pm-5pm).

—

Monday August 17

1pm-3pm
Richtig: Performance artist Elke Suhr expands upon road signs by her discussion of symbols, transforming their meaning beyond just relating to traffic.

7pm-9pm
Art School 101: Artists discuss their current work and receive critical feedback. All artists welcome to take part.

—

Tuesday August 18

10am-12pm
Zine Workshop (FEAST) See examples of various zines, make one as a group, and learn techniques to make your own. All ages.
-
12pm
FEAST Community BBQ
-
7pm
Soiree Francophone: Francophone artists speak about their current practices.

—

Wednesday August 19

10am-12pm
Living Lore (The Rooms) Explore stories and bring them to life using shadows, lights and colour. Build shadow puppets with Jason Sellers. All ages.
-
12pm
Planned Parenthood Community BBQ
-
7pm-8:30pm
Escape Video Screening: 15 videos curated by Keagan McFadden, circulated by Winnipeg’s VideoPool.

—

Thursday August 20

10am
Morning Meditation Workshop: Stretch with yoga meditation faciliatator Lynn MacCannell of the Lotus Centre. Free but bring a mat if possible.
-
12 pm
AIDS Community BBQ
-
2pm
Arts Grants Presentation and Q&A: Melinda Mollineaux, Program Officer Visual Arts Section of Canada Council answers questions about writing your grant.
-
7pm-10pm
Fancy Artist Talks: Gallery members present their artistic practice in 15 minutes while audience enjoy a fancy cocktail designed to match their work. Artists include Helen Gregory, Mary MacDonald, Alexis O’Hara, Steve Topping, Cyril Butler, Liz Solo & Iakov Afanassiev.

—

Friday August 21

11-1pm
Kiddie Video Dance Party: Come dance like robots, butterflies, helicopters, Nan, fairies, bugs, bees, bunnies, kites and windmills. Freaky lights, swirly videos and groovy tunes all over in time for afternoon naps.
-
12 pm
VANL CARFAC Community BBQ

—

Saturday August 22

Outdoor Soapbox Performances: Clown Picnic (12pm); Deborah Jackman (1pm); Neighbourhood Strays (2pm); Chad Pelley (3:30pm); Mike Heffernan (4pm); Weiner Shaman (6pm); Cyril Butler (10pm).
-
Music: Wayne Butler (5pm); Megan Morrison (5:45pm); Neil Conway (6pm); The Natural State (6:30pm); The Black Auks (7pm); The Domestics (7:30pm); Sherry Ryan & Joe Belly (8pm); Japan Batteries (8:30pm); Overlay (9:3pm); am/fm dreams (10:15pm); The Mudflowers (11pm); Diamond Minds (11:45pm); Anna Felaxus (12:45am); Ye-Yeti (1am); Kujo (2am); Worker (3am).
-
Floating Perfomances: Anna Templeton Fashion Show (3:30pm); Miniature Theatre (7pm); Planned Parenthood Dental Dam Condom Races (7:30pm); Mobile Clubbing moving headphoned dance party (8pm); Lantern Parade (9pm); Glow display; International Womens’ Film Festival personal looped screening.
-
12pm-12pm
24 Hour Art Marathon: Over 100 artists involved in non-stop art making madness in gallery space/ parking lot/ harbourside/ St Michael’s/ Wonderbolt plus children’s workshops during the day in the gallery, $4 day/$7 night.
-
Sunday August 23 from 12pm-3pm
Silent Auction: 24 HAM Marathon Artworks

More lists

A few more “25 Greatest Works of Art Made in Newfoundland and Labrador” lists.

BONNIE LEYTON

Owner of the Leyton Gallery of Fine Arts

Rae Perlin
Still Life With Vase
Boy
Hooded figure

Christopher Pratt
The bathroom sink

Mary Pratt
Eviscerated Chickens
Bonfire By The River

Don Wright
The Red Trench
Amanita Series from the Falling Exhibition

Michael Massie
Grandfather I have something to tell you
and
So many of his silver teapots

Michael Pittman
Passage With Blue Membrane
Revenant (Family Machine)

Jennifer Barett
Chair
Carousel Ponies

James Rosen
Homage to the Dreamlight of Lorenzo
Man With Hat

Luben Boykov
Cast in bronze grass figures
Little Little River
I Stand On Guard for Thee

Elena Popova
Fall Garden
Mid Afternoon

Will Gill
Ladder, Cloud
Boots, Cloud

Marlene Creates
The Labrador Mapping Series

Anne Meredith Barry
Anne Meredith Barry Journals

Craig Francis Power
In The Forest

Gerry Squires
ROOTS

PEGGY TREMBLETT

I found it extremely hard to write this list. I started off cocky, so sure I could list 25 great pieces of Newfoundland art.

“No problem, look at me go! 25 great pieces of art? This is easy”

Not even two minutes in, I started to doubt myself. I quizzed some friends and came up nearly empty handed. Everyone seemed to be a little stumped. I have lists of artists. Amazing local artists. A list 30 artists long. But no actual pieces.

Should I list 25 pieces of Newfoundland art that are iconic…that everyone knows? Like that resettlement photo? And what’s considered great? The most accessible art in Newfoundland tends to be of dories and icebergs. Do I make a list of those? Do I stick to paintings, sculpture, photography? Can I include films, music dance, performance art? What about buildings? Or…do I list 25 pieces of art that I love… my favorite. 25 pieces that grabbed a hold of my heart and held onto to it. I figured this list was the easiest, and I adore easy. And after all, art is subjective, right?

Donna by Mary Pratt

City by Gary Saunders

I sent my creature scouting by Gerald Squires

The Grass Girls by Luben Boykov

All Things Considered by Jim Maunder

Becca by Jonathan Green

Mouths by Pam Hall

View of Seed by Beth Oberholtzer

Summer of the Karmann Ghia by Christopher Pratt

Cloud by Will Gill

Landing by Kym Greeley

The Boreal Poetry Garden by Marlene Creates

Episode 7: A Part Of That Message Lingers On by Robin Smith-Peck

Swan by Annette Manning

Breath by Elayne Greeley

Hurdles by Jerry Ropson

Bedroom by Jordan Canning

Root dress by Barb Hunt

Dancing With Matisse by Jennifer Pohl

Bowering Park by Toby Rabinowitz

Hag by Micheal Pittman

Hot Karate Lesson by Jennifer Barrett

Skeletal Study With Sea Bird Remains by Helen Gregory

The Basilica

“Spur Bathroom” by Cherie Pyne

MICHELLE BUSH

Eastern Edge Executive Director

kym greeley
john haney
greg bennett
craig francis power
will gill
jennifer barrett
marlene creates
angela antle
reid weir
helen gregory
anita singh
mark bennett
darka erdelji
elaine davis
corey gorman
gerry squires
jack botsford
anne-meredith barry
tara bryan
mary macdonald
john mcdonald
candace fulford
gordon laurin
sarah hillock

A bit of a blur

“Train snaking”, by Toni Hafkenscheid

Ross Mair tilts and shifts into the past with Toronto photographer Toni Hafkenscheid.

Memories from childhood often occupy the blurred space between dream and reality. Some of us remember digging up mom’s flowers and making little rock pools near the perrenials (me, for instance), but Toronto-based photographer Toni Hafkenscheid, above all, remembers his model trains. At his exhibition of photos at the A1C gallery, entitled HO, he’ll be sharing those memories with us.

Born in Rotterdam and raised in Amsterdam, Hafkenschied has taken long trips through B.C. in the summers. Like a lot of people from outside of that province, he was struck by how surreal his surroundings appeared.

“I was camping, and staying in the mountains and I realized that the landscape was bizarre looking,” he says. “Where I come from everything is very flat.”

From there he decided that photographing the scenery in the usual way wouldn’t do it justice, so he bought a camera with a perspective control lens—which can explore the depth of field, and headed back west.

“I was essentially chasing trains around the lower mainland, waiting for hours at a time. I was staying in Hope, B.C. and at night you can hear the trains,” he says. “It was very romantic.”

These train-spotting sessions produced a series of photos one could easily mistake for designed sets, pieced together with cotton trees and model trains. They are too perfect to be real, too real to be fakes. The tilt-shift lens blurs the image in such a way that things appear in miniature.

One particular shot of a CP train, snaking its way through the B.C. interior, took him hours to get. Driving around he noticed the S-curve in the track.

“I parked my car, and waited for hours,” he says. “I knew trains had to go through there.”

When he finally got the shot, at first he wasn’t happy with it. He felt it looked too surreal. But he came back to it several years after, when approached to put on this show, and now views it as the centrepiece.

17 of Hafkenscheid’s photos are now on display at the A1C.

Toni Hafkenscheid’s exhibition, HO, is now on display until March 1 at the A1C Gallery, 8 Clift’s-Baird’s Cove, 237-0427.

The Second Life and real art of Liz Solo

The Rock Can Roll Festival, running from October 23-26, is now in its fourth year. This time around, in addition to highlighting the independent rock music scene, the festival will spend a day exploring “virtual spaces.”

Liz Solo, best known locally for her music, has been busy over the past few years working on various performance art projects online in the internet-based 3D virtual world of Second Life.

Elling Lien got a chance to speak with Solo about her work, about her online self, and her struggle to help people understand her work.

(more…)

Women With Kitchen Appliances

Artist-run centre the Eastern Edge is throwing its annual 24 Hour Art Marathon—an art-making and all-out party kind of deal—on August 16th to 17th, noon to noon, this year. Last year it won “Best Local Event of 2007″ in The Scope’s Best of St. John’s Readers’ Poll—and with a full week of programming prepared this year, the event is liable to be just as exciting.

As part of the week’s events, on Thursday, August 14, there will be a 5 Hour Performance Art Marathon which will include the first live performance from the splinter cell of Women With Kitchen Appliances. WWKA—pronounced “wicka”—will do a sound performance involving kitchen appliances, contact mics, wigs, and pink nail polish.

Originally formed in Montreal in 1999, the group has presented their work in bars, on television, and, yes, in kitchens, in New York, Brussels, and across Canada.

Elling Lien got a chance to talk to the four members of the Newfoundland edition of the group… who have chosen to remain nameless for the interview. As the group describes themselves, they are “three, four, or five or six. Identical. Interchangeable. Disposable. And dead serious.”

What is Women With Kitchen Appliances?

Women With Kitchen Appliances is fairly little.

…Ladies all over the world with kitchen appliances!

It’s a sound performance collective originally from Montreal that is turning into a  WWKA army and therefore needs different artist stations across Canada—and internationally. (more…)

Oh snap

Erin McKee does battle with photographer Chr!s Sm!th.

Professional photographer and graphic designer Chris Smith is inviting all local photographers—regardless of experience—to duke it out at The Ship Pub on April 14.

For one night, shutterbugs are encouraged to bring their best images to display from 6 pm on the day of the event, and from 8 o’clock on the crowd will have three hours to vote for their favourites. To ensure that participants have an equal shot at the prizes names will not be displayed on the prints themselves. (more…)

Sheilagh O’Leary

Photographer

Planning to run for office in the upcoming municipal by-election.

…What possessed you?
I’ve been thinking about it for a couple of years to be honest. Social activism has always been my main thing, even before I got into photography. I was one of the core organizers of Peace-A-Chord years ago. I’ve been involved on many different levels. I’ve been a Y volunteer forever and I’ve been on the board of ACAP (Atlantic Coastal Action Program) and the St. John’s Native Friendship Centre. I do a lot of community board work and volunteerism, and I’m passionate about this city. I just figure what better way to influence decisions and make things happen than to go directly to the source where they make decisions for the city? (more…)

Glass work

Emilie Bourque talks to Corner Brook craftsperson Jay Riopelle about the less glamourous side of glassblowing.

Photo by Jacob Fergus.

The beautiful, hand-blown vases and delicate Christmas balls that Jay Riopelle sells may look pretty, but the process it takes to make them isn’t so pretty.

Jay has been blowing glass for almost a decade now, including the three years he spent learning the craft in his home province of Ontario, at Sheridan College. He started out concentrating on furniture design at the college, with a Minor in Glass, but quickly realized what his passion was, and switched to glassblowing full-tilt. Instead of being leaned over drafting tables sketching, he can be found sweating and putting his blow pipe into something called “the glory hole.” (I’m not joking.) (more…)

Eye to eye

Erin McKee talks to artists Ryan Davis and Jason Sellars about their mixed-media art travelogue Trust: India in Sight

For two weeks in June, local artists Ryan Davis and Jason Sellars will throw open a magic portal in downtown St. John’s through which all curious adventurers will be transported to India.

You won’t need a map to get there­—a raggedy band of puppets and bright-eyed kids will lead the way. You’ll hear tiny cacophonies (crowds chattering, markets clamouring, tablas resonating) and you will see myriad delights (108 prayer flags, a swami on a palanquin, a castle made of paper, and a boy in a pool.)

These mysteries will be revealed at Trust: India in Sight, a multimedia art exhibit based on Davis and Sellars’ 2005 travels in India. On display will be 26 of Ryan’s photographs, as well as installations featuring audio recordings and video. (more…)

Muse mosaics

Erin McKee looks at Elaine Davis’ bead portraits.

Local artist Elaine Davis is a portraitist with a twist: her materials of choice are beads and thread, not brushes or easels.

“It’s like I’m painting with beads,” she says. “I use shadows like a painter would.”

Sewing since childhood, she discovered her love for beads by accident. (more…)