This month, and into the first week of June, I am doing a residency at Vermont Studio Center way up in Johnson, VT. That’s about two hours south of Montreal, and pretty much out in the country. It is rather beautiful. VSC hosts 50 artists every month of the year, making it the largest artist residency facility in the country. I have spent the last few days setting up my studio, getting settled in, meeting everyone, and even getting a little work done. I ran around a bit shooting photos on my trusty Yashica, and staged a video installation on the back of my studio building. I don’t really have a good title for it yet, so lets just call it Waterfall for now.

River soundtrack in the video is provided by the actual river, which is right behind where I shot this.

My studio is across the Gihon river from the mill building (photo at the top of this post), in the Barbara White studio building. Sharing the first floor with me are several printers and a photographer, and there are a slew of painters upstairs. If they let me, perhaps I can post some of their work later in the month.

Barbara White building.

VSC hosts writers as well as visual artists, and there is a pretty good mix of people working in different media so far. Tonight there will be artist slide talks, for those who want to share work, which I am really looking forward to.

My Studio

I will try to keep on a regular posting schedule while here, so check back for more in a few days!

3–5pm
Tune into the concerns of Angelenos affected by the financial crisis by listening to the carols of the People’s Microphony Camerata (Cynthia Aaron, Karen Atkinson, Vivian Bang, Andrew Choate, Judith Dancoff, Rachel Finkelstein, Penny Folger, Sascha Goldhor, Michele Jaquis, Allison Johnson, Elana Mann, Kimberly N, Alanna Simone, Juliana Snapper, Julie Tolentino, Annette Weisser and Becca Wilson).

6–9pm
LIVE PERFORMANCE and RECEPTION
David Schafer‘s Cage Mix: Static Age reconceives a selection of John Cage’s compositions through live electronic and processed improvisation performed alongside an accompanying installation. A reception will follow Schafer’s performance.

A listening station with all projects will be at 6020 Wilshire through April 27th.

You hold it in your mind all the time.

An exhibition of experimental work about physicality and perception.
August 11 – September 30, 2011
Art at 12
12 Farnsworth Sreet
Boston MA 02210
www.fortpointarts.org

You hold it in your mind all the time, exhibition

Heidi Kayser reflected in Sarah Rushford's sculpture "Semblance"

You hold it in your mind all the time, exhibition

You hold it in your mind all the time, exhibition

Join us for an artists talk about this exhibition of experimental work about physicality and perception. Artists: Michele Jaquis, Heidi Kayser, Jeremy J. Quinn, Sarah Rushford, Marguerite White, Tom Wojciechowski.

The exhibition includes projected and monitor based video, sculpture, drawing and photography that takes an experimental, scientific, or analytic approach to the investigation of the mysterious nature of somatic knowledge.

See the exhibition announcement and press release

www.fortpointarts.org for more info

We would be so happy to see you at the opening on August 11 or the artist talk on Sept 24. Or stop in during gallery hours of course!

(Please note the change in the artist talk date from the printed postcard, which says Saturday Sept 15 )

You hold it in your mind all the time.
An exhibition of experimental work about physicality and perception.

August 11 – September 30, 2011

Michele Jaquis
Heidi Kayser
Jeremy J. Quinn
Sarah Rushford
Marguerite White
Tom Wojciechowski

Reception: Thursday August 11, 2011 5:00-8:00 pm
Artists Talk/Closing Reception: Saturday September 24 2:00pm

Art at 12
12 Farnsworth Sreet
Boston MA 02210
www.fortpointarts.org
617 423 1100

Art at 12 Gallery Hours
Mon-Fri 11am-6pm, Sat 11am-4pm, Sunday by chance

Art at 12 Gallery presents You hold it in your mind all the time, an exhibition of multidisciplinary work by Boston artists Heidi Kayser, Sarah Rushford, Marguerite White, and Tom Wojciechowski and Los Angeles artists Michele Jaquis and Jeremy J. Quinn. The show dates are August 11 – September 30, 2011, with an opening reception on August 11th and an artist talk and closing reception on September 24th. The exhibition includes projected and monitor based video, sculpture, drawing and photography that takes an experimental, scientific, or analytic approach to the investigation of the mysterious nature of somatic knowledge.

Informed by philosphy, narrative, and neurobiology, You hold it in your mind all the time expresses and questions the folded duality of the self; the notion that the body is our infinitely personal, private selfhood, and is also a physical object in the outside world. Art theorist Gabriele Brandstetter writes of this strange doubleness “The body is a being of two leaves; from one side a thing among things and otherwise what sees and touches them.”

Heidi Kayser’s sculpture Spanning the Rift is a suspension bridge made of eyeglasses which, Kayser states,“addresses the internally confounding problem of time and helps extend perception by closing the distance between looking back and looking forward.”

Michele Jaquis’s Until I Can Speak my Mind is a short film that was inspired by a recurring dream that both the artist and her twin sister have had in which the artist is chewing bubble gum which she then spits it into her hand, only to find in the next shot that the gum is still there and is getting bigger.

Jeremy Quinn’s What Holds Us Together is a video projection that depicts the Brooklyn Bridge with its middle section conspicuously missing, while the view into Manhattan (the World Trade Center towers missing) remains intact. Traffic seems to pass into and out of a charged void that separates the two sides of the bridge in this commentary on emptiness and separation.

Sarah Rushford’s Quickening is an interactive installation. Viewers reach into a box that contains a green apple and a live video feed of their hand is mixed with a recorded video of another hand touching the apple. Viewers report feeling a strange a ghostly presence as the two images mix.

Marguerite White’s Cargo Cult is a shadow theatre constructed with cut paper and simple light
projections. This surreal narrative is a reflection on the power of visual memory and the subjective nature of physical perception.

Also included are large scale abstract landscape photographs by Tom Wojciechowski, in which familiar objects—a hand, a landscape, set up a perceptual conundrum and create a space that can’t or shouldn’t exist.

You hold it in your mind all the time illuminates a diversity of multidisciplinary contemporary art practice to suggest that what may seem to be private, even mysterious somatic experiences are actually shared perceptions that might be articulated.

Common Names is a site specific sculpture made of approximately 150 beach stones wrapped in paper, and installed near a grove of sea grasses on the beach at Bumpkin Island. The paper was wet before applying to the stones, and as it dried in the sun it took on the contours and shape of the stones. After drying, I wrote a name on each rock in graphite. The names were a combination of common names, and names of people I know.

Common Names, site specific sculpture, 150 rocks, paper graphite

Common Names, site specific sculpture, 150 rocks, paper graphite

making Common Names

making Common Names

Volunteers helped wrap the rocks, and also helped to generate name ideas. The conversation about names and naming is an evokative, personal, specific one that even strangers can easily become engrossed in. Each name and each stone seems to be for one person, and for every person.

The stones with their names nestled at the edge of the sea grasses seem vulnerable and protected at once. They are visible from far away because of their color, but their shapes and contours match that of all the stones on the beach.

Common Names, site specific sculpture, 150 rocks, paper graphite

Common Names is about the strange dual sense of self that we have as human beings. On one hand we have a profound sense of individuality and private selfhood, and on the other hand, most of what we call our identity; our DNA, our bodies, our perception, our basic human needs, almost our entire identity, is shared with every member of humanity.

Verses is an ongoing work in which prose verses that I composed are written in a stylized text, on long paper banners, and applied to the ground in areas of the landscape that are intended as views or lookout points. The banners are tilted and appear like a subtitle to the view. The two texts that I applied at two key lookout points at Bumpkin Island are the following

“Everything will be fine, your struggle, and the fighting of your mind, the pitching motions of your experience.”

“The sky will take on a yellow cast, once this cast has grown into morning, let the light of that morning fall on your hands, keep them still until the light changes.”

Verse 1 Text banner applied to landscape

Verse 2 Text banner applied to landscape

Verses shares something with Common Names. While the texts seem to talk directly to the individual reader, they also talk to every reader. I intend for them to touch the reader’s private sense of selfhood and also their sense of self as an archetype in a broad humanity. They are like bible verses in that way, speaking to the individual and the archetypal reader at once. But unlike Bible verses they ask the reader to rely on him or herself and on this world for strength and solace, instead of asking them to look outside of themself to God or to the idea of Heaven.

After a crazy couple of weeks packed with making new work, the show is finally up and ready for the public. Well, almost. There is still the matter of sound to sort out today, and a shelf/plumb bob situation to figure out. Oh yeah, and I might move a computer into the lab to show a couple of digital videos. But, plenty of time right? We got at least 7 hours to get it all in there.

The opening is tonight, and the show will be up all next week.
In case you like that sort of thing, here is a link to our press release.
And here is the Institute of Cultural inquiry main site.

RECEPTION:
June 11; 7-9 pm (if you are running late, come anyway, we will probably run later)
Free to the public; suggested $5 donation

LOCATION:
1512 S. Robertson Blvd. , Los Angeles, CA 90035
(two blocks south of Pico); street parking available

The work is mostly collaborative in nature, so many of the works share authorship across the Rise Industries membership. Contributors are:

Jeremy J. Quinn
Michele Jaquis
Sarah Rushford
Nicole Jaquis
John Kim
Boris Margolin
Tim Devin
Michael Feldman

with additional drawings provided by Ashley Moore

After Sarah had to return to Boston (sniff, we miss you!) Mike Feldman came by to scope things out, work on some texts, and plan his contribution. I also went around town shooting photos of Tim’s Mappy Facts – created about LA just for the show!

Some final videos were exported, the work got hung and photographed, I built some little foam-core surrounds for a couple of things, and finally figured out how to get my Quartz Composer patch into video. Used a work-around for that, still need to figure out how to export directly.

As the ICI staff wrapped up brochures, we prepped our print for the back of them – a lino-cut with text that summed up all our works pretty well. We spent last night printing these, so you get a free print as part of the brochure!

I got to get back to my final tasks – hope to see you there tonight!

All of us at Rise Industries would like to heartily thank the staff at ICI that we worked with throughout the residency – it was a real pleasure to work with you all, to have the run of the space, and basically be supported in doing whatever it was we wanted to do. So, Lise, Elaina, Gina, Jojo, Steve and especially Anna (I must have bothered her with a question about every half hour over a period of almost two weeks), thanks so much for letting us into your space!

Here are a few more photos and info about what Rise Industries was up to on Day 6-7 of the ICI Residency. Today, Friday, is the final install day for the exhibition, and Jeremy, Michele, Mike, and John are still at ICI, but I’ve returned to Boston, and already miss it!

These two photos above,  are from the filmstrip The Air About Us; a 1959 filmstrip for grammar school students, about a range of ideas relating to air and air pressure. The slides are beautifully photographed, oddly diagrammatic and some with the same awkward humor you see in those above. The filmstrip, which I watched without audio, has a wierd tonal contrast between pedagogy and poetry, science and spirituality.  It’s an experimental text and image work in itself.

I discovered what I thought was the empty filmstrip canister on my first day at ICI. A photo of the title on top of the canister  is featured in exhibition. But, because it’s such a short filmstrip, it was actually clinging so close to the sides of its canister that  I really thought the canister was empty. The last day I was there, I happened to open the canister again and realized the film had been there all along…

The Air About Us , the phrase alone  relates to the work we did during the residency. The air about us could be the representation of  distance using two dimensions; the uncanny quality of our 3d stereographic portraits. The air about us could be the cultural distance that travel photography can put between the subject and photographer. Or, it could be about misrepresentations of sizes and distances of continents in global projection maps.  It could also be about the contrast of closeness and distance we encounter in video chatting. Also, the air about us, is about us; Rise Industries. It’s about our personal relationships and histories and the roles we organically adopt within the collaborative, and challenges we face as we make art as a collaborative with members on opposite coasts and more than one continent. Working with Rise at ICI was a fantastic experience and I want to thank Rise and ICI, so very much!

Michele Jaquis, Jeremy Quinn, and Sarah Rushford in the ICI Lab

Me video chatting with Boris Margolin in Boston, showing him around ICI. Time clock and multi-time zone punch card piece at the right.

John Kim and Michele Jaquis discussing conversion techniques for Pacific Standard Time to Metric Standard Time.

Yesterday was a blur. We got into the space around 11 (Michele and Sarah) and Noon (Jeremy, after working 4 hours on other projects) and set about wrapping up some of the projects so we could start laying things out in the gallery. Technical difficulties ruled the early afternoon – trying to get video from animated gifs proved problematic. There seems to be no getting my Quartz Composer files out of that software and into video. Michele crashed her whole Final Cut suite and had to reinstall. But these little problems were not disasters, just challenges.
I put the whole video operation on pause for a while and went back to one of my globe projection drawings, translating from one projection view of the world into another projection drawing, layered and shifted. It is basically a globular projection of the world with a cylindrical (?) projection overlaid on it. But I drew the cylindrical projection in eight segments instead of twelve, so I had to interpolate the continents to work with the new divisions. I went back to that off and on over the course of the day and finally got it done by the time we left.

John Kim came by yesterday, and explained to Michele how his New Time (also known as Metric Standard Time) works, and how we can convert from our times zones (ICI time, Pacific Time, Eastern Time, India Time) to his Metric time. Its a little complicated, but she went back over all our time cards (we have been punching in and out each time we go to ICI) and filled in the Metric times for each stamp. We also had a skype visitation by Boris Margolin, who Sarah toured around the space via laptop. Boris and John’s New Time App was installed on Michele’s iphone, and tomorrow (today?) we will figure out how that one will be presented.

Several videos got output to DVD finally. Two simultaneous walks – in Munich and LA. A rotating lens reflecting the ICI courtyard canopy, two Foucault’s pendulums, again in Munich and LA, two days and two nights in Boston and LA, two cross country trips, and finally the stereoscopic videos made it onto DVD. There was a lot of testing projections for the 3d stereoscopic photographs, and we finally got just the right method of showing those.

We took a short break for dinner and got back to work. By the time we punched out, we had been there around 12 hours.

Here are some images from the past couple of days…