Paƛšiʔaƛma (The Fire is Just Starting) explores two traditions common in British Columbia shacks, the European sauna and the First Nations smokehouse. Smoke, a by-product from the wood stove in the sauna portion of the structure, is captured and used to prepare food in the functional smokehouse.
The work is informed by a long tradition of living off the oceans and lands. The smokehouse was an integral part of coexisting with the oceans; that tradition is thousands of years old.
The design of the sauna addresses a simple yet effective approach to light and heat, using only a glass pane for light and a stove that can make the room very hot with just a few branches.
The pervasive smell of smoke and cedar in the gallery are meant to spark interesting, weird and hopefully funny dialogue amongst diverse traditions and practices.
The sauna-smokehouse is primarily made from rough-cut cedar and fir from two Port Alberni mills, including the historic steam-operated McLean’s Mill. This material was re-sawn, dressed and carefully placed in relation to its companions. The remaining materials were mostly scavenged but also carefully considered.
Paƛšiʔaƛma (The Fire is Just Starting) was created on the invitation to intervene in Gwen MacGregor’s exhibition, Circumference, which works with Jock MacDonald’s diary while on Nootka Island. Gwen prompted some questions about making cultural references (or not) in artworks across indigenous/non indigenous lines; and relationships to the land and its representation (also across indigenous/non indigenous lines). This started a conversation that is ongoing.
Paƛšiʔaƛma (The Fire is Just Starting)
intervention on Circumference by Gwen MacGregor
Art Gallery of Greater Victoria
curated by Michelle Jacques
November 9 – 21, 2015
Earlier this summer Victoria McReynolds and Jose Villanueva came through Port as part of Victoria’s luminous light measuring project Light 110. A project to watch. They drove in a tricked out, Victoria-designed Pathfinder from Lubbock, Texas to Prince Rupert earlier in the month, and were en route to their next line of longitude, stopping at each all the way down the coast to Chile.
So begins The Bannock Lectures, a series of talks and dinners with people who are coming through town, providing an interchange of ideas and people in a place that has always been a point of intersection and trade, since time immemorial. The idea has always been to serve [Rod’s secret recipe] bannock at these gatherings, to feed people, to open up possibilities, to invite something to happen that feeds this place, rather than extracts from it.
I love two things that David Niven says off the cuff in the program: “That was almost bound to happen,” and “The only love that man will ever get in his life is by stripping off and showing his shortcomings,” It’s a punch line but there is truth to that. Opel was shot and killed later that year.
[ PS Rod says around that time there were streakers anytime anything was going on. I thought that sounded like a sign of the times. ]
Meanwhile: It seems strange to me how much attention goes towards non-problems and make-work projects. Why.
AND THEN THERE’S
the Amish (more)
even Habitat for Humanity.
There’s got to be something more to this.
Spring is coming, the salmon will be running soon. We are getting excited about our next miniaturized art house project based on Emily Carr’s Elephant, here are our guiding images.
Clockwise: Emily Carr’s Elephant (Carr with monkey sitting in doorway); 1900s nuu chah nulth smokehouse, wood stove in Emily Carr’s studio, salmon inside a smokehouse, Kwakwaka’wakw feast bowl on wheels.
Our images: Auntie Jessie’s Smokehouse + Mary Cahan’s Sauna
I keep thinking about the idea of a sticky wicket, which I understand doesn’t exist anymore because of technological developments in cricket turf. Now we have wicked problems?
Portraits in Creativity a video/story project by Gael Towey.
Ancestry Quarterly aims to explore the work of artists who have day jobs (?)
The Art & Design section of Nowness.
My research on late Hupacasath carver Nelson Joseph culminated in an exhibition at the Alberni Valley Museum on view from June through September, 2014. Nelson’s work has up to this point been under-recognized, but is illustrative of distinctive Nuu Chah Nulth approaches to carving in addition to having its own unique voice.
For the opening, remarks were held in an adjacent room, and the Hupacasath singers and dancers led guests into the galleries.
Nelson’s brother Stuart unveiled the exhibition.
Opening night had a fantastic turnout.
Over 70 works were on display, more were studied and photographed. Members of the community from all over the Valley opened up their homes and collections to this research.
The book is in process. We hope to publish it in 2015.
“How do you get to The Cloisters?” For me and the two full-time gardeners charged with the care of Fort Tryon Park’s sixty-seven acres of forest and two historic gardens, this is the question we are asked the most. Our answer changes from season to season: the paths don’t move, but the flowers do, and we always guide visitors through the most beautiful experience the season offers.
From A Winter Walk through Fort Tryon Park by Jonathan Landsman, Landscape Coordinator, New York City Department of Parks and Recreation
A couple of images from DesignInquiry ACCESS on Vinalhaven. So much to reflect on this month, more to come.
I’ve been working on a list of 100 blogs to read.
From Chateau de Gudanes, this post, about treading lightly:
“We want to accept its patina and wear, like an old, favourite, worn and frayed, cashmere sweater that you can’t bear to part with.”
“The restoration and the future design is all to do with ‘treading lightly’. It’s our philosophy for CdG. This isn’t a fast-food setup, but rather a gentle process. The history of the chateau, and the beauty of the region, deserves respect and a certain stillness.”
Costume Detail, a long-time source of fascination, inspires with her ‘about’ column.
“I am a costume designer and every day I see things that are fascinating and inspiring. They are the benefits of my profession.
Things not destined to be seen in the films.
Tools of the trade, research, materials.
Things out of context.
Things I collect and hope to use someday.
Fabrics, prints and articles of clothing.
Trimmings, equipment, workplaces.”
Yes, the benefits of my profession. Yes, things not destined. Yes, things out of context. Exactly.And finally the trials, the tribulations, the beautiful imagery of Saipua
and her other projects;
they hit so close to home, I hope I never meet her.