May 2014

(Re)Seed is re-invented and (Re)Seen at RIA, Ottawa - May 2014

susie osler - (re)seed (re)seen - 2014 - RIA project room - reseeded flower

Photo: Unfired ceramic flower from (Re)Seed/(Re)Seen installation at RIA Project Room (Ottawa). Visitor took flower from installation and placed it in a location that needed some life.

 

I was invited this winter to participate in an interesting group show curated by Petra Halkes at RIA's Project Room.  The show, called Never Forever, gathered together work by 6 artists that, as Halkes states,  '[spoke] with empathy of heroic human efforts to hold on to things, to create unchanging systems, to imagine an order that lasts forever.'

My contribution to Never Forever was a re-imagining of the ceramic installation (Re)Seed I presented at the 2011 New Art Festival in Ottawa (find it in the menu to the right for more info)

More on this latest iteration of the installation -  (Re)Seed/(Re)Seen - is here

Gearing up for another great year at Fieldwork

With 2 weeks to go before the opening of our 2014 exhibition, things are heating up around the field.  Spring has arrived in its full glory. After a long dormancy the poplars are just beginning to blush verdant green, the pin cherries are blossoming, the field is greening up fast and the air is rich with the layered and looping song of frogs and birds. Artists too are making their way to FIELDWORK, enlivening spaces within the landscape with their creative activities. 

Five new installations are being built in the few weeks before the opening on May 24th.  Here are a couple of pics of the first two as they evolve within the landscape.  The collaboration between Barbara Cuerden and Karina Kraenzle, Speaking Volumes: A Monument to the Book and Whip-poor-will, a collaboration between Marc Walter, Lisa Cresky and Susie Osler.

speaking volumes in process

 

 

 

 

 

 

whip-poor-will in process
 

 

 

 

 

 

 

 

 

 

 

Art on the Verge of Permaculture

Fieldwork - Whip-poor-will installation by Cresky, Walter and Osler

Whip-poor-will is a collaborative effort between artists Marc Walter (Wakefield), Lisa Creskey (Chelsea) and Susie Osler (Maberly).  They created it over 3 days of sourcing materials - branches, logs and material on-site that were the 'refuse' from winter cleanup at FIELDWORK mixed with layers of rotten hay and leaves.  The installation includes a large ceramic whip-poor-will by Cresky, and over 100 small white, seed-embedded, unfired clay moths by Osler placed within the 'nest' - that are meant to be 'distribtuted' around the site by visitors.  The nest is built to human scale - encouraging people to enter and 'feel' like a whip-poor-will might - camoflaged by its surrounding sanctuary or startled by the intrusion of others.  

The nest is located on the verge between the field and forest - a place symbolically situated between the 'cultured' (field), and wild' (forest).  Verges as we know are places that often host great diversity of life, or perhaps creativity...

The whip-poor-will is a rare bird in some parts of Ontario.  At FIELDWORK we are lucky to have a perfect habitat for these birds and each year they return to haunt us with their evening and dawn mantra..."Whip-poor-will-whip-poor-will-whip-poor-will-whip-poor-will-whip-poor-will-whip-poor-will...."

Whip-poor-will  will remain here permanently.  Next spring the artists plan to cover the entire structure with more forest debris, soil and hay and plant into it - in the hopes that over time it will break down, contributing habitat to the local flora and fauna.  The installation is, in effect, an example of Hugelkultur meeting art...   And one of art that works in and with the land - taking both inspiration and materials from the site and cycling them creatively into a new form that hopefully leaves a positive footprint on the landscape and the imagination.
 

Bookmark This!

fieldwork 2014 - cuerden kraenzle - monument to the book

Speaking Volumes: A Monument to the Book is a joint installation for FIELDWORK 2014, by artists Karina Kraenzle and Barbara Cuerden.

The work is about stillness, and interiority, the kind that is particular to the book. In an era where bookishness seems to be disappearing, Speaking Volumes is a testament to the internal voice and its absence - and the persistent beauty of the material object - being slowly returned to its source.

The structure is a sentinel made of books, in a small glade in the pine forest at FIELDWORK.  The free-standing structure is accompanied by fragments torn from the books themselves. Words and phrases are suspended from surrounding trees, like nearly perceptible whispers.

More about Speaking Volumes can be found at the artists' project blog: http://stillvoices.weebly.com/