kimberly edgar

Fieldwork Opens Its 2015 Exhibition

Fieldwork 2015, 191 Meters, Christine Nobel and Brian Barth
Fieldwork 2015, Two Guiding Principles, Annette Hegel
Fieldwork 2015, Franc van Oort, Eye Box, inside the Camera Obscura
Fieldwork 2015, Kimberly Edgar, Bird Memories
Fieldwork 2015, Opening, Artists' talks
Fieldwork 2015 opening, Brooke Valley School kids, Ornithology 101
Fieldwork 2015,  Brooke Valley School student, presenting her science fair

Fieldwork opened its gates to 4 new installations, 13 wonderful bird boxes, a science fair, and many many visitors on the beautiful breezy afternoon of May 9, 2015.  What a great turnout.  We were all charmed by the students from our local independent schooll - Brooke Valley School - who painted and installed bird boxes and also presented their science fair projects - on birds - to visitors that afternoon at Fieldwork. 

We were pleased to also introduce our 4 new art installations which delighted and intrigued visitors:

Annette Hegel's Two Guiding Principles, Franc van Oort's Eye Box (a rotating camera obscura you can enter), Christine Nobel/Brian Barth's 191 Meters,  and Kimberly Edgar's Bird Memories.  More information and photos on each of these is or will soon be posted on this blog, so keep scrolling down the page and have a good read!

More photos of this year's installations (and other year's) can be found in the gallery menu to the right.  There are also many more on our Facebook Page which we encourage you to check out and 'Like'.

Many thanks are due in pulling together this year's exhibition. First of all a big shout out to the artists who have put great amounts of sweat equity, dedication, and passion into their wonderful work. Second, a bit thank you to the other collective members - Chris Osler and Sheila Macdonald who's councel and assistance is enormously appreciated. And also big gratitude to Cam Gray for being so generous with his time and expertise.  Coral Nault, principle at the Brooke Valley School, thank you for your creative ideas and for organizing the kids and their projects. Finally, we could not do this without the financial assistance of the Ontario Arts Council. Thank you OAC for your support once again this year.

Scroll down the page to read more about this year's installations.

Kimberly Edgar's 'Bird Memories'

Fieldwork 2015, Kimberly Edgar, Bird Memories
Fieldwork 2015, Kimberly Edgar, Bird Memories
Fieldwork 2015, Kimberly Edgar, Bird Memories

Kimberly Edgar's wheatpasted linocuts (over 60 of them) can be found at numerous sites around Fieldwork - if one is looking.  

She writes:

"I started off doing wheatpastes of linocuts and silkscreens in the fall of 2012. Wheatpasting, a street-art medium, is the process of adhering paper cutouts and images to walls and other objects using wheatpaste, a glue made by boiling flour, sugar, and water.

What drew me to street art were many things:
the idea of interacting with the spaces I pass through on a daily basis

  • the idea of beautifying ugly and run-down places
  • going outside at night to do this (which can be frightening when you’re a young woman)
  • the idea of drawing attention to things and corners often overlooked by the public
  • facing my fear of doing something that transgresses the law

I wheatpasted transient spaces, like construction walls and abandoned buildings, in order to draw attention to these ephemeral spaces and also to pay attention to ignored spaces. The wheatpastes themselves would fall off after a long while if they weren’t drawn on first, ripped down, or added to. At heart this process was temporary. Newsprint cracks and yellows in the most beautiful way, and in the summer, insects eat the glue.

I love the process of making a very labour-intensive product, and then sacrificing it to the streets. Printmaking is a long, labour-intensive process. On top of that I hand-cut each of my pieces, sometimes I hand colour them each uniquely, and paste them in clusters, so that one piece could take me upwards of a month to create. This futility helped to detach me from the end product of the work and to focus on the making instead.

For Bird Memories, I am taking this labour-intensive, temporary process and applying it to a rural area. Wheatpaste has urban connotations. I am curious as to how this method is read in a rural context. When I wheatpasted in the city, I used lots of natural imagery, mostly insects. I often felt like, in a small way, I was bringing nature into urban spaces. Now, I am bringing urban practices into natural settings. In some ways this reflects my own personal experience with rural and urban spaces, feeling that I don’t belong in either, as I grew up in the suburbs.

Living in Dawson City, Yukon has allowed me to consider the difference between the boreal forest in which I now live, and the st-lawrence/great lakes forest of eastern ontario which I grew up near. When considering how I wanted to explore the difference between these two forests, I conjured the most vivid memory of eastern ontario forests I could remember, which was bird watching with my grandmother. She and I would sit in her cottage with binoculars and she would teach me to identify the birds; grosbeak, cardinal, bluejay, chickadee. These birds (except the chickadee) do not exist in my new home. They have become symbols of the difference between the two canadian landscapes I know and have called home."

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