summer

alicia marvan - photos for gallery

fieldwork, alicia marvan, 2012
fieldwork, alicia marvan, 2012
fieldwork, alicia marvan, 2012
fieldwork, alicia marvan, 2012
fieldwork, alicia marvan, 2012

Alicia Marvan visiting artist at Fieldwork July 2012

fieldwork, alicia marvan, 2012
fieldwork, alicia marvan, 2012
fieldwork, alicia marvan, 2012
fieldwork, alicia marvan, 2012

Alicia Marvan (Mexico) worked at fieldwork this July (2012) as a visiting artist.  Much of the preparation for her work involved investigating the site and the area around the site to find inspiration and to familiarlize herself with available materials.  She ended up working with mixed materials including branches, fabric, metal, and clay.  The photos above show some of her creative process.

Midsummer Opening of New Work by Alicia Marvan

When: Friday, July 27.  6 - 7:30pm
Where: fieldwork - click on the menu item to the right that says 'location' for directions

Cost:  Free.

The fieldwork Collective invites you to come out to see our recent installations, and new work by Alicia Marvan (Mexico).
Alicia has been a visiting artist at fieldwork for the last few weeks, during which time she has been experimenting with materials and building her work in response to the site.  We hope you can visit, meet her, and interact with the creative results of her time here!

Continuing works by Barbara Meneley, Sylvia Pendl, Susie Osler, Dan Nuttall, Kelly Price and Scott Dobson.
Join our Facebook group for updates and more photos:  fieldwork.land.art.exploration

 

Artist's Statement - Alicia Marvan

Inspired by pine trees, one of Ontario’s most abundant endemic species, as well as fieldwork’s hosts and their crafts (ceramist Susie Osler and carpenter Cam Gray), Alicia Marvan’s new works incorporate fashion and performance art into site-specific wearable sculptures. The relationship of the artworks to the human body is not only symbolic, but tangible and experiential, inviting the viewer to become participant.

“In both nature conservation and nature-inspired art, human presence is often excluded or kept to its minimum, as if implying we are not part of nature, or we are a threat to it. In my works, I purposely design with and for the human body and psyche. I then place the works in natural environments because that’s where they belong in my imagination; they are meant to exist in close relationship with nature. I think of them as a reminder that we humans cannot live without air, water, soil, and biodiversity.”

Alicia Marván (Mexico) is an artist, designer and curator dedicated to contemporary and experimental practices. Her interdisciplinary approach to art has led her to an ongoing investigation of a variety of media that explores color, space, form, movement, time and thought. Her work has received support from numerous cultural organizations and academic institutions in Mexico, USA, Canada, Germany and The Netherlands. She holds a B.A. in Dance and Performance from the State University of New York, and directs the Guapamacátaro Center for Art and Ecology in Michoacán, Mexico.


About fieldwork:

fieldwork began in the summer of 2008 with installations by the fieldwork Collective (Chris Osler, Chris Grosset, Erin Robertson, and Susie Osler).  Now in our 5th year (2012), we are happy to welcome a 5th member, Barbara Meneley, to our Collective. We are looking forward to marking this year, our 5th anniversary, with a couple of celebrations so keep checking in to see what we are planning.

Our intent is to present imaginative, thought-provoking, art installations in a field in rural eastern Ontario.  fieldwork  has hosted work by local and international artists for the past five years, and invites the public to visit the field site and explore the artwork year-round.  Admission is free. 
More information on past installations can be found by scrolling down this page and/or by looking in the archives and galleries in the right hand menu.  Directions to the site can be found
here

If you would like to be notified by email when a new posting or change has been added to this blog, press the orangy/red 'Subscribe' button (RSS symbol) in the menu to the right and follow the instructions.  We also have a Facebook group called 'fieldwork.land.art.exploration' which we welcome you to join.

For information on the first three installations at fieldwork (Summer 2008, Autumn 2008, Winter 2008/09)  visit our old blog.

fieldwork gratefully acknowledges the continued support of the Ontario Arts Council, as well as all of our friends, volunteers, and especially our artists and visitors!

Fieldwork cover story in The Humm in August!

 
Thanks to Sally Hansen from The Humm for this wonderful article (page 3) about fieldwork's five years of presenting public art in our field.  Much appreciated!  And for anyone not already familiar with this monthly paper, check it out.  It is a great source of information and reviews of the arts, entertainment and local food scene in this part of eastern Ontario
 
 
 
 
 
 
 
 
 
 

Great Article in The Frontenac News!

alicia marvan with one of her sculptures

 

We had a lovely mid summer's evening gathering to celebrate the creations that Alicia Marvan made while visiting fieldwork in July.  Thanks to all the good people who came out to enjoy the evening which even included some delicious Mexican mole chicken!

Julie Druker from The Frontenac News  was one of those who stopped by for a gander.  She interviewed Alicia while visiting.  Here is a link to the great article she wrote about Alicia's installation.  Many thanks Julie and The Frontenac News!

 

Photo by Julie Druker

Midsummer Installations Installed

When creating art, it makes a difference having access to the right tools and materials, specially when constructing large scale sculpture, installation or land art. This very known fact became increasingly apparent at my recent fieldwork residency, where I had the fortune to have full access to Susie Osler and Cam Gray’s ceramic and wood shops. The objective? to develop a series of what I’m calling ‘wearable sculptures’: life-sized sculptural forms designed to frame, reflect, surround or shelter the human body.

Having the playground set (an open field and the workshops), it was just a matter of finding the most abundant, free materials available in the area. In recent projects, three things have become very important to me: to not generate but use waste, source all my materials locally, and use as little monetary funds as possible. After a couple of days of walking around scoping the site, my main material became obvious: discarded wood (leftovers from construction projects, fallen branches, and pine slabwood from a neighbor’s sawmill). To my delight, all of them had a different and fascinating quality: red pine bark that looked like pink salmon scales; white pine knots that suggested golden-tanned skin; twisty sumac branches that turned silvery against the zenit sun. The other materials just fell into place to either contrast or compliment the wood: natural and olive-green glazed ceramics, as well as gold and silver colored metal mesh.

Once I had the materials, tools, and conceptual drawings in place came the hard part: working efficiently to match what my imagination had concocted. I have to say that it was definitely a challenge, not only because it was the first time I worked with such media, but mainly because of the high temperatures and abundant insects that come included in the package of working outdoors in summer. And you would think these would barely tickle a Mexican! but here’s where stereotypes always fall short. Due to Ontario’s recent drought and bat disease (which increased temperatures and insect numbers considerably), I counted on four ‘workable’ hours in the morning (7 to 11 am) and three in the evening (5 to 8 pm), since drilling and hammering in full sun while being attacked by giant flies and mosquitoes is neither healthy nor fun. So having Susie and Cam’s cool abode nearby where to ‘recharge batteries’ was a real life-saver.

The most valuable aspect of the project for me? I would say having the space and time to create…creative freedom and production support in an inspiring setting. We need programs like fieldwork to create art. We cannot talk about art, conceptualize art, teach art, sell art, if there’s none in existence! In our current increasingly conceptual phase of art, I cannot steer away from my deep love towards physicality (of the human body, materials and environments). And physicality only exists in space and time, so cheers to that!

Old Brooke Road Old Field: An Incomplete Field Guide & Self-guided Tour

fieldwork, sylvia pendl, old brooke road old field: an incomplete field guide
fieldwork, sylvia pendl, old brooke road old field: an incomplete field guide

 

How we perceive our places and landscape, including place names, informs how we perceive ourselves as a culture and what we value. What appears to be an undifferentiated old agricultural field, sitting quietly on Old Brooke Road in Maberley, Ontario, is a precise arrangement of named plants, animals and relationships. The self-guided Field Tour  (via interpretive nesting boxes) will guide visitors to corresponding experiences about the inter-relatedness and importance of this field to the world beyond the field. The Old Brooke Field becomes activated through this intervention by being a centre point that radiates out to the larger region, not a boundary but to other centers and connections, coming back and going out again. 

Knight and his horse visit Fieldwork on their way across Canada!

fieldwork, knight rides across canada

fieldwork got a visit from a Knight (Vincent) and his horse Coeur du Lion in May.  The pair were en route across Canada (from Quebec) - a long pilgrimmage to essentially spread good will.  They created a bit of a buzz around here to be sure....  It was great to have them stay for the night across the road with us!  A very winning pair that looked quite at home in the field!

Lots of New (Re)Seed Photos

fieldwork, (Re)Seed, Susie Osler

Lots of flowers that were 'dispersed' from the (Re)Seed installation (by Susie Osler) at the New Art Festival (Ottawa) have been re-seeded and photos have been coming in.  You can check them all out with descriptions of where they have been put by going to the (Re)Seed Photo Gallery.  New photos will continue to be added as they trickle in so check in every now and again!  And big THANKS  to those who have participated so far!

Coyote Illuminated

It was a cool grey weekend in the Tay Valley Township with continuous precipitation fluctuating from drizzle to showers. The animal filled weekend was full of strange coincidences that oddly resonated with my installation at FieldWork. My work generally explored ideas of how boundaries between the constructed and natural world are constantly shifting and the way in which these defined spaces are challenged and transform over time.

The weekend stay at our annual summer getaway at Lochdale Farm , near the FieldWork site, had an ominous start. Driving past the gates of the farm we discovered, to our dismay, a coyote corpse intertwined in the fence. The propped up position of the animal suggested it was killed while trespassing - it's body used to frighten and prevent other coyotes from entering the property.

We were struck by the irony that, in our trunk, we were transporting a 3D coyote decoy used to “rid an area of disease carrying Canada Geese”. The plastic coyote was one of several objects incorporated into FieldWork installation which was a nod to Joseph Beuys famous 1974 performance, I Like America and America Likes Me, where the artist spent three days in a NYC gallery with a felt blanket, a flashlight, a cane and a live coyote.

Beuys acknowledged the spiritual significance of animals, the meanings and symbols they convey and how their disappearance and decimation is a sign of global and societal ills. The animals that are thriving, coyotes being in this group, are the ones that have adapted to an expanding urban environment. Back in Toronto, soon after the install at Fieldwork, were reports of a raccoon killing attempt by an irate home owner claiming to protect his garden. The article suggested Coyote urine an effective repellent to urban raccoons.

For more photos of Coyote Illumination click here and/or visit the gallery on this website in the menu to the right called 'spring/summer 2011 - coyote illumination'

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