ARTISTS
PHANTOM WING is pleased to welcome the following artists, collaborations, and collectives to the project:
- Alia Shahab, Lane Shordee, and Ivan Ostapenko in collaboration with ANTYX
- Carly Greene
- Guy Gardner and Sian Ramsden
- Jack Bride, Jayda Karsten, and Chris Zajko
- Joanne MacDonald
- Leslie & Chris Bell
- Melinda Topilko, Lindsay Joy and Peter Britton
- Sarah Birch, Michael Oxman, and Sara Peppinck
- Sarah Smalik, Sara Tilley, and Jamie Tea
- Sarah Storteboom and Lowell Smith
- Sasha Foster
- Six of Hearts Collective (Luna Allison, Tomas Jonsson, Brianna MacLellan, Nicole Nigro, Holly Timpener, and Alma Visscher)
- Stephen Mueller
- Steven Cottingham
- Suzen Green and Yvonne Mullock
- Svea Ferguson
- The Prototype Lab (Dana Schloss and Evelyn Read)
Artist bios, brief project descriptions, and images are available below.
(Left) Ivan Ostapenko, “Coyote”, 2013 (top right) Alia Shahab, “A Bridge Between Neighbours”, 2013 (bottom right) Lane Shordee, “The Green House,” 2013
ALIA SHAHAB, LANE SHORDEE, and IVAN OSTAPENKO in collaboration with ANTYX Youth
Waterways is a large-scale kinetic water sculpture to commemorate the June Flood, highlighting the resilience and strength of Calgary’s community as we recover, learn, and re-build. Built using primarily materials salvaged from the flood-impacted neighborhoods in Calgary and on site at the historic King Edward School in South Calgary. This sculpture is an artist, youth and community collaboration coordinated through Antyx Community Arts to explore the power and mystery of water, and respond to the flood in a healing and creative way.
Lane Shordee is a scavenger artist based in Calgary, Alberta. His sculpture and installations are informed by his chosen environment and the materials it offers. Construction begins as a series of schematics and drawings which are then fleshed out, assembled and disassembled. His process is of an organic and sometimes comical nature, and always open to flexibility. He engages the materials in a back-and-forth dialogue; an exchange of ideas what materials can be used for. The artist and his media enter into a collaboration. Like the wind or the rain, the shapes and forms are delegated and left to chance or whimsy. Lane employs a surplus of materials gathered from the local urban ecology that inform his daily life and incorporates it into his practise as an artist in a new, un-cached, reclaimed, repurposed and reframed to grant them an opportunity to be seen from a different perspective. The term “scavenger” itself, is often seen as derogatory, but through new perspective, it becomes something illuminated and open to interpretation.
ivan OSTAPENKO is an emerging design professional in the city of Calgary. He graduated from the University of Calgary with a Bachelor’s degree in Visual Studies in 2008, where he completed the first year of the architecture curriculum at the faculty of Environmental Design as a Minor. Determined to learn first-hand from the world’s leading examples in urbanism and architecture, Ivan moved to Chicago for graduate studies and has also spent a semester studying in Barçelona. He received a Master of Architecture degree from the University of Illinois at Chicago in 2011. While there, he was also on the editorial board of the award-winning student publication, Fresh Meat, which toured the world in 2012 as part of the Archizines exhibit. His graduating project – a master plan for a cultural center campus in Kaohsiung, Taiwan – was nominated for two city-wide student design awards in Chicago, and has been featured as a Jury Selection in the 2012 Land of Tomorrow exhibition in Lexington, KY, which showcased the best graduate work from major American universities. His most recent collaboration (with local artists Daneil J Kirk and Kai Cabunoc-Boettcher) and first large scale public artwork titled ‘The Field Manual’ can be found along the Riverwalk in Calgary’s East Village.
Alia Shahab is an explorer curiously wandering the imaginations labyrinth, following intriguing paths to adventure, play, and growth. She is a community minded artist who creates interactive physical spaces that encourage play and exploration of world around us. She is based out of Calgary and works with a variety of materials and mediums, using what is most appropriate for each project. She holds a Bachelor of Fine Arts with distinction in Media Art and Digital Technology from the Alberta College of Art and Design, and has traveled, studied and created art in many cities around the world. She is also a Community Arts Facilitator for Antyx Community Arts, and is passionate and eager to share with youth, the same sense of empowerment that art has brought over her own life. She works closely with Calgary’s youth to coordinate and facilitate dynamic and creative community youth driven projects around the city.
http://www.antyx.org/waterways/
Carly Greene, “Simulacrum,” 2012
CARLY GREENE
For this project I am building a series of wooden telephone poles of varying heights to be installed in a corridor or hallway within the interior space of King Edward School. The number of poles will range from 5 – 10 depending on allotted space. They will be constructed from new and reclaimed round fencing posts and planks from recycled pallets, with plywood bases for structural support. The bases will be buttressed and further supported by mounds of crumbled cement and dirt scavenged from construction sites, to give the impression that the poles are emerging from the floor. The poles will be topped with recovered glass insulators and will be connected with tube-style rope lights. The project will require the use of electrical outlets or possible solar charger. Motion sensors will be connected between each section of pole so that as viewers pass by, that section will light up. The work will stand as a kind of way finding device, leading viewers through the space. The sense of wonder and familiarity surrounding Alberta’s material past is a strong influence in my current work and I am interested in the poles as relics of another era that would be re‐contextualized within the historic space of this exhibition.
Carly is a visual artist living and working in Edmonton, and is a recent graduate of the University of Alberta where she completed her Bachelor of Fine Arts degree majoring in sculpture. Carly was born in Calgary and raised in a small town south of Edmonton. In her studio practice she works with a wide range of materials and concepts and has a background in history that strongly influences her work. Recently she has been involved in community-based projects both in Edmonton and abroad including an internship at Franconia Sculpture Park in Minnesota where she completed a large-scale public installation. Carly also participated in the transitory public art project Dirt City/Dream City, put on by the Edmonton Arts Council in response to proposed redevelopments in the historic Quarters district of Edmonton and their effect on the areas diverse community.
(Left) Guy Gardner, “Crystal Chamber,” 2009. (Right) Sian Ramsden, “The Rescuer,” 2010
GUY GARDNER and SIAN RAMSDEN
Our project is a linear installation constructed of salvaged locker doors. The doors are removed from their frames and reconfigured so that there is a gradual progression in their orientation from one end of the hall to the other. Conceptually, the piece uses the term “Phantom Wing” as a jumping off point, allowing viewers to follow the trajectory of movement suggested by the installation to create their own narrative.
Sian Ramsden and Guy Gardner began collaborating shortly after they met at ACAD in 2009. Since then their work has explored a wide territory of disciplines and media, including sculpture, installation, animation and photography. Sian is a graduate of Grant Macewan University and the Alberta College of Art + Design. Her works are executed in a variety of media and deal with the Great Depression and landscape of Alberta. Sian has previously shown her work in Calgary, Edmonton and Mexico City. Guy is a graduate of the University of Calgary Faculty of Environmental Design and ACAD. He is interested in digital fabrication and interactive art and architecture. Guy recently travelled to Australia to participate in a design build project in Aldinga Arts Eco Village near Adelaide, and has had his work shown in Melbourne, Mexico City and Calgary.
http://gegardner.wix.com/s-g-r-g
JACK BRIDE, JAYDA KARSTEN, and CHRIS ZAJKO
WINGED APOCALYPSE
How do you celebrate a Phoenix rising from the ashes?
By celebrating YOU as an angel rising from destruction.
A brand new collaboration by Jayda Karsten, Jack Bride and Chris Zajko will take the theme of Phantom Wing both literally and metaphorically, all the while welcoming participation of the audience.
Jayda Karsten’s location-specific sculpture.
Chris Zajko’s post-apocalyptic imagery.
Jack Bride’s ruggedly mystical aesthetic.
For the first time, these three artists come together as a collective
to become the magic that is Winged Apocalypse.
ALL WITHIN ROOM 222
Utilizing materials found on site to reveal new worlds!
Unleashing emotional detritus of the building!
Dazzling, optical patterns and beings of crude construction.
We are painting another reality for anyone who is curious.
Musical Performance Ritual happening nightly, 9:30 pm.
TO EXPERIENCE SPIRITUAL RELEASE WITHIN DESTRUCTION…
MAKE THE PILGRIMAGE to ROOM 222 for “WINGED APOCALYPSE!”
PS. Bring your cameras… We are making a set you will want to pose within!
Joanne MacDonald, “Suspended Element # 14,” 2008
JOANNE MACDONALD
My inspiration and hope for the Phantom Wing Project would be to create an interactive kinetic, welded steel sculpture preferably in the courtyard. This structure aims to harken back to the playground games of yesteryear using recycled steel railings available at the school along with other possible found metal on site for this project.
Joanne MacDonald is a self-taught mixed media artist who grew up in rural Quebec and has always been an artist at heart. She moved to Calgary in 1980. After attending college, getting married, working and having a family her quest for authenticity brought her back to her art.
Inspired by nature and working primarily in found, natural and recycled materials Joanne creates these pieces which often mirror the beautiful imperfection of life and relationships. Through her art she tries to evoke an emotional response using familiar objects composed in an unfamiliar way. Joanne’s works are pensive and introspective, inducing an emotional dialogue between the art and the viewer.
The Pine Tarts, Infinity Forest, left photo courtesy of Mike Tan
LESLIE & CHRIS BELL
“Seen Not Heard” is an interactive sound installation comprised of over 50 reclaimed Fire Bells that satisfies everyone’s childhood desire to pull the school Fire Alarm. Placed within the old library of the King Edward School, “Seen Not Heard” is a potential cacophony that challenges the privilege of silence, proper decorum and social norms associated with institutional public spaces, like libraries, schools and some art exhibitions.
Leslie Bell is a Calgary based abstract painter, filmmaker and installation artist. She received her MFA in Studio Art from Concordia University and is currently teaching at the Alberta College of Art & Design. Leslie’s partner, Chris Bell, earned his BFA from ACAD and works as a journeyman electrician. Chris and Leslie have previously collaborated together as part of the Pine Tarts, with the installation “Infinite Forest” that was produced for WreckCity.
(Left) melinda topilko, “do you like me? am i smart?” detail, 2012 (Right) Lindsay Joy, “Hiding Place 3,” self portrait, wool blanket, cotton thread, 2013
MELINDA TOPILKO, LINDSAY JOY, and PETER BRITTON
GIRL GANG DANCE PARTY
In high school we experience more intense feelings than any other time in our lives, when our developing brains are just starting to create an identity. Many aspects of ourselves are formed here, and many adults feel a triggering shame when reminded of past events – having said stupid things and remembering them over and over, being excluded or bullied. We will remediate those sometimes traumatic events by holding our own Girl Gang Dance Party in the girls’ washroom – a triumphant farewell to such a complicated place that still resonates in our memories. This room has been no doubt the site of many torrential nosebleeds, sob-fests, test sites for a girl’s “look”, a place to hide from the school bully or gym class, sneak a cigarette, lend a tampon to a friend who is all out of pocket change, a place to hang out by the counters with intimidating girl gang friends, and a place to scratch secret crushes onto the stall doors. This is a cathartic goodbye to not just the physical building but the imagined place fraught with bizarre histories and private events. Though the name “Girl Gang” suggests exclusivity, anyone who was unathletic, uncool, uninteresting or invisible is picked first for this farewell. Open to all genders, the girls washroom will be an alternative dance space where we take back the physical and emotional space of the washroom and create a new and positive experience.
LINDSAY JOY
In my practice, I explore feelings of anxiety and the possibilities of their remediation using a multidisciplinary approach. This includes labour-intensive textile processes, drawings, photography, video, and written works, often including found and vernacular objects or imagery. I am often interested in the quirky and awkward, both in these found objects and to explore our personalities. I have recently become interested in what writers of trend pieces are coining the “girly narrative”, which is often argued to be a feminist practice. These narratives take back often sneered upon emotional, vulnerable and fragile qualities of women’s stories and experiences.
Lindsay graduated from the Alberta College of Art + Design’s Fibre program in 2011, and is now entering the final year of a interdisciplinary Masters of Fine Arts degree at the University of Manitoba.
MELINDA TOPILKO
My transdisciplinary practice includes drawings, mixed media work, photographs and curatorial collages – using techniques typically defined as “crafty.” Of particular interest to me is the examination of feminism, and the relationship between gender roles and interpretations of the “masculine” and “feminine” in visual culture. Much of my raw material is collected meticulously from thrift stores, specifically domestic objects and images from the 1940s to the 1970s, particularly those associated with women. The juxtaposition of images, objects and texts play with perception and expectation that is intended as humorous, but also has a deeper theoretical basis. A key element of my practice is a social one – interactions not only between the viewers and the work, but also the resulting dialogues.
melinda graduated from the Alberta College of Art + Design in 2012, and is currently working on a second iteration of the exhibition F*** Yeah, I’m a Feminist, and developing Hop on the Magic Art Bus, a travelling art space.
PETER BRITTON (artists’ assistant)
After returning from Vancouver two years ago, where I was an active participant in the street art community, my practice turned back toward performance. I was the drummer, and sometime lyricist, for Cluster Fox, and I have produced and participated in alternative performances in both Calgary and Edmonton. Currently, I am making electronic music and experimenting with outdoor multimedia.
A self-taught artist, Peter is working on a collaborative sound graffiti project, which will involve secreting tiny speakers throughout the urban landscape.
(Left) Sarah Birch, “Blush,” 2006. (Right) Sara Peppinck “Oh the places you’ll go,” 2013
SARAH BIRCH, MICHAEL OXMAN, and SARA PEPPINCK
Schools are the institution where the public and private spheres collide. Society’s interest in socializing the young aggressively confronts the idiosyncratic thoughts, feelings, wants, and desires of the individual discovering and exploring his or her own blossoming personality. She lashes out from a sense of alienation, loneliness, confusion and disorientation. The socialization process works on both students and faculty. Teachers are required to adhere to a moral code that governs all aspects of their behaviour both inside and outside of the classroom. The message is: “You’re a teacher – all the time.” Through a mixed media installation, involving a combination of found and original photographs and video images as well as an original audio composition, our piece explores both the power dynamic of traditional public education as well as the tension between public and private spaces in an institutional context.
Sarah Birch studied Material Art and Design at OCAD University. She has exhibited work in several juried shows, including the Stride Gallery +15 Window (2006). Sarah’s deep interest in art, communication, and education has been further developed by her studies and work in the Education and Library Science fields. This will be her first exhibition of both time-based and collaborative work.
Michael Oxman studied Psychology and Law prior to moving to Calgary in 2012. He has participated in many musical projects over the years, including the 2009 Soundspace sound art event at the Open Space Gallery in Victoria, BC. This will be his first exhibition in Calgary.
Sara Peppinck has spent much of the last decade studying, living and traveling. Her great love of art was cultivated from the time she was a child, spending hours hanging out in glass blowing studios and art galleries. She was handed her first camera in her youth; beyond one class in high school and tips from her dad, she has been primarily self taught in the ways of photography. This will be her first exhibition.
(Top left) Jamie Tea, “Widow La Famiglia.” (Top right) Sara Tilley, “Weiner Shaman.” (Bottom) Sarah Smalik, “Ark”
SARAH SMALIK, SARA TILLEY, and JAMIE TEA
INFESTATION
An abandoned science lab is the site of an infestation of futuristic monk rats—a new species, mutated, sparkly, smart and strange, aware of the imminence of Demolition Day and the end of the world as they know it. We have drawn inspiration from “pests,” like rats and cockroaches, who inhabit human spaces opportunistically but who also symbolize rebirth by creating homes using what we would consider to be garbage – in this case objects that we will harvest from alleys, dumpsters, and from in and around the school. We will become the surviving members of a species of mutant human-rat hybrids, animal artist-monks, infesting the space with our creativity, compulsively writing, making music and making artworks. All acts are devotional acts to our deity, which will be embodied in a large effigy presiding over our sacred space. We are returning to a lifestyle that is closer to The Source, a simple life of eating, sleeping, praying and creating, using a rat mentality to mark the birth of a new era, when it is time to write new scriptures, sing new hymns, and make new symbols and gestures. We are saying goodbye to the energy of the science lab which will soon be just a memory, and christening the new building site with acts of devotion to the creativity gods. Before entering our sacred temple/burrow, viewers must first pass through a sanitizing ritual and take a flashlight to see their way into the darkness, in order to catch a glimpse of the monk rats fervently acting out their creative devotional rituals. Performances will occur during set hours each day, and during other times the site will be open as an installation of the Sacred Temple.
Sarah Smalik is an emerging multidisciplinary artist and writer haunted by vivid dreams, strange synchronicities, supernatural encounters and the serendipitous, which collectively culminate to become the basis of her practice working primarily in installation, video/animation, sculpture and performance. Her current work is invested in the connection of faith/fear and the parallels of religious/psychedelic experience, and a scientific and metaphorical study of reflection and light. She has lived also worked extensively with Green Fools Theatre and the Old Trout Puppet Workshop. In 2014 she will be venturing on a personal/artistic research journey to Pakistan, doing a residency in the northern reaches in Dawson City, and will be featured in the upcoming Nuit Blanche 2014 in Calgary. She graduated with distinction from the Alberta College of Art + Design in 2010.
Sara Tilley’s work bridges writing, theatre, and Pochinko Clown Through Mask technique, with each discipline informing the others. After graduating with a BFA in Acting from York University in 2001, Sara founded the feminist theatre company She Said Yes! in her hometown of St. John’s, Newfoundland. She’s written, co-written or co-created eleven plays, and Skin Room, her first novel, was published in 2008 by Pedlar Press. For the past six years, Sara has been teaching Pochinko Clown through Mask and Neutral Mask to all types of artists, and has adapted these techniques to inform her writing practice. Sara collaborates frequently across disciplines, and has created several live time-based performance pieces in various locations in St. John’s, including her popular Wiener Shaman character who appears in parking lots and art galleries to make protective meat amulets, perform wiener augury and go into trance states. She is the 2013-2014 Writer-in-Residence at the Calgary Distinguished Writers Program at the University of Calgary, and is excited to engage in a multidisciplinary performance and installation collaboration as her introduction to this new city.
Jamie Tognazzini (alias Jamie Tea) is a singer, dancer, puppeteer, circus performer/clown, and installation artist based in Calgary, AB. Jamie performs on stilts across Western Canada, teaches, and creates puppet shows with Green Fools Theatre. She also teaches mixed ability dance at Momo, and does some voice and film acting. Appearances include Bamboozled @ Dancing on the Edge festival (Vancouver), Calgary Fringe, Calgary’s International Animated Objects Festival, Freak Show (Swallow-a-bicycle Theatre), Soulocentric Festival, Spark!/Physical Therapy Cabaret for Fluid Movement Arts Festival, The Toxic Avenger Musical (Broadway West Productions), Evil Dead: the Musical (Calgary/ Vancouver, GZT/H&M). Jamie’s original works (highlights): ‘Fish & Bird’, ‘Our Lady of the Pitz’, ‘Barring an Act of Gawd’, ‘Sisters of the Oyster Cloister’, ‘Fishscale Raincoat/Radioactive Tuna’.
(Left) Lowell Smith, “End of Analog,” 2012. (Right) Sarah Storteboom, “Swing Set,” 2011
SARAH STORTEBOOM & LOWELL SMITH
Attention, Please is the first collaborative project between Calgary artists, Sarah Storteboom and Lowell Smith. Holding a BFA from Emily Carr University, Sarah works with site-specific installation and interactive public art. Lowell received his BFA from Alberta College of Art and Design in Media Arts + Digital Technologies, and his work manipulates electronics and media.
The artists are re-establishing the school’s PA system and performing live throughout the exhibition. An office within the wing provides a hub where viewers can learn more about all of the different art projects installed in the space and give their feedback to the artists. Sarah and Lowell intend to mimic classic school broadcasting with announcements are that are spontaneous and responsive to the exhibition. These announcements engage the microculture of the PHANTOM WING project, and are guided by the mandate of art ambassador, but have a superficial implication of authority.
Sasha Foster, WRECK CITY installation, 2013
SASHA FOSTER
The re-development of the King Edward School into an art centre will have a lasting effect on Calgary’s art scene. Not only will it encourage the cultivation of new ideas and projects, but also provide opportunity for collaborations and skill sharing. The future of Calgary’s art scene seems bright and what better way to represent it then with a magical portal to the future!
Whether in movies, video games or sci-fi novels, time portals tend to represent the unknown. The unfamiliarity of the unknown is simultaneously frightening and exciting. By creating an immersive sensory experience, The Portal will encourage the viewer to consider the possibilities of alternate realities, distance realms and parallel universes. With the help of various lighting and sound effects, The Portal will transport the viewer through space and time.
Sasha Foster is an Alberta based fine artist, who completed her Bachelor of Design at the Ontario College of Art and Design in 2011. Foster expresses herself through a variety of creative outlets including illustration, craft, installation, photography, set & prop design. Thematically, she is inspired by nostalgia and the beauty of the found object as well as the supernatural, memories and the contemporary approach to traditional crafts. Whether it is creating large scale string installations in community parks and abandoned buildings or constructing devotional shrines from local garbage, her surroundings have been a powerful force in her artistic pursuits.
SIX OF HEARTS COLLECTIVE (Luna Allison, Tomas Jonsson, Brianna MacLellan, Nicole Nigro, Holly Timpener, and Alma Visscher)
Stephen G. A. Mueller, “Still Believing,” 2013. Photo: Rory O’Connor
STEPHEN G A MUELLER
A PLACE FOR US BEFORE YOU GO
In the twenty-first century we no longer recognize time and space, yet our bodies remain instruments for recording them. For over half a century, globalization and technology have worked in tandem to encourage within us illusions of immortality, the obliteration of our perceptions of geographical distance, and the alteration of our collective understanding of and identification with, individual, phenomenological experience. We casually discard things and reassign places in the name of progress, and we file the traces of their memories into convoluted, seemingly infinite archives—never to be sought after, never mind retrieved. Today, everything is immediate; everything happens here and now and nothing is precious. For twenty-four consecutive hours—from 20:00 on Friday, September 27 to 20:00 on Saturday, September 28—I will walk counterclockwise around the perimeter of the King Edward School, tracing a continuous, invisible line on the exterior walls of the building (and where direct contact is not possible, its adjoining railings, fences and trees) with the fingertips of my left hand. I will not sleep during that twenty-four hour period. I will neither cease to walk, nor alter my path or direction. I will wear no watch. Despite the brittleness of its skeletal interior, the King Edward School persists as a site of living memory. I will delineate that site and, through repetition, etch the current form of its memory into mine. I will hold on to its skin and let it erode my body, just as time and neglect have eroded its own. I will both encapsulate its history and mirror its absence-presence dichotomy in one simple, sustained gesture. In using my body to redraw the shape of the old King Edward School—in asking its body to redraw the shape of me—I hope to refocus spectatorial consciousness on the increasingly transitory nature of our relationships to our cultural creations and creators in contemporary society and, through this process, to gain an intimate knowledge of a temporal place that will resonate within my memories long after its own are gone.
A native of Windsor, Stephen George Alexander Mueller lives and works in London, Ontario. He holds a Bachelor of Fine Arts degree in Visual Arts from the University of Windsor (2004) and a Master of Fine Arts degree in Visual Arts from the University of Calgary (2006). A former Member of the Board of Directors and the Programming Committee at The New Gallery in Calgary, Mueller is currently a project-based PhD student in Art and Visual Culture at The University of Western Ontario. His durational performance-based installation work has been exhibited across Canada, with upcoming exhibitions programmed for 2013–14 in St. John, NB (Third Space Gallery), Victoria, BC (Open Space) and Edmonton, AB (Latitude 53), among others. His video installation, Starting Over, is currently on exhibit at UAS Satellite Gallery in Calgary until October 19.
Steven Cottingham, Untitled (Fortune), 2013.
STEVEN COTTINGHAM
Sometimes I stay up late thinking about conservative budget cuts and the supporting opinions in newspaper comment sections – but sometimes I stay up late thinking about ex-girlfriends, too. Last night, I didn’t sleep at all.
Steven Cottingham is from Calgary, AB.
(Left) Yvonne Mullock, “USE ME,” 2013. (Right) Yvonne Mullock, ‘Beaver-Fever’.
Suzen Green, WRECK CITY Weaving, 2013
SUZEN GREEN and YVONNE MULLOCK
Suzen Green is an artist, knitter and teacher working in Calgary, AB. Working primarily with textiles, her practice explores identity and place through (un)traditional ways of making, including large scale knitted sculpture, hooked rugs, site-specific installation and performative projects. Most recently, she used the existing architecture of a house to create large pink pompom weavings as part of WRECK CITY. She currently teaches knitting and other forms of craftiness throughout Southern Alberta.
- Svea Ferguson, “Concrete Room” at WRECK CITY, 2013
SVEA FERGUSON
Svea Ferguson is a Calgary based artist who is currently enrolled in her fourth year at the Alberta College of Art + Design. As a drawing major working in three dimensions, Svea has a broad and inclusive view of what drawing can be. She is currently interested in materiality, and the aesthetics and functionality of found objects.
The proposed piece is a large-scale sculpture, built using primarily concrete blocks. This material choice is made in connection to the school’s physical makeup. Once the sculpture is erected in the room, I will use the natural light from the windows and the sun’s movement to trace multiple shadows of the sculpture on the floor at different times of day. This will be a like a physical time-lapse map of the sculpture in relation to the sunlight that enters the room.
THE PROTOTYPE LAB (Dana Schloss and Evelyn Read)
The Prototype Lab is a team of Exhibit Developers from Telus Spark – The new science centre. Together with our visitors we experiment and test new ideas. The prototype lab was founded in 2009 and many of the installations and experiments tried during the first two years with visitors turned into exhibits at the new science centre. We focus on maker activities that incorporate science, technology, engineering, math and the arts.
Using discarded electronic components and with the help of Telus Spark visitors, we will build 400 small sound making robots. The results will be hundreds of tiny robots all vibrating in unison creating a ghost-like soundscape installation in the Phantom Wing.
http://www.imagineaction.ca/prototypelab/blog/
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