Originally posted on spontaneouscombustionlanguageimagelab:

ART AND SACRED SITES:

CONNECTING WITH SPIRIT OF PLACE

a monograph of the works of 

GLEN ROGERS

(luna arte contemporaneo) 2014

GLENROGERS BOOK COVER

The notion of connecting, of making connections; of the realization and extrapolation of identifiable forces in time and mind; of nature,in sand and stone; of finding the personal within the general, the specific in the universal, is central to the art of multi-disciplinarian

(print maker, sculptor, painter) Glen Rogers, who, from her base in Sinaloa, Mexico has produced a document rich in feel, color and soul that travels the viewer through mazes of hidden history of the female archetype, of the tribal imperative, of human presence on the

shared planet , marked with traces of that presence into a clearing rich with implications of the necessity and persistence of the creative instinct.

Spirit of Place

ART AND SACRED SITES : CONNECTING WITH SPIRIT OF PLACE ( luna arte contemporaneo) is a monograph, a meditation…

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ART AND SACRED SITES:

CONNECTING WITH SPIRIT OF PLACE

a monograph of the works of 

GLEN ROGERS

(luna arte contemporaneo) 2014

 

 

GLENROGERS BOOK COVER

The notion of connecting, of making connections; of the realization and extrapolation of identifiable forces in time and mind; of nature,in sand and stone; of finding the personal within the general, the specific in the universal, is central to the art of multi-disciplinarian

(print maker, sculptor, painter) Glen Rogers, who, from her base in Sinaloa, Mexico has produced a document rich in feel, color and soul that travels the viewer through mazes of hidden history of the female archetype, of the tribal imperative, of human presence on the

shared planet , marked with traces of that presence into a clearing rich with implications of the necessity and persistence of the creative instinct.

 

Spirit of Place

 

ART AND SACRED SITES : CONNECTING WITH SPIRIT OF PLACE ( luna arte contemporaneo) is a monograph, a meditation; a monumental work mapping Rogers’ insights and instinctive recognition of her place, her role, as witness and practitioner of divination available to all who look both at surface and allow, by means of that surface as portal of entry to intuitive awareness through direct observation of those surfaces. The artifacts available on the planet are myriad and rich; from Crete to the streets of San Jose, from the caves of Laucaux to the graffito of North Queensland and Uluru in Australia, and whether these artifacts , these presences, are made available in-situ, through the vehicle of monographs or on designer tableware, their impact and prescience remains and transcends the carrier vessel. A truth is a truth no matter the media employed to tell the tale.

GLEN ROGERS ARY

These marks are voices.

Her walls speak in metal and paper through a process that extrapolates the ancient scrawls, respecting their symbolic potency and purpose, into new magic; unique, rich and good as part of a lineage of the female, the human, the keeper of tradition and form, even as the context of that form changes and has changed.

 

The circle remains the same.

Inclusive.

Suggesting wholeness.

Unity.

Completion.

Inclusion.

A beginning and an end.

A starting point …a destination.

The walls speak.

 

 

 

GLEN ROGERS FROM THE WEB SITE       
“For many years, I’ve taken my inspiration from archetypal symbols and sacred sites around the world, continually drawing from a universal visual language. I’ve followed in the footsteps of these early cultures by drawing from nature’s purest forms, such as the spiral, the circle and the crescent, whose cyclical shapes suggest renewal and regeneration. I am honored to have had the opportunity to walk these ancient lands imbued with the spirit of our ancestors. I feel that these same symbols, whether inscribed on ancient stones or painted on my 21st Century canvas, can connect us as humans, connect us to nature and give hope and inspiration to future generations. As I begin a work of art inspired by this imagery, scratching the surface of the plate or layering colors of paint, I feel connected to those who have come before me.”

GLEN ROGERS

 

 

In circles and scrawls, the spells and impulses are immediately recognizable as distinctly human and universal.

 Impulses important enough to warrant a mark.

 

 

 

 

The power of place informs Rogers’ work. The sheer mass, distance and space of her sites is exhausting to consider, yet she has sought out guides to the spirit who shared freely, as part of their own practice, the inner workings of mythologies and beliefs associated with the caves, runes, sculptures and markings in coherent language that immediately informed her own interpretations of these traces.

The female archetype, not surprisingly, is an essential element of her investigations and output. That archetype, thousands of years the predecessor of the patriarchal hierarchy, is and remains a presence in her work from the beginning. These images emerged slowly from her nude portraits of women in a time when feminist academic thought condemned such activity as exploitative and was reduced (or expanded) by Rogers to the simplest representations of the feminine: the circle, vulva, serpent, sun, shell, moon, spiral that embody all through gesture and intention like the Japanese ENSO which includes all experience, existence and desire within the circle. A mark so complete that there is nothing outside  that circle as there is no creation or humankind outside of or without entry through the vulva; the sacred and divine.

The marks that move her are of a simplicity that transcend the idea of the feminine and the feminine role outside of the socio-political and cultural order, impositions which are enforced with varying degrees of severity globally, which is why these symbols, I think, are so eagerly embraced by those who encounter them and are inspired if not liberated by them by the potential of their application.

                                

What indicates the creative impulse?

The necessity of expression, of the awe, wonder and reverence of the life experience and the connection to something spiritual that makes sense of it all is probably the driving force of her work as well as the source of the art and marks that inspire her.

The intention to link and bridge across time ethnicity and culture, their practices and principles, is entirely admirable and is successfully realized more times than not in her book, in the presentation of illustrative passages of prose, of informative quotes and explanations make clear the proposition that the mystery of existence might be contained in a universal visual shorthand balanced by a magic and generosity of mind buoyed by trust in a continuity that where she lands is exactly right.

She calls upon a spiritual center available to all, often overlooked and muddied by the obscuring of cultural, even philosophical constructs hell-bent on erosion, on exerting artificial materialism and self-importance that suffocates, over-stimulates, deludes and ultimately kills the procreative impulse that Rogers relies upon and celebrates in ART AND SACRED SITES.

Her circles invite a meal for the senses in a sun settled in gold, red and orange, something that soothes the soul. She becomes a vessel carrying news of a nourishment of wealth of spiritual resources rich with potential accessible to all of us.

We revisit through her work platforms where we have always been, poised for re-invention and continuance, via a re-connection to the places, spaces and symbols which ultimately allow a re-connection to our selves.

The book, through its brilliantly colored or subtle earth toned pages are evocative of the power of the markings and symbols, both original and extrapolated, onto the media of the 21st Century allowing Rogers to present where she has been, what she has seen and what she has done with these sightings with great authority, power and humility communicated through time and generations telling a truth both irresistible and undeniable:

Now is always now.

 

 

GLEN OPEN GROUNDS BOOK SIGNING

 

 

 

 

 

 

 

Carl Heyward

is an artist and writer living in San Francisco

I DIGRESS: Guillermo Gomez-Pena ON THE BORDER LINE.

 

 

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lemme present this dilemma:

 

can

 

one who appears like a brown  chalupa nightmare who invites dialog, exchange even consolidation among the races the generations the classes the sexes the senses be taken at face/FATE value? This  harpie/ brujo/ shaman in wrestler’s El Santero mask and skin-tight mariachi garb tattooed to a fare-thee-well intoning operatic baritone incantations in feathered headdress or acid-trip sombrero best kept at arms-length defies the branding as an exotic, an eccentric, a novelty by means of politically sound compassionate reasoning, the humor of logic despoiled the of-the-minute sensibility full of wisdom and the skewed normality that passes for the status quo ?

GUILLERMO GOMEZ-PENA

 

 

THE BORDER:

 

The subject is the border of mind and heart; of boundaries that separate the land and the men and women and thought of it and in it and ring a cash register or pull a trigger or lock a cell door; metal and mental. A western sensibility an American on-going crime.

 

 

A meal not easily digested, attractive all the same.

Undeniable existence…palate / pallet /palette  enough for you?

 

 

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THE WORD FROM ACADEMIA: 

 

 

Gómez-Peña continues “to develop multi-centric narratives and performative poetics from a border perspective,” creating what critics have termed at different times “Chicano cyber-punk performances” and “ethno-techno art.” During these performances cultural borders move to the center while the alleged mainstream is pushed to the margins and treated as exotic and unfamiliar, placing the audience members in the position of “foreigners” or “minorities in his performance country.

 

Gómez-Peña has spent many years developing his unique solo style, “a combination of embodied poetry, performance-activism and theatricalizations of postcolonial theory.” In his ten books, as in his live performances, digital art, videos and photo-performances, he pushes the boundaries still further, exploring what’s left for artists to do in a repressive global culture of censorship, paranoid nationalism and what he terms “the mainstream bizarre.” Gómez-Peña examines where this leaves the critical practice of artists who aim to make tactical, performative interventions into our notions of race, culture and sexuality.

(Stephanie Okuda, Theater & Performance Studies, Stanford University)

 

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from a text by Chloe Gurin- Sands/ University of Michigan:   BORDER THEORY 

 

Guillermo Gomez-Peña speaks often and poignantly about what borders mean to him, how he has personally experienced them, and how they have shaped the culture that surrounds us all.  In an excerpt from “Warrior for Gringostroika,” entitled “The Border Is…A Manifesto,” he elaborates on what a border means to him specifically, and how it can have many different interpretations, definitions, and applications.  With our discussions from class, and areas we have focused on in our particular archive, this manifesto has many answers to questions that Peña leaves open-ended and ambiguous in other pieces and performance art presentations.  He claims border culture is a “polysemantic term” that has many different meanings.  These include: “a transcultural friendship and collaboration among races, sexes, and generations,” “a way to analyze critically all that lies on the current tables of debates,” and also “it means hybrid art forms for new contents-in-gestation.”  With these descriptions, along with many others given throughout this excerpt, it is apparent that Peña recognizes the borders that exist in everyday life, and how multifaceted they truly are, while raising awareness about how to break these borders down, and discuss the intricacies of “border culture.”

 

 

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In an excerpt from “New World Border” which we read in class, he discusses how he would ideally want the bordered world to disintegrate and become borderless and more mixed on many levels.  His conceptual map of the New World Border is “a great trans- and intercontinental border zone, a place in which no centers remain.  It’s all margins meaning there are no “others,” or better said, the only true “others” are those who resist fusion, mestizaje, and cross-cultural dialogue.”  This quote is particularly interesting because he is voicing his opinion about separations, and judgments made based on borders in society.  Peña would prefer a world where there are no “others” who are left out of categories or cultures because they don’t fit the specific criteria or beliefs.  He instead, wants there to be a free mixture of cultures, and a feeling of togetherness and inclusion, where only those who are negative towards the blend are left out because of their close-mindedness.  He also makes an interesting comment that relates to the physical map of North America.  He “opposes the outdated fragmentation of the standard map of America with the conceptual map of Arte-America – a continent made of people, art, and ideas, not countries.”  This point is the heart of his philosophy about a borderless society.  Peña is pushing for the world to move away from rigid borders that separate countries, such as the United States and America, and instead look at what creates the continent as a whole.  Look instead at the contents it contains, and the wealth of people, art, and ideas that make it unique, mixed, beautiful, interesting, and borderless.

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In another art endeavor, Gomez-Peña teamed up with Marco Vinicio to create the publication, “The Broken Line/La Linea Quebrada.”  This was a magazine distributed in the United States and Mexico that addressed many issues relating to the border, and the concept of tearing down the rigidity of the division between the two countries.  The goal of the magazine was to “find new and surprising ways to distribute border art with a minimum of resources, and from an independent perspective.”  It was a bilingual and experimental magazine that was distributed heavily along the San Diego/Tijuana border.  Peña described the process in terms of being written from an intellectual perspective, because he thought that at that given time in the mid 1980’s, they alone had the right to portray the border in an honest and innovative light.  The magazine’s goal was to aid in positively changing the relationship between Mexico City and the state of California by changing the views and opinions of the relationships between Mexicans and Chicanos. Image

 

Borders are common and plentiful in Guillermo Gomez-Peña’s works.  He references them in his performance art pieces, his writings, and through his photography.  Tearing down these borders are important, and relevant to this artist who has spent much of his life trying to reconcile being fragmented, segmented, and discriminated against because of his different identifications and pushing the boundaries of borders in an attempt to remove them and tear them down.  His pieces attempt to raise awareness about these borders and show the world that there is an alternative to such close-minded tactics of creating border on top of border to separate our daily lives in so many ways, no matter how subtle they may be.

 

 

SPONTANEOUS COMBUSTION : language  image lab

 

 

WHAT IS BEING SEPARATED?

 

 

 

 

WHAT IS BEING PROTECTED ?

 

 

 

BY WHAT AND BY WHOM ?

 

 

 

 

 

FEAR FUELS THE MACHINE

 

 

 

 

 

THE MACHINE IS FUELED BY FEAR

 

 

 

 

 

 

FEAR IS THE MACHINE

 

 

 

 

FEAR THE MACHINE

 

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ADDENDUM :

 

The whispers too, they intimate

Radical Performance Pedagogy

By Guillermo Gómez-PeñaFebruary 12, 2013

(with Saul Garcia Lopez, Emma Tramposch, Dani d’Emilia, and Erica Mott)

 

Image: Nayla Altamirano. CASA, 2010 (still); performance, St Augustin, Oaxaca. Courtesy of La Pocha Nostra. Photo: Antonio Turok.
_____

What follows is a roundtable conversation between La Pocha Nostra founder Guillermo Gómez-Peña, La Pocha Nostra’s producer Emma Tramposch, and La Pocha Nostra members Saul Garcia Lopez, Erica Mott, and Dani d’Emilia. La Pocha Nostra (also known simply as “Pocha”) defines itself as “a center and forum for a loose network of rebel artists from various disciplines, generations, gender persuasions and ethnic backgrounds,” whosecommon denominator is the “desire to challenge, cross, and erase dangerous borders between art and politics, practice and theory, artist and spectator, mentor and apprentice, body and cultural nightmares.1 The troupe comprises four to six core artists and scholars, as well as additional performance artists, activists, curators, musicians, filmmakers, and designers working part-time on Pocha projects. 

The roundtable occurred at the end of La Pocha International Summer School, an annual intensive pedagogical workshop, which took place in 2012 at the Taller Espacio Alternativo in Oaxaca. The Summer School employs what Pocha defines as a radical performance pedagogy, which “challenges specialized knowledge by creating temporary utopian spaces where interdisciplinary dialogue and artistic imagination can flourish. These utopian spaces are framed by, but not contained within, a pentagon shape of radical ideas and actions whose vertices are community, education, activist politics, new technologies, and experimental aesthetics.”

The Pocha members d’Emilia, Garcia Lopez, and Mott arrived in Oaxaca after performing at the Conarte Festival in Monterrey, Mexico.2 In Monterrey, considered a high-risk zone by the U.S. State Department, the performers witnessed public places usurped by the cartel wars and experienced exceptionally participative audiences that were outraged by the routine of catastrophic violence. So this conversation, which focuses on overcoming the polarities that emerge while undertaking their pedagogy and the workshop’s potential for reinvention, also reflects a context in which organized crime has unprecedented control over governments and violence is rampant in Mexico; political instability and unrest are reaching new levels in many nations; and the global economy—including the art economy—continues to spiral downward. All of these realities were very present throughout the Summer School session.

_____

On Packing the Chevy as Praxis

Oaxaca is a country within a country—a planet within a complex, loud, and potent solar system.— Bruno Varela, Oaxacan performance artist

Guillermo Gómez-Peña: In our political ethos of building transnational communities of rebel artists, we always strive to have twelve “nationals” participating, with some under full scholarship, and twelve “internationals” from the so-called First World, who pay a fairly decent tuition.

Emma Tramposch: But this year, it was quite different, both in number and ethnic composition.

GGP: Very true. We had twenty-six people alongside a bunch of locals who crashed [the session] on various days. Normally, the internationals come from countries with robust art economies, such as the United Kingdom, Germany, the Netherlands, Belgium, Australia, the United States, and Canada. But this year it was very different. Due to the sinking global economy, the internationals came from countries like Colombia, Chile, Brazil, Spain—which is now in serious economical trouble—and other struggling economies. It was epic, which speaks for the need for our pedagogy in times of acute crisis.

Dani d’Emilia: It’s so interesting that so many participants were going through particularly intense moments in their personal, political, and artistic lives.

ET: We had even accepted a Nigerian artist and a Tongan artist, but they were unable to get visas from the Mexican embassy of their respective countries. Does Mexico even have embassies there? When they tried to obtain them through a third-party European country, they got stuck in immigration control. Sometimes the borders between developing countries are more formidable than those between First and Third World countries.

GGP: We need to create our own more utopian and inclusive geo-political map, even if it only exists on planet Poetry.

ET: And most of the Mexican participants could only complete their tuition or fully cover the fee this year in tequio—in exchange for favors.3

GGP: It was pedagogy in exchange for food, cleaning, documentation, preparation of props, chauffeuring, late-night party coordination, et cetera. We gladly bit the silver bullet.4

Erica Mott: This may be what the arts programs of the future will look like, as more artists move towards models of resource sharing and ethical exchange in order to make exciting work under adverse funding conditions.

DDE: A model not only for the arts but also for the everyday sphere of life.

GGP: Unfortunately, our landlords and doctors don’t seem to agree with this model.

4.9_La_Pocha_Nostra_Galloping_Shaman

Gerardo Juarez. Galloping Shaman (still); Juarez welcoming the audience at La Calera, Oaxaca. Courtesy of La Pocha Nostra. Photo: Tania Bohorquez.

On the Indigenous/International Axis

ET: The presence of indigenous artists was still a crucial anchoring factor in the workshop—a Pocha trademark that is becoming more pressing than ever.

GGP: Yes. Gerardo Juarez, the next mayordomo of Iztacalco; Lukas Avendaño, a two-spirited Mixteco performer and activist who is now in the process of becoming a Pocha member; and Tania Bohórquez, a young Oaxacan photographer who utilizes her nude body as subject matter—[they] were unquestionably some of the strongest performers present. Their body intelligence and performance sophistication humbled the most seasoned of international participants.

ET: Despite the lack of formal training, the Latin Americans and especially the indigenous performance artists tended to be more open in their body language. Why is that?

Saul Garcia Lopez: The indigenous artists were constantly offering their bodies en forma de tributo for the enhancement of the pedagogical ritual of the workshop. They became pedagogical instigators.

EM: I think we risk sounding a little essentialist here. Perhaps the joy that comes from consistently crossing borders with the pedagogy is to learn from our participants, who reveal unexpected and exciting ways in which culture, ethnicity, and worldviews can charge and shape the body as a vehicle or tool for a radical performance practice.

La_Pocha_Nostra_El_Cuerpo_Diferente

La Pocha Nostra. Participants from El Cuerpo Diferente stage impromptu tableux vivants in X-Teresa Arte Alternativo, Mexico City, November 2012. Photo: Norma Patiño.

DDE: You’re right, Erica, there’s a real danger in excessively romanticizing it all, but there is something that undeniably connects Pocha with Latin American and other colonized bodies. The images we create often emerge out of a purposeful clash between various influences, aesthetics, cultures, iconographies, attitudes, et cetera. For example, there isn’t a “pure” Brazilian body. [Brazilians] are more like strange combinations of ingredients that were thrown together in the melting pot of history. This hybrid re-assemblage became an eloquent state of being.

GGP: I don’t see any problem in stating that the indigenous body, like the Brazilian body, is more awake, assertive, and politicized than, say, the Finnish body. (Laughter)

ET: Acknowledging and addressing the cultural specificities of our participants is part of the pedagogy.

GGP: This is one of the main differences between a Pocha workshop and, say, an Anne Bogard or Eugenio Barba workshop. We insist on facilitating exercises that constantly respond to the challenges of the site and the specificities of the spaces, communities, and individuals we are working with. It’s border pedagogy, meaning it operates in a permanent state of reinvention.

DDE: For sure. In each context, participants bring with them such different backgrounds, struggles, and desires. The intimate borders people choose to cross or the aesthetic and political slant they imprint to the work becomes the crux of our time together. It’s interesting for us to notice that our varied pool of exercises shapes up differently each year in order to dance along with the needs of each group and also to respond to what is happening just outside the door of our workshop space or across a more distant yet equally present border.

4.9_La_Pocha_Nostra_Summit_of_Nalgas

Summit of Nalgas, 2012 (still); performance intervention, La Calera, Oaxaca, part of the La Pocha International Summer School, Oaxaca. Courtesy of La Pocha Nostra. Photo: Tania Bohorquez.

On the Need to Reinvent our Pedagogy In Situ

GGP: Our pedagogy was quite different this year, que no? With four instructors—two trans-Mexicans, a de-territorialized Brazilian and a U.S. Viking—we engaged in a multilevel, poly-linguistic type of pedagogy in which we were constantly shifting and sampling roles, languages, and leadership and mixing exercises in surprising new ways.

SGL: At one point, it felt like we were actively configuring brand new strategies for our radical pedagogy. It was,
apparent that sometimes we collapsed vertical, hierarchical

SGL (cont.): models of teaching into what felt like a pedagogical jam session. We needed to be more precise than ever in our instructions in order not to confuse the students.

EM: And to not confuse ourselves. Incorporating polyphonic and jamming tactics into our instruction forced us to be present, mindful, and playfully interactive with each other. It demanded that we apply the same decentralized structure to our instruction that we encourage in the general workshop and insured all instructional voices were heard, not just the most boisterous, like Guillermo’s.

GGP: Ach! I am working on my logocentrism [sic]. I am learning to step back and cede more space to you all. It’s a big learning challenge for me.

DDE: And we are learning not to overwhelm you and the participants with all our pedagogical changes and samplings of new exercises, cabrón! As our pedagogy develops in this new formation, we are trying to strike the balance between pursuing the more familiar and effective Pocha strategies alongside experimenting with new material. We are getting so much better at it. 

On the Politics of Translation and the New Importance of Spoken Work in our Pedagogy

I feel Mexican but not Mexican, just as if I was suddenly inserted in my mother culture, struggling to articulate proper Spanish, and all wrapped in plastic film and sunglasses.—Saul Garcia Lopez

GGP: We also learned a lot about simultaneous translation, que no? We learned that when pedagogical instructions are given in three languages, the number one rule of a translation in situ is that it has to be shorter than the actual command.

SGL: True. We need to avoid redundancy at any cost. No translation was sometimes okay because it forced the students to be more vigilant about sparking their performance intelligence.

DDE: At the same time, this process also made us notice which instructions or observations needed to be carefully translated in order to be understood by all. We often use simple exercises, but by subverting and bastardizing them in various ways, we created conceptual shifts and reached complexities beyond performance training. Language is a very important ally in this process.

La_Pocha_Nostra_El_Cuerpo_Diferente

La Pocha Nostra. Participants from El Cuerpo Diferente stage impromptu tableux vivants in X-Teresa Arte Alternativo, Mexico City, November 2012. Photo: Norma Patiño.

GGP: I feel that good performance pedagogy is all about “language-ing.” This time, we had a bunch of great writers such as Mario Bellatin, Gabriela Leon, and Lucero Luevano who also happen to be performance artists. Besides body-based art practice, they were interested in language performance, and through their desire to jumpstart every session with poetic or performed texts, we rediscovered the importance of spoken word in the pedagogy.

EM: How the poetics of language could appeal to and ignite the performing body was immediately apparent; it became a vital setting-of-the-stage for our creative sessions. The shared poems were embodied texts; some were danced, others became calls and responses, and others were fantastical languages that created new, mytho-logoscapes that would carry us into the following session.

SGL: We realized we needed to keep inventing and adapting exercises to incorporate text in a non-parliamentary fashion, avoiding illustrative dialogue in a theatrical sense as much as possible.

GGP: We had to openly experiment with text as environment, meta-fiction, and prop—with text embodied in the live image and directly written, or drawn, rather, on the skin. We had to think of the body as a canvas, as a mural wall or an open book. Our quintessential Pocha exercise of the illustrated body reached a new dimension.

4.9_La_Pocha_Nostra_Pocha_Rainbow_Warriors

Saul Velarde and Logan Phillips. Pocha Rainbow Warriors, 2010 (still); performance, The Museo del Ferrocarril, Oaxaca. Courtesy of La Pocha Nostra. Photo: Berenice Guraib.

On the Increasing Importance of Public Interventions

ET: We also placed more emphasis on public interventions in autonomous zones, in places struggling with the government, such as the Antiguo Museo del Ferrocarril or in buildings with a deep political and labor history, such as La Calera.5

GGP: At one point, the actual workshop site had evolved into a headquarters for us to plot our public interventions that renegotiated the meaning of many highly charged buildings and public spaces. It was the most activist Summer School since the days of the teachers insurrection in Oaxaca.

SGL: The desire of the group to test the pedagogy in public places stressed the political implications of the exercises; it enhanced the performance actions and valor of the students. These interventions also emphasized the transformational process of individual and group aesthetic choices and the relationship of the human body to the architecture—the actual space—or the public.

GGP: It was mind blowing. To our surprise, the use of nude bodies in politically charged buildings and in autonomous zones was always welcome and even celebrated by local working-class communities with very little experience of performance art.

DDE: This desire to use performance to intervene and exchange with the local community also triggered some very interesting conversations within the group, especially due to the various sociopolitical backgrounds of the participants. At one point, in discussing the possibility of making work in public spaces of Oaxaca, a crucial point came up: performance actions have very different impact and consequences in different cultural and social contexts. Clashes with local authorities can also produce very different consequences for the individuals involved, simply because of their nationality.

GGP: Remember the day the North Americans were so exalted by performance that they wanted to suddenly go into the downtown streets in costume and stage impromptu radical interventions? We had to politely persuade them that it is one thing for a blond foreigner to go wild in public in Oaxaca, and it is another thing entirely when it comes to a brown national. Their treatment in jail, if arrested, would be dramatically different. They understood. It’s part of the political learning process.

EM: This conversation regarding public intervention and its impact on the local community, as well as on different members of the group, was a powerful moment for us as instructors to clarify what our goals should be with public interventions during a Summer School. It was also a charged moment of reflection on the freedom and openness cultivated within the trans-border community that developed over the course of the workshop in comparison to the rigidity and dangers outside—and right next door to—the workshop environment. When and how do we wish to strategically press, collide with, and/or pierce that border.

On How to Deal Pedagogically with Sensitive Issues

GGP: Open and unanswered questions: In our sensitive dialogues behind closed doors, we talked about the need to chronicle the most challenging moments we’ve experienced during workshops, those moments that have shaken us as pedagogues and have tested our abilities, the Pocha pedagogy, and the temporal community of rebel artists we are working with.

EM: It’s often the challenges that enrich a sense of solidarity with other radical pedagogues.

GGP: Then let’s remember some of the challenges posed to us by the participants.

SGL: I remember a particular conversation when Pocha alumni—people like the Mexican Nayla Altamirano and the New Yorker Lindsey Drury—expressed their desire to have advanced-level workshops. We have local and international participants who have taken the course multiple times. Some of them have expressed the urgent need for this format. What new strategies can we develop that also encompasses these participants?

EM: This poses a formidable challenge to us and to the pedagogy. What does it means to be advanced in a system aimed at decentralization and different, complex modes of equality?

GGP: If we divide the advanced students from the beginners, we would be creating hierarchies in the ethos of Pocha. Is this good or bad? I don’t know.

ET: We also faced [another] major problem one day, remember? The growing presence of curious visitors from the local arts community, which, while a very common occurrence in Oaxaca, was strongly contested by a few workshop members—mostly North Americans—who felt their presence was disruptive and that we needed to develop a strict protocol for guests. I can see both sides, really.

GGP: How can we strike a balance between remaining open and community-minded yet also protect the close temporary environment created within the workshop setting? We still don’t have an answer for this one.

DDE: Not a full answer, but we did already discover some strategies, such as ensuring that guests were announced and that they participated in some form of exchange during or after their visit. I remember we also discussed how differently participants felt about the nuances of process versus finished work and what phases should be open to the public. Performance is always in process, but it’s so different if you are a visual or conceptual artist, for example.

On New and Perplexing Political Questions

GGP: Due to the acute global crisis of the moment, we were also faced with new political dimensions. I quote from my diary:

“Why is it that no performance artist nowadays has an alliance with their respective nation-states? Is it that performance art is anti-essentialist by nature? In a time in which Mexico is controlled by organized crime, why do we still have more artistic freedom in Oaxaca than, say, in San Francisco, and [why can we] produce more hard-core images there than in London or Berlin? Is the omnipresent danger in Mexico more conducive to openness and willingness to jump into the abyss?”

EM: More questions: How does performance risk-taking differ and evolve when one’s country of residence demands extreme risk-taking in daily activity? How do we as performance artists address, fracture, and re-view or re-envision this risk? In extreme times, it may be the slippery and sometimes trickster identity of the performance artist that can twist, deform, and subvert such critical subject matter.

SGL: As a workshop participant said in Monterrey, “As an artist, what else I can do with my body when we encounter over-the-top images of real cuerpos desmembrados[dismembered bodies] as part of our everyday entertainment?” I still remember a taxi driver in Monterrey airport saying, “Your suitcase is very heavy, cabrón.” As a joke I said, “I have a body inside.” The taxi driver laughed and said, “Con cabeza o sin cabeza? [With or without the head?]” He was referring to the hundreds of beheaded bodies found in connection to the drug-cartel crime in the area. After hearing his answer, I was unsure whether to laugh or not.

GGP: Increasingly, we are having a harder time justifying why we should keep our headquarters in San Francisco when the troupe is spread throughout five different countries and the cultural energy has moved south of the border in the past decade. Though we are still committed to servicing outsider and underserved communities in the United States, we are now constructing a studio in Mexico City to incubate all our Latin American projects and use it as Pocha South Central.

ET: Not to mention the fact that the new Pocha members are challenging our pedagogy and pushing us to expand it and politicize it even more.

GGP: The Occupy movement, the indignados, the Arab Spring, Athens on fire, the movement against violence in Mexico—all these citizen initiatives are challenging our notions of what is performance and what is the new relationship between performance, our bodies, and activism. In many ways this is the core question posed by our new performance, The Insurrected Body, which recently premiered in Austria. We feel excited and a bit scared. The rug has been pulled from under our feet and no matter where we look—north, south, east, or west—we only find flames.

SGL: And then, there is here. Now is the time to surf the apocalyptic shifting of power. Somewhere in this turmoil there is a territory that is home to Pocha. Shall I call it a trans-apocalyptic space?

_____
NOTES:

1. All quotes in the introduction are from La Pocha Nostra’s manifesto:http://visitor.benchmarkemail.com/c/v?e=1CEEFC&c=EDCB&l=49A482B&email=ic3b5%2FTKPzv%2F9wYgElm1zbV4yth9vR43xIq103q5KuP2u%2F1TV4legA%3D%3D&relid=4C4AEFA1

2. This was the first time no founding members of the troupe were present for the festival.

3.  In Oaxaca, tequio is an organized form of collective work or trade that produces an alternative economy.

4. La Pocha Nostra and La Perrera, their partner in Oaxaca, were able to secure the required funding with the support of the National Association of Latino Arts and Culture (NALAC), as well as the in-kind services of many local producers and curators.

5. A former chalk factory, La Calera was transformed into a utopian, self-sustaining art space through the vision of the artist Alejandro Santiago.

 

 

 

 

 

compliled for

SPONTANEOUS COMBUSTION: language / image lab 

BY 

 

CARL HEYWARD

a san francisco based writer and artist

 

this SPONTANEOUS COMBUSTION: language/image lab article undergoes further dissemination beginning April 25th, 2014 under the auspices of  Carol Shapiro’s   “webassoauteurs” project:

http://www.webasso-auteurs.net/ouvertures/    “to be the boundary”

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Originally posted on spontaneouscombustionlanguageimagelab:


GAP : (global art project)
GAP III
SEPTEMBER  2015 LECCE, ITALY
MONNA LISA STUDIOS, CITTADINO & FONDO VERI
GAP II
MARCH 2015
MAZATLAN, MEXICO
CARLOS BUELNA GALLLERY, MUSEO DE ARTE DE MAZATLAN 
GAP I
JULY 2014
EXHIBITION AND WORKSHOPS AT CA ‘Zanardi GALLERY VENICE, ITALY
 
gap in 2014
>>>>
Lorna Crane
Joan Stennick
Chaewon Oh Laura
Carl Heyward
Vered Gersztenkorn
Akiko Suzuki
*
GAP MEXICO INVITATION ALVARO  JOAN IMAGE
<<<<
*
GAP will be exhibiting new art work and conducting workshops in mixed media, collage, quilt making and drawing with six international artists during the month
of July 2014 in Venice and at the end of the month accepted an invitation to participate on in the Biennale Lecce in southern Italy.
GAP ALVARO SANCHEZ LA DUDA DE DIOS
ALVARO SANCHEZ
……………………………………………………………………………………………………………………………………………………………………….2015:
GAP ( global art project ) invites native and traveling artists to view compact evolving exhibitions and participate in workshops and demonstrations of collaborative and mixed-media arts in our ongoing series of international…

View original 7,485 more words

GLOBAL ART PROJECT ( g.a.p.) ART WORKSHOPS : VENICE, ITALY JULY 2014.


GAP : (global art project)
GAP III
SEPTEMBER  2015 LECCE, ITALY
MONNA LISA STUDIOS, CITTADINO & FONDO VERI
GAP II
MARCH 2015
MAZATLAN, MEXICO
CARLOS BUELNA GALLLERY, MUSEO DE ARTE DE MAZATLAN 
GAP I
JULY 2014
EXHIBITION AND WORKSHOPS AT CA ‘Zanardi GALLERY VENICE, ITALY
 
gap in 2014
>>>>
Lorna Crane
Joan Stennick
Chaewon Oh Laura
Carl Heyward
Vered Gersztenkorn
Akiko Suzuki
*
GAP MEXICO INVITATION ALVARO  JOAN IMAGE
<<<<
*
GAP will be exhibiting new art work and conducting workshops in mixed media, collage, quilt making and drawing with six international artists during the month
of July 2014 in Venice and at the end of the month accepted an invitation to participate on in the Biennale Lecce in southern Italy.
GAP ALVARO SANCHEZ LA DUDA DE DIOS
ALVARO SANCHEZ
……………………………………………………………………………………………………………………………………………………………………….2015:
GAP ( global art project ) invites native and traveling artists to view compact evolving exhibitions and participate in workshops and demonstrations of collaborative and mixed-media arts in our ongoing series of international activities for this project. We return to Lecce in southern Italy a year after participating in the Salento Biennale, the Tonio Jazz Festivall and establishing a base in Venice at Ca’ Zanardi to Mostra al Cittadino 52 artisti per 52 settimane and Fondo Verri with the guidance of curator Monica Lisiwhose Monna Lisa studio space will serve as the site for workshops for visiting and local artists from September 20 to October 4th and center of experiments in art practice by Carl Heyward / Akiko Suzuki and Vered Gersztenkorn – Painter. The exhibitions include rotating examples of individual and collaborative new and existing works from core GAP members Laura Oh and Lorna Crane. Additionally satellite GAP membersGlen Rogers / Gregory J Rose / N Masani Landfair Wisewaters and Alvaro Sanchez round out the project with diverse works various media including print, painting, collage, contemporary quilt making, assemblage, electro-static graphics and other genres….the conglomerate of participants hail from USA / JAPAN / ISRAEL / NEW SOUTH WALES / SOUTH KOREA & GUATEMALA . Join GAP as we invent the face of the necesarily collaborative future.
AKIKO CUPPED RED FACE BART   AKIKO  /japan
WORMSCARL AND ALVARO TERRORISTS  CARL /usa ALVARO /guatemala
LORNA PORT     LORNA/ new south wales
GREGORY / usa   GREGORY J ROSE PORT
GAP LAURA OH BY CAMELIA MIRESCU   LAURA / s. korea
GAP MAZAT GLEN AT OPEN   GLEN / mexico
N MASANI LANDFAIR  WISEWATERS PIECE WITH PORT    N. MASANI WISEWATERS / usa
VERED COLORIZED BY CH  VERED / israel
……..
Due workshop sono ospitati dall’artista e curatrice Monica Lisi nel suo studio in occasione dell’arrivo a Lecce degli artisti Carl Heyward Vered Gersztenkorn e Akiko Suzuki . Verranno esposti a Lecce i loro lavori, come anche quelli del gruppo GAP presso il Caffè cittadino ed il Fondo Verri a Lecce.
Domenica 20 settembre e Domenica 27 Settembre, dalle 16 alle 19 si terranno due sessioni al prezzo sociale di 25 euro l’una per dare a tutt* la possibilità di conoscere e apprezzare il lavoro di questi straordinari artisti. Pittura disegno, quilt, mixed media e collage saranno le tecniche utilizzate. Il prezzo dei workshop servirà a finanziare la residenza a Lecce degli artisti provenienti dal Giappone, Israele, Stati Uniti.
Necessaria prenotazione e conferma tramite un’acconto che non verrà restituito in caso di rinuncia. Info 3274288848 monnalisa.71@libero.it
Two workshops are hosted by the artist and curator Monica Lisi in his studio after the arrival in Lecce artists Carl Heyward Vered Gersztenkorn andAkiko Suzuki . Lecce will be exposed to their work, as well as those of the group GAP at the Coffee citizen and the Fund Verri in Lecce.
Sunday, September 20 and Sunday, September 27, from 16 to 19 there will be two sessions a social price of 25 euro each to give to everybody the opportunity to know and appreciate the work of these extraordinary artists.Painting design, quilt, mixed media and collage techniques will be used.The price of the workshop will be used to finance the residence in Lecce artists from Japan, Israel, the United States.
Necessary booking and confirmation through un’acconto will not be refunded in case of cancellation. Info 3274288848 monnalisa.71@libero.it .
https://www.youtube.com/watch?v=bLcJHzOHAqE

GAP is currently taking reservations for participation in our proposed workshops and studio sessions.

Enrollment is limited( probably no more than five (5) participants in any one session.
We hope to repeat this experience, possibly adding mono-print making and sculptural workshops to the roster allowing artists at all levels of experience to participate in a nurturing, supportive setting which promotes as well as questions habitual creative methods.
Your reservation is a vote of confidence for the project; supports the project and encourages others to participate in a wholly unique experience.
Please contact me for further information, though many of us have already been in touch and this outreach is a response to your query.
Consult the GAP albums, facebook page and website to reference the Venice July 2014 experience.
If you decide to move forward today and make a reservation for the GAP workshops:
remit 150 euro ( paypal ) and select ONE of the following workshops…
DRAWING
MIXED – MEDIA
COLLAGE
PAINTING
CONTEMPORARY QUILT MAKING
*each workshop session will be conducted for four (4) hours
*material fees may apply
the paypal account associated with GAP II is:
artspeak2020@yahoo.com. Each workshop is 150 euro and you can add additional ones later if you like…the paypal information is above (artspeak2020@yahoo.com) I invite and encourage you to respond with registration asap and let others know…while this is participation in workshops for you, it also includes the experience to participate in interactive collaborative art practice and an exchange of techniques and ideas that you might not be exposed to otherwise.
Thank you for your interest; looking forward to communicating with you and seeing you in Italy in SEPTEMBER 2015 for GAP II.
Carl Heyward
GLOBAL ART PROJECT
http://www.utsanga.it/?p=140
https://spontaneouscombustionlanguageimagelab.wordpress.com/

https://www.youtube.com/watch?v=bLcJHzOHAqE

thank you so much Camelia Mirescu for this beautiful document of our project in GAP Venice JULY 2014…please visit us in Lecce, Italy Sept 19- Oct 4 for our workshops and exhibitions curated by Monica Lisi at Mostra al Cittadino 52 artisti per 52 settimane and Fondo Verri :

*

we encourage you to register early to assure placement and confirmation of the workshop class of your choice: message your email address

*
NOW AND THEN
*
THINKING ABOUT DRAWING
with Australian Artist  LORNA CRANE
Ca’Zanardi Venice July 2014
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> >>>>>
About the Workshop 3 hours
This workshop explores the idea of ​​drawing with a fresh and intuitive approach. It will be a workshop of ideas, exploration and self discovery. A time to take a leap of faith in the search for each artist’s unique visual language by building a series of small works on paper – each no larger than A4.
Be prepared to work quickly creating a platform to take a leap of faith – to view the perception of a mistake as a fresh and inspiring opportunity and to be surprised with some exciting and revealing end results. Process includes building a base layer of interest to over-draw and paint.
Materials List
Necessary> acrylic paint, markers, black ink, assorted pencils, small stapler, assorted graphite pencils, brushes, water containers, scissors and glue stick
Optional> book pages, found paper, cloth, discarded That works on paper can be used as collage
Base paper Should be a heavier weight to withstand some collage work to act as a base to then over-draw with a fluid medium
The end results will be a series of small works on paper> maybe some fully resolved or be works in progress to complete in your own time.
MIXED-MEDIA / collage WORKSHOP
facilitated by 
 
American Artist: 
Carl Heyward  
and
Korean Artist:
Oh Laura Chaewon
                       
DURATION: 3 hours multiple sessions available and ENCOURAGED 
20140130033043-untitled_envelope_collage__4__mixed_media__19_x_86_cm__oct
envelope collage # 4


Oct., 2013
mixed media
19 x 86 cm 

 
 
Oh:
 
“I would like to make small collages (extrapolating on the development of my Envelope
Cardboard and Collages Collages)
using envelopes, fabrics, buttons, cardboard, found objects, photos, pages torn from books,
and lettering, stamping, attaching knitted wires, pencil, charcoal drawings and paintings with
acrylic as background or overlapping collage elements.
Focus centers on the free flow of energy … making collages for fun. “
Heyward:
 
“Collage makes sense of the chaos around us”
   20140129211138-zimbab_detail_chicken_coca_nudes
 
ZIMBABWE STEP TWO SERIES 
 
… In every object, scraps of paper, discarded notes, forgotten photograph and commercial product package is a confrontation with the values ​​of our cultures; the glut of information available is overwhelming and poses a challenge to simple linear comprehension; perhaps mixed-media art work offers the opportunity for an almost meditative ordering of the chaos Within and without …
 
Collage and found materials are the
Focus: newsprint, photos, magazine
imagery … anything with meaning can be
Made to mean Opinions more; the sum of
the
materials can be manipulated to
created
personal art works narrating
observations on art, the
cultures,
politics and personal history.
materials:

photos, writing, discarded books, blank books, found paper objects. glue stick, pencil, materials to color: acrylic paints and oil stick, markers etc.
 
 
Abstractions in QUILT MAKING:
with Japanese Artist
 
Akiko Suzuki
 
Objectives:
 
Creation of a small abstract quilt using the Japanese Kimono Antique as a point of departure 
 
Creation of a quilt Consisting of painted clothing
 
Creation of a quilt combining Both Japanese kimono and painted clothing
Involving hand stitching 
 
Materials provided including electric iron.
20140127070922-img_4918
Black water: series Under my Skin

Nov.2013
mixed media
42x30cm 16 “x12″

PARTICIPANTS * note: as this is a labor-intensive workshop we urge participants to be prepared for all day or half day sessions and to Consider The Possibility of multiple day sessions to complete These quilts.
 
 
 
Vered Gerzstenkorn:  
 
an artist from  Israel Whose approach to painting  offers complete freedom to the impulses of the child in the artist.
 
“Most of my collages (if not all of them) are
 
Made out of my drawings / paintings, I 
 
hardly use found material to create them. The 

intend to use my way of working in
 
workshops alongside acrylic techniques. “
 
 
Vered’s workshops will proof to be  innovative and  experimental in nature  putting the participant possibly off-balance 
 
in unfamiliar territory then  ushering them gently back with wall painting with  eyes closed then open; extrapolating 
 
drawings and paintings  into formats and juxtapositions Both  unusual and unexpected;

 
 
Photo
                                                                                                                     vered gerzstenkorn:
 
Materials Required:  Oil sticks, house paint, pencils, anything That  makes a mark.
 
 
 
 
 
DRAWING WORKSHOP:
 
facilitated by American Artist
 Joan Stennick
                       
                                                       
… Is a high-energy class based on the essential tools
of drawing from life, from objects and from the imagination accompanied by music and verbal direction and encouragement from Stennick Whose approach will accommodate all skill levels. She will explore new methods of
mark-making awakening new relationships with working materials through an intuitive approach to art practice.
                                                                  JOAN AT GDG W PAINTING photo by peggy reskin November 2013 acrylic
 “The track an interior landscape with varied levels of connection to physical reality; never planned in advance, but Allowing it to happen as it Emerges … when it feels right in my body … and making the mark When I see the shot.”
GLOBAL ART PROJECT
Our participation in the 3rd ANNUAL LECCE BIENNIAL is greatly anticipated by our group of six international artists combined Whose Efforts have coalesced into activities promoting international art practices in the form of exhibitions, workshops, lectures and a tour during the month of July 2014 to Venice, Treviso and Lecce, Italy.Beginning July 15th, for the period of one year, GAP individual works from each member will be displayed at the Palazzo Vernazza. Additionally, a collaborative work will be created in conjunction with our workshops at Ca ‘Zanardi in Venice where our joint study combines practice with collective investigation into mixed media, painting, fiber arts (contemporary quilt making) and collage producing a truly global artifact representative of the dedication, risk and trust between disparate, yet like-minded artists from all over the world in the setting of an up and coming center for European culture: Lecce.THE PROJECT
For Lecce’s 3rd Annual Salento Biennale our purpose is to Demonstrate the impact of a wide reaching far-flung group of international artists who have maintained communication and collaboration through an exchange of ideas and art works over the period of 3-4 years having initially met via electronic media.Originally Carl Heyward (San Francisco, California USA) and Lorna Crane (New South Wales, Australia) Began a friendship and correspondence via Heyward’s KNEE (jerk) Fragmentation (mail art) PROJECT in 2011 Which Consists of a one-for-one exchange of post card sized art works made ​​Exclusively for the project That has Artist- Attracted over 500 participants and produced over 3,000 individual art works.The idea of fragmentation is central to His aesthetic mission fatto che the pieces of a culture, the debris, the archaeological products of waste and discard give evidence of culturally assigned value and worth;of conscious and sublimated preoccupations of contemporary cultures and That Their combination through collage, assemblage and other art methods Allows a reading of place and time That includes and transcends These elements.He and Crane developed in dialog in the course of this project Recognizing the resonance of Their personal imagery and founded ZIMBABWE (two-step) to encourage Their Own practice as a collaborative device, each marking a canvas or surface and sending intact or as a fragment to the other shortly after launching KNEE (jerk) .These works will be Exhibited in Australia in 2015 while the KNEE (jerk) Project will be Traveled as a segmented work Exhibited in various sites in combinations of 250-500 venues.In selected works in the course of These electric endeavors, both artists have Exhibited in Their Respective countries as well as having Participated in international shows.In expanding Their inclusion of other artists in the aforementioned and similar projects, Heyward and Crane added Stennick painter Joan of San Francisco (Heyward’s partner who has Exhibited widely in two-person shows with him as well as her own exhibitions only);Akiko Suzuki an award winning contemporary quilt maker from Osaka, Japan;the hugely popular self-taught Vered Gersztenkorn (Tel Aiv, Israel), a painter-collagist;and Chaewon Laura Oh of Seoul, Korea in multi-media artist and accomplished portraitist, Completing the GLOBAL ART PROJECT in November 2013.WE RESONATE TOGETHERWE ECHO TOGETHERgap in 2014GAP

Our work for the Biennale Lecce Reflects individual, personal and global Concerns by virtue of intention. We are creating and exhibiting Work That Allows the freedom of expression by the very opportunity to communicate beyond language and culture with various artists form all over the world while remaining open to the opportunities of the moment accessed through this circumstance in a setting (Italy) dear , yet completely foreign to us all.

What might be produced? What might happen? What reaction might be? How will, we be changed? What of value might we give? What might we receive?

What within US will be changed?

Without this experience, how can we know?

We learn from each other and are willing to be vulnerable and open to the experience.

Be willing to witness this process; be willing to join us in Lecce.

GLOBAL ART PROJECT

beginning July 15th 2014 GAP (the global art project)  Carl Heyward  /  Lorna Crane  /  Joan Stennick  /  Vered Gersztenkorn  / Chaewon Laura Oh  and  Akiko Suzuki  Their present individual works as well as collaborative creations at the 4th Annual Biennial Lecce in southern Italy. Lecce The Biennale is curated the city of Lecce. This exhibition marks the coming of age of the Biennale and is an extension of the GAP international exhibitions and workshops during the month of July 2014 in Venice at  Ca ‘Zanardi  (July 5th – July 30th) and a special workshop in the town of Treviso in Veneto Sunday July 13th from 3-5 pm:
Former Church St. Anthony
Address Piazza La Rotonda
Badoere of Morgano (Treviso)
Sponsorized to municipal Department of Culture Morgano (Treviso) and Ass. cult. Art Gallery Museum NabilaFluxus
Curator  Virginia Milici

                                                                                           LORNA TAN WORKS FOR WORKSHOP PRlorna crane
                                                                                                           Photo
                                                               lorna crane

GAP | Global Art Project

GAP – Global Art Project
Carl Heyward (USA), Joan Stennick (USA), Gersztenkorn Vered (Israel), Lorna Crane (Australia), Akiko Suzuki (Japan), Chaewon Laura Oh (Korea)

Starring at the Biennale of Salento, the artists of the GAP, the Global Art Project, led in Palazzo Vernazza, in Lecce, a tangle of languages ​​in combustion, words and signs crumpled and are made clear in the accumulation as in subtraction. Dominant elements, the medial gap, increasing pervasiveness symbolic that appears in the development of signs of the group members. Sign, signs, multiply and subtract each other. The space is the work area of ​​reprisal. Aggressive encirclement, assaults, leaving no time to lay eyes that already it is tempting to turn him and point to a new special, discovering new dimensions that populate the work. The surprise is constant attraction. Messages emerge and attempt criticism, the ambush to the cliché, the thought already.

# 1 GAP COLAB detail
image

# 2 CARL HEYWARD language
image

# 3 CARL HEYWARD detail … language
image

# 4 Carl Heyward
image

# 5 GAP Colab in progress
image

# 6 CARL HEYWARD row three
image

# 7 GAP Colab in progress
image

# 8 GAP COLLABORATIVE ARTIST’S BOOK
image

# 9 Carl Heyward and Vered Gersztenkorn row four:
image

# 10 Carl Heyward and Vered Gersztenkorn

image

# 11 GAP Colab
image

# 12 Carl Heyward row five
image

# 13 Carl Heyward
image

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2 Comments

  1. Ron Shelton Produces HAF (HIGH ART FRIDAY’S Which profiles contemporary arts and art activities on FACEBOOK)
    this interview Appeared August 7, 2014

    https://www.facebook.com/groups/496221567165118/permalink/634060736714533/

    Questions for Carl:

    1) Carl, how did GAP 2014 Venice Workshop come to fruition?

    Specifically the workshops came into being after examining our presence in Italy for the exhibition at CaZanardi as well as the invitation to participate on the 3rd in Lecce / Salento Biennale; I learned only through a series of exhibitions last year in Ceglie Mesapica and Lecce That there is great interest in contemporary art practices, especially the mixed-media process in the Fine Arts Academie settings, by the emerging artists who operate in an environment rich with antiquities and the whole history of Western art at Their doorstep That is oddly bereft of a contextual format That seriously addresses many aspects of current practice. So we made ourselves available during the course of the exhibit, between our own study time, to conduct sessions in drawing, art from nature, mixed media, collage, contemporary quilt making and painting.

    2) What criteria did you employ Selecting the 6 artists?

    I have known individuals in the group from a period ranging from two to six years; have Collaborated extensively with all of them, especially Lorna Crane who has joined me in the KNEE (jerk) Fragmentation PROJECT since about 2011 Involving Opinions more than 500 artists worldwide Resulting in Opinions more than 3,000 A-5 (roughly 6 x 9 inch) sized pieces in a one-for-one art exchange between the participants. She immediately responded to the notion of “fragmentation”, refuse salvaging materials from the studio floor, the trash bin, found the scrap, discarded the gesture That contained a germ of salvageable intent That, combined with another “frag” might result in a whole That new work risen from heap … That add to the collected frags coming in from all over the world, re-combined and then cut up and re-distributed as fresh new works with the participation of Involved creative people, well, all of this proved to be very rewarding and stimulating.

    That community of artists and continues to expand the core group came from GAP Those energies: Akiko Suzuki, Laura Oh, Joan Stennick (my partner) and Vered Gerszrenkorn.

    We share a similar aesthetic, combine disparate elements in the creation of our work, but maintain individual and unique identities in the overall practice of each artist. We meet at the intersection of mixed-media yet maintain divergent philosophical Paths That define each, perhaps, for who they / we are.

    These are artists who do what I can not do, do what has not occurred to me to do, create simple magic through dint of Their dedication to the creative process. All are dedicated practitioners Whose work I admire deeply.

    And of course the sad “YES”!

    3) How did the overall chemistry of the 6 artist impact the direction and outcome of the workshop?

    We expected to have the jerk, the first woman; to have drama and discord … “in the course of human events” and all that … it NEVER happened. We had the most incredible experience making art together, teaching, improvising, learning, traveling together, brainstorming … making it up as we went … incredible meals and conversations. We Knew from the gate That this is / was and continues to be a unique and special experience. Add to That the phantasmagorical environment of living in a 15th century palace in Venice, Italy..give me a break.
    It was “lemme pinch myself” every day for a month.

    There exists in telepathy, an unspoken communication That I have only experienced in an intimate or improvisational musical jam sessions That is very high and very special; this is what the month of July was like; every moment an opportunity to be completely present, to create or impart some idea, to witness others grapple with challenges and aesthetic solutions, alternatives from the canvas to Selecting the right route to the Rialto Bridge to Deciding the menu for dinner … and trust serendipity Seemed to be the credo for the GAP experience overall.

    With the Additions of British artist John Crabtree and later the Italian Cinzio Cavallarin we were challenged and privilege to create fast-paced works at an incredible rate without thought or reservation Which proved to be an invaluable stimulus to the group dynamic and informed the individual workshops That Were Opinions more formal and structured.

    We faced fifteen artists at Treviso’s Art in the Rotunda situated in a massive round of buildings traditionally used as an ancient market place stall converted into spaces for artists marketing Their Work. This proved to be an exhausting exercise in crowd-control and improv theater Resulting in the bonding of the GAP unit into a “rise to the occasion” MASH unit of artists-paramedics.

    4) What was the reaction of the community That took part in the workshop sessions?

    Completely positive. Most acknowledged That they had never worked in Within the formats or Considered That the suggestions we made to loosen up and escape the tyranny of the precious object, make a mark and tear it up, combine with another. The notion That One wold create a masterpiece or rany completed work In These sessions Entirely went out the window. Once participants accepted the premise That they could Entirely free and responsible for the direction of the sessions you could see and feel the joy of liberation That accepted and the concomitant responsibility with freedom.

    5) How did the artist’s workshops in collaboration impact the project?

    This was a very important element of the GAP experience. We all Witnessed the process of the other.Sometimes immediately, sometimes over a period of days. Handing a work in progress over to Akiko, for instance, I was amazed where she took things … she is a consummate “finisher,” I am a good instigator; Lorna is a masterful teacher; Vered is just magical to watch and all the Opinions more charming Because she is so self-effacing; she has no clue just how valuable she is, and Laura is completely indispensable to the entire process, she is there with what you need before you realize That you need it.

    I was puzzled as to just how to collaborate with her (Laura); she, like Akiko, use fabric and exotic papers in her creations … nonetheless two of the most satisfying pieces created in the collaborative process came from my work with Laura and I am very very pleased.

    Something arose from just jumping without knowing That the parachute would open and the experience remains amazing with very satisfying results. We are all gratified and I believe changed for the better. It remains to be seen how this experience will impact our individual practices.

    6) What story did the Book Art collage convey collaborations of GAP Venice 2014?

    This is the portable gallery. This is the act of being in the moment and synthesizing the immediate experience without fiction or editing. This is the raw unadulterated truth of our experience and is a shorthand of That experience put into visual poems.

    7) What future development direction will go from the information collected through the GAP project?

    We shall see. Certainly increased At confidence in group and individual practices. GAP is / was an experience, a group for people who eschew the group idea … a social experience for hermits … an Entirely unique and special experience. Attempting to duplicate the experience will fail? Possibly. But if there is one thing That We learned it is this:

    A creative risk is a risk worth taking. Nothing compares to the process. Nothing compares to the result. Nothing.

  2. Ron Shelton Produces HAF (HIGH ART FRIDAY’S Which profiles contemporary arts and art activities on FACEBOOK)
    this interview Appeared August 7, 2014

    https://www.facebook.com/groups/496221567165118/permalink/634060736714533/

    Questions for Carl:

    1) Carl, how did GAP 2014 Venice Workshop come to fruition?

    Specifically the workshops came into being after examining our presence in Italy for the exhibition at CaZanardi as well as the invitation to participate on the 3rd in Lecce / Salento Biennale; I learned only through a series of exhibitions last year in Ceglie Mesapica and Lecce That there is great interest in contemporary art practices, especially the mixed-media process in the Fine Arts Academie settings, by the emerging artists who operate in an environment rich with antiquities and the whole history of Western art at Their doorstep That is oddly bereft of a contextual format That seriously addresses many aspects of current practice. So we made ourselves available during the course of the exhibit, between our own study time, to conduct sessions in drawing, art from nature, mixed media, collage, contemporary quilt making and painting.

    2) What criteria did you employ Selecting the 6 artists?

    I have known individuals in the group from a period ranging from two to six years; have Collaborated extensively with all of them, especially Lorna Crane who has joined me in the KNEE (jerk) Fragmentation PROJECT since about 2011 Involving Opinions more than 500 artists worldwide Resulting in Opinions more than 3,000 A-5 (roughly 6 x 9 inch) sized pieces in a one-for-one art exchange between the participants. She immediately responded to the notion of “fragmentation”, refuse salvaging materials from the studio floor, the trash bin, found the scrap, discarded the gesture That contained a germ of salvageable intent That, combined with another “frag” might result in a whole That new work risen from heap … That add to the collected frags coming in from all over the world, re-combined and then cut up and re-distributed as fresh new works with the participation of Involved creative people, well, all of this proved to be very rewarding and stimulating.

    That community of artists and continues to expand the core group came from GAP Those energies: Akiko Suzuki, Laura Oh, Joan Stennick (my partner) and Vered Gerszrenkorn.

    We share a similar aesthetic, combine disparate elements in the creation of our work, but maintain individual and unique identities in the overall practice of each artist. We meet at the intersection of mixed-media yet maintain divergent philosophical Paths That define each, perhaps, for who they / we are.

    These are artists who do what I can not do, do what has not occurred to me to do, create simple magic through dint of Their dedication to the creative process. All are dedicated practitioners Whose work I admire deeply.

    And of course the sad “YES”!

    3) How did the overall chemistry of the 6 artist impact the direction and outcome of the workshop?

    We expected to have the jerk, the first woman; to have drama and discord … “in the course of human events” and all that … it NEVER happened. We had the most incredible experience making art together, teaching, improvising, learning, traveling together, brainstorming … making it up as we went … incredible meals and conversations. We Knew from the gate That this is / was and continues to be a unique and special experience. Add to That the phantasmagorical environment of living in a 15th century palace in Venice, Italy..give me a break.
    It was “lemme pinch myself” every day for a month.

    There exists in telepathy, an unspoken communication That I have only experienced in an intimate or improvisational musical jam sessions That is very high and very special; this is what the month of July was like; every moment an opportunity to be completely present, to create or impart some idea, to witness others grapple with challenges and aesthetic solutions, alternatives from the canvas to Selecting the right route to the Rialto Bridge to Deciding the menu for dinner … and trust serendipity Seemed to be the credo for the GAP experience overall.

    With the Additions of British artist John Crabtree and later the Italian Cinzio Cavallarin we were challenged and privilege to create fast-paced works at an incredible rate without thought or reservation Which proved to be an invaluable stimulus to the group dynamic and informed the individual workshops That Were Opinions more formal and structured.

    We faced fifteen artists at Treviso’s Art in the Rotunda situated in a massive round of buildings traditionally used as an ancient market place stall converted into spaces for artists marketing Their Work. This proved to be an exhausting exercise in crowd-control and improv theater Resulting in the bonding of the GAP unit into a “rise to the occasion” MASH unit of artists-paramedics.

    4) What was the reaction of the community That took part in the workshop sessions?

    Completely positive. Most acknowledged That they had never worked in Within the formats or Considered That the suggestions we made to loosen up and escape the tyranny of the precious object, make a mark and tear it up, combine with another. The notion That One wold create a masterpiece or rany completed work In These sessions Entirely went out the window. Once participants accepted the premise That they could Entirely free and responsible for the direction of the sessions you could see and feel the joy of liberation That accepted and the concomitant responsibility with freedom.

    5) How did the artist’s workshops in collaboration impact the project?

    This was a very important element of the GAP experience. We all Witnessed the process of the other.Sometimes immediately, sometimes over a period of days. Handing a work in progress over to Akiko, for instance, I was amazed where she took things … she is a consummate “finisher,” I am a good instigator; Lorna is a masterful teacher; Vered is just magical to watch and all the Opinions more charming Because she is so self-effacing; she has no clue just how valuable she is, and Laura is completely indispensable to the entire process, she is there with what you need before you realize That you need it.

    I was puzzled as to just how to collaborate with her (Laura); she, like Akiko, use fabric and exotic papers in her creations … nonetheless two of the most satisfying pieces created in the collaborative process came from my work with Laura and I am very very pleased.

    Something arose from just jumping without knowing That the parachute would open and the experience remains amazing with very satisfying results. We are all gratified and I believe changed for the better. It remains to be seen how this experience will impact our individual practices.

    6) What story did the Book Art collage convey collaborations of GAP Venice 2014?

    This is the portable gallery. This is the act of being in the moment and synthesizing the immediate experience without fiction or editing. This is the raw unadulterated truth of our experience and is a shorthand of That experience put into visual poems.

    7) What future development direction will go from the information collected through the GAP project?

    We shall see. Certainly increased At confidence in group and individual practices. GAP is / was an experience, a group for people who eschew the group idea … a social experience for hermits … an Entirely unique and special experience. Attempting to duplicate the experience will fail? Possibly. But if there is one thing That We learned it is this:

    A creative risk is a risk worth taking. Nothing compares to the process. Nothing compares to the result. Nothing.
    GLOBA

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“2013 review GLOBAL ART PROJECT (gap) ART

WORKSHOP: VENICE, ITALY July 2014 ”
Global Art Project (GAP) LABORATORIES OF ART: VENICE, ITALY July 2014
February 5, 2014 / /
GAP (global art project)
2014

WORKSHOP A CA ‘Zanardi GALLERY VENICE, ITALY

THINK DESIGN
by Australian artist Lorna GRU
Ca’Zanardi Venice July 2014
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> >>>>>>>>>>>>>>> >>>>>>>>>>>>>>>>>>>>>
The workshop three hours
This seminar explores the ‘idea of design with a fresh approach and intuitive. It will be a laboratory of ideas, exploration and self-discovery. A time to take a leap of faith in the search for unique visual language of each artist by building a series of small works on paper – each no larger than A4.
Be prepared to work quickly creating a platform to make a leap of faith – to see the perception of a mistake as fresh and challenging opportunities and be surprised with some final results exciting and revealing. Process includes the construction of a base layer of interest to over-draw and paint.
Materials list
Required> acrylic paint, markers, black ink, pencils assorted, small stapler, assorted graphite pencils, brushes, water container, scissors and glue stick
Optional> pages of books, paper, cloth found, works on paper scrap that can be used as collage
base map must be heavier to withstand some work collage to act as a base for excessively then draw with a means fluid
The final results will be a series of small works on paper> or some may be completely solved in the ongoing work to complete in their own time.
MIXED -Media / collage WORKSHOP
facilitated by

American artist:
Carl Heyward
and
Korean Artist:
Laura Oh Chaewon

Duration: 3 hours sessions available and encouraged
Oh:

“I’d like to make small collages (extrapolating on the development of my bag
and cardboard Collages Collages)
using envelopes, fabrics, buttons, cardboard, found objects, photos, pages torn from books,
and lettering, molding, attaching wire mesh pencil drawings charcoal and painting with
acrylic as background or collage elements overlapping.
Focus centers on the free flow of energy … make collages for fun. ”
Heyward:

… In every package of objects, waste paper, note discarded, forgotten and commercial product photography is a comparison with the values ​​of our culture, the glut of information available is overwhelming and presents a challenge to simple linear understanding, perhaps work of ‘art mixed -media offers the opportunity of a nearly meditative sort of chaos in and out …

Collage and materials found are the
focus: Newsprint, photos, magazine
pictures … anything with meaning can be
made ​​to mean more, the sum of
the
materials can be manipulated to
create
works of art narrating personal
observations on ‘art,’
culture,
politics and personal history.
materials:

photos, writing, discarded books, blank books, found paper objects. glue sticks, pencil, color materials: acrylic paint and oil stick, markers etc.

ABSTRACTIONS in QUILT MAKING:
with the Japanese artist

Akiko Suzuki

aims:

Creating a small quilt abstract using the ancient Japanese kimono as a starting point

Creating a quilt made up of clothes paintings

Creating a quilt that combines Japanese kimono and clothing painted
involving hand-stitching

Materials also supplied iron.
* PARTICIPANTS note: as this is a labor intensive workshop ask the participants to be prepared for all day or half-day sessions and to consider the possibility of multiple daily sessions to complete these quilts.

Vered Gerzstenkorn:
Israel is an artist whose approach to painting offers complete freedom to the impulses of the child artist.

“Most of my collages (if not all) are

the fact of my drawings / paintings, I

difficult to use material found to create them. I

I am going to use my way to work

workshops alongside technical acrylic. ”

Workshop Vered will prove to be innovative and experimental nature put the participant possibly off-balance

in unfamiliar territory and then gently usher back with painting the wall with eyes closed and then opened; extrapolating

drawings and paintings in both formats and unusual juxtapositions and unexpected;
Required materials: oil pastels, house paint, pencils, everything that makes a mark.

Drawing workshop:

facilitated by American artist
Joan Stennick

… It’s a high energy class based on the tools essential
to life drawing, objects and imagination accompanied by music and the verbal direction and encouragement from Stennick approach which can accommodate all skill levels. You explore new methods of
mark-making awakening new relationships with the materials to work through an intuitive approach to artistic practice.
JOAN AT GDG PAINTING W photo of Peggy reskin November 2013 acrylic
“I monitor an interior landscape with various levels of connection with reality physical, I never planned ahead, but allowing it to happen as is clear … when it feels right in my body … and making the sign when I see the shot. ”
+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +
for registration information and leave a tariff comment and a facilitator will contact you via email
+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +

RelatedGLOBAL ART PROJECT (gap) LABORATORIES OF ART: VENICE, ITALY July 2014
Ronald Chase / Carl Heyward / Joan Stennick: WINTER TIME
With 145 commentsA tapestry SORROW: AKIKO SUZUKI
In “1)” Small abstract “2)” Eat your bones “112x95cm 44″ x37 “Cotton and hand-dyed silk organza”
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respond
margadirube
February 5, 2014 06:08 (change)
Very interesting! I feel great! .. And with great artists! congratulations for a great idea! !

respond
JWKouwen
February 5, 2014 at 19:09 (change)
hm … Venice …. (> | -.)

reply
Leave a Comment

also:

GAP: global art project

Carl Heyward

Lorna Crane

Joan Stennick

Oh Laura Chaewon

Vered Gersztenkorn

Akiko Suzuki

GAP will expose ‘new artwork and will build’ laboratories mixed media, collage, creating quilt and

design with six international artists, during the month of July in Venice and at the end of the month agreed

the invitation to participate in the Biennale in Lecce in southern Italy.

DATES be determined

WORKSHOP FOR INDIVIDUALS

50 EURO

PACKAGE OF THREE SEMINARS

100 EURO

MATERIALS PROVIDED

Each workshop consists of a minimum of FOUR HOURS

WITH POSSIBILITY ‘OF EXTENSION OF TIME TO ALL DAY OR HALF DAY IF

SHOULD

<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<< <<

THINK DESIGN

with the Australian artist Lorna GRU

Ca’Zanardi Venice July 2014

>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> >>>

About three hours workshop

This workshop explores the ‘idea of ​​the design with a fresh approach and intuitive. It will be a laboratory

ideas, exploration and self-discovery. An ‘opportunity to seek the unique visual language of each artist

with the realization of a series of small works on paper – each no larger than A4.

Be prepared to work quickly by creating a platform that allows you to feel like a failure

a ‘fresh and challenging opportunities and to surprise you with some final results exciting and detectors. The

process includes the construction of a base layer on which to draw and paint.

Materials List

Necessary> acrylic paint, markers, black ink, pencils assorted, small stapler, pencils

graphite assorted brushes, water container, scissors and glue sticks

Optional> pages of books, paper, cloth, discarded works on paper that can be used as

collage

The base paper must be heavier to withstand working dii collage and to act as a base for later

overlay designs with a fluid medium.

The final results will be a series of small works on paper> some completely resolved, as other

“Work in progress” to complete in their own time.

<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<< <<

Mixed media and collage WORKSHOP

American artist:

Carl Heyward

is

Korean artist:

Oh Laura Chaewon

>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> >>>

Duration: 3 hours sessions available and highly recommended

Oh:

“I’d like to make small collages (extrapolating on the development of my bag and cardboard Collages

Collages) using envelopes, fabrics, buttons, cardboard, found objects, photos, pages torn from books, and

lettering, pressing, attacking wire mesh, pencils, charcoal drawings and paintings with acrylic as

background or overlapping elements of collage. Staying focused on the free flow of energy … do

collage for fun. ”

Heyward:

“The collage is the sense in the chaos that surrounds us”

… In every object, piece of paper, notes discarded, forgotten photographs and parcels of commercial products c ‘

is a comparison with the values ​​of our culture, the glut of information available is overwhelming

and it represents a challenge to the simple linear understanding; Knows’ that the work of art in mixed media

not offer the opportunity to put some order in an almost meditative chaos inside and outside …

Collage and found material are the core: newsprint, photos, images … In any magazine

What that means something you can ‘add a greater value, the sum of the materials can’

be manipulated to create works of art that tell personal observations on ‘art, culture,

politics and personal stories.

materials:

photos, writings, discarded books, blank books, paper objects found, glue sticks, pencil, material color: Color

acrylics and oil pastels, markers etc.

<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<< <<<<

ABSTRACTIONS in QUILT MAKING:

with the Japanese artist Akiko Suzuki

>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> >>>>>

Aims:

Creating a small quilt abstract using ancient Japanese kimonos as a starting point

Creating a quilt made up of clothes paintings

Creating a quilt that combines Japanese kimono and clothing painted with the use of sewing

hand

The material will be ‘provided including iron.

* NOTE for PARTICIPANTS: since this is a highly developed and intense workshop ask

participants to be prepared to invest a whole day or half-day sessions and take in

consider the possibility of multiple daily sessions to complete these quilts.

>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> >>>>>

Israeli artist

Vered Gerzstenkorn:

<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<< <<<<<

His approach to painting offers complete freedom to the impulses of the child in the ‘artist.

“Most of my collages (if not all) are made of my drawings / paintings,

difficult to use material found to create them. I’m going to use my way to work

workshop together with the use of techniques acrylic. ”

The Workshop of Vered will prove extremely innovative and experimental, putting the participant

possibly in unfamiliar territory, then ushering back with painting the wall with their eyes first

closed and then opened; extrapolating drawings and paintings in formats and unusual and unexpected juxtapositions.

Materials needed:

oil pastels, paint from home, pencils, everything that is able to make a mark.

>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> >>>>>

DRAWING

facilitated by American artist

Joan Stennick

<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<< <<<<

… Is a high-energy class based on the essential tools of drawing inspiration tranedo

from life, from objects and fantasy with music and under the direction and encouragement

of Stennick whose approach will be ‘able to accommodate all skill levels. She esplorarera ‘new methods

of mark-making awakening new working relationships with materials through an intuitive approach to

artistic practice.

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