This digital hub aims to increase local engagement with arts and culture by connecting community members and artists with local arts events and opportunities
The Arty Crowd is the Hamilton Arts Council’s digital hub for connecting artists and community members with arts-related events in the city.
In 2017, a symposium called The Big Picture brought together local artists and arts organizations to examine challenges and opportunities for the community’s arts and culture scene. Out of this event came the idea to create a website housing arts-related resources.
David Huson, artistic director at the Hamilton Arts Council, explained that the process for organizing the website was lengthy. It involved collaboration with the local community through discussion with citizens. The website's creators looked at numerous case studies to learn what content would be relevant and useful for the website to include.
Even the name of the digital resource has a story, according to Hudson. The intent of the name is to take “the arty crowd,” once used disparagingly, and to re-purpose that for the community, giving it a new and more positive meaning.
"Basically there was a bit of uproar in the art scene, and Mayor Lloyd Jackson in 1959 declared. . .I've got the quote here: "The people of this city have made it abundantly clear that they want no part of this modern art. We can't let the arty crowd run things." We've reclaimed that name as The Arty Crowd," said Hudson.
Individual artists, art organizations, art lovers in the community and non-artists in creative industries can all create accounts on the website. The Arty Crowd website is controlled by the account holders themselves, where those who organize the events post their information, keep it updated and manage their general account. Hudson has pointed out that there are over 1,500 account holders.
The website focuses on these areas of content: chances to contribute to creative and artistic events, funding opportunities and employment opportunities. These are mainly posted by the users, but the Hamilton Arts Council does contribute from time to time. The events that are promoted are often local, but the website also promotes events outside of the city for those who have access and might be interested.
The Arty Crowd is a unique database for Hamilton due to its sole focus on the arts and the sense of autonomy for its users.
“I think there are event listings in Hamilton that do encompass some arts events, but they'll also encompass eating out and tourism," said Hudson.
Hudson also pointed out that the reception for the website has been warm and positive. Many arts organizations and artists have been taking advantage of the site and the support from the community has made it a successful endeavour.
Students should check out the website if they are interested in the arts community and would like to get involved with more events. Hudson also encouraged those who might not consider themselves to be artists, but who are creatively inspired, to get involved and still be able to contribute in some way, stressing that membership for artists and creatives is completely free.
“It's a portal to get connected with the arts in any way, whether it's just to attend and watch or whether it's to get involved or get connected. I encourage people, if you are an artist or creative or you contribute to the arts landscape, to set up an account, set up a profile and add your content,” said Hudson.
It's a portal to get connected with the arts in any way. . .I encourage people, if you are an artist or creative or you contribute to the arts landscape, to set up an account, set up a profile and add your content.
David Hudson, Artistic Director, Hamilton Arts Council
Hudson added that they are currently working on adding a new feature to the website for artists to look at spaces to show their work. Those who want to rent out a space will be able to look at profiles on the website and find their best fit.
The Arty Crowd is also currently running a TV show live on Cable 14 called The Arty Crowd Out Loud! where monthly episodes showcase local arts venues and events to build support and audience for the website’s purpose and the city’s art scene. The show can also be seen on demand here.
If any students are interested in attending arts events or would like to become more involved with the arts in Hamilton, The Arty Crowd is a great digital resource for locating these opportunities.
C/O Mary Luciani
As COVID-19 restrictions are lifted, Art Crawl returns from its long hiatus and brings back a sense of community
Artistry. Magic. Community. These are a few words that may come to people’s minds when they think of Art Crawl. After many months in lockdown and just in time for back to school, Art Crawl made its return to James Street North. On the second Friday of every month, public health guidelines permitting, restaurants, cafés and retail shops on the street, as well as artists and other vendors, will gather on James North to create a mystical event filled with food, music, art and handcrafted goods.
Art Crawl started years ago as a grassroots event by the vendors and artists on James Street North. It is important to stress it is not a single person who is behind the event but rather a melting pot of many creatives in the community. It was also this community that drew Mary Luciani, the owner of The Pale Blue Dot, to Art Crawl for the past 10 years and inspired her to set up her shop on James Street North.
Luciani began attending Art Crawl as a self-taught painter to share her pieces with the community. She was excited to connect with strangers and exchange stories with passers-by and other artists. Through these interactions, she felt she was able to form an authentic connection with the local community and the city. Today, she sells sustainable and ethical everyday items such as bamboo toothbrushes, compostable gloss, antiques and vintage clothing at the Pale Blue Dot. Students can also use code MACSTUDENT10 for 10% off at The Pale Blue Dot.
Luciani also started and manages the Instagram account on.jamesnorth which showcases the lovely shops and faces behind the James North community. The account occasionally organizes giveaways for supporters and shoppers as well.
Given all the love, enthusiasm and pride for Art Crawl, Luciani and other vendors and goers of the fair were delighted to see it come back in August for the first time since its closure in late 2019 due to COVID-19 restrictions.
“I couldn’t even tell you how magical it felt just to see familiar faces on the street and see the community back. It wasn’t revived to what it used to be just yet, but it was such a beautiful start,” Luciani said.
“I couldn’t even tell you how magical it felt just to see familiar faces on the street and see the community back. It wasn’t revived to what it used to be just yet, but it was such a beautiful start."
mary luciani, the owner of Pale blue dot
The community missed it very much; the crowds were energetic and emotional. People were tapping their toes to the live music, enjoying the physical company of each other and immersing in the nostalgia and regained sense of normalcy during what has been an unpredictable and distressful year and a half.
“As a young artist 10 years ago, standing up on the street, there’s nowhere else that I would have the opportunity to do that . . . to showcase my paintings,” Luciani said.
“As a young artist 10 years ago, standing up on the street, there’s nowhere else that I would have the opportunity to do that . . . to showcase my paintings."
mary luciani, the owner of Pale blue dot
Art Crawl inspires and cultivates the spirit of local businesses and the arts in Hamilton. For those who are living in Hamilton for the first time, it can be a great introduction to the pockets of communities that exist off campus. With the next Art Crawl event coming up soon, students can watch out for details on on.jamesnorth on Instagram and for more giveaways.
“Having a space where I could just come, show up and present my work . . .and connect with community members, I think it’s so wonderful,” Luciani said.
“Having a space where I could just come, show up and present my work…and connect with community members, I think it’s so wonderful."
mary luciani, the owner of Pale blue dot
Hamilton-based artist launches a zine distro and micropress to showcase the local work of zinemakers
C/O @partizanka.press
As we go through lockdown after lockdown and can’t physically be together, we seek community in other unusual ways. One way Tara Bursey, a Hamilton-based artist and arts educator, has been bringing communities together is by sharing zines made by zinemakers across Canada and the United States through her recently launched Partizanka Press.
Partizanka Press is an independent zine distro and micropress. The distributor and small publisher has a particular focus on punk, politics, hidden history, social justice, art and music scenes.
Zines, short for magazine or fanzine, are a small-circulation of non-commercially printed, often self-printed, original work. There are no rules to zines. It is a platform for self-expression and a dynamic medium for subcultural or oppressed voices.
Bursey started the zine distro and micropress because she has always had a passion for zines. She created her first zine at the age of 12 and her first zine distro at the age of 17. 20 years later, the launch of Partizanka Press reflects the revitalization of her long-lived passion. It reflects her goal of promoting the community of zinemakers and the power of zines to express underrepresented and diverse ideas.
“For the most part, [zine making] is a very local scene where local people support each other to talk about zines and create work. But from observing the design community in Hamilton, I wondered how much people were looking at some of the incredible and diverse scenes that are being made outside of Hamilton or even outside Ontario,” explained Bursey.
“For the most part, [zine making] is a very local scene where local people support each other to talk about zines and create work. But from observing the design community in Hamilton, I wondered how much people were looking at some of the incredible and diverse scenes that are being made outside of Hamilton or even outside Ontario.”
Tara Bursey
Zines have always functioned as a way to fill the gaps where mainstream publishers and media have failed. For this reason, it was important for Bursey to honour the histories and ideas left out of popular culture as part of this project.
It was also important for Bursey to name the distro and micropress after her grandmother, Partizanka. Her grandmother was a guerrilla fighter during the Greek Civil War, a 19th-century conflict which not many people know about.
“[My grandmother’s] existence and her history reminds me that there are all sorts of histories and ideas that go unknown. So this was an opportunity for me to play a role in helping people’s ideas, histories and identities be honoured,” said Bursey.
“[My grandmother’s] existence and her history reminds me that there are all sorts of histories and ideas that go unknown. So this was an opportunity for me to play a role in helping people’s ideas, histories and identities be honoured,”
Tara bursey
Bursey was most excited to improve the accessibility of zines and allow people to enjoy them during this challenging time as many opportunities to attend zine fairs or markets were cancelled due to the COVID-19 pandemic. Especially during the lockdowns when people’s normal ways of connection were lost, the intimate and personal touch of zines felt even more special to the community of zinemakers and lovers.
“A zinemaker’s approach to making a zine is very individual from the paper they choose to the ink colours they choose . . . Being able to get [zines] at this time, it just takes on a whole new meaning because of their personal scale,” said Bursey.
“A zinemaker’s approach to making a zine is very individual from the paper they choose to the ink colours they choose . . . Being able to get [zines] at this time, it just takes on a whole new meaning because of their personal scale,”
tara bursey
During Ontario’s stay-at-home order, Bursey also offered free contactless drop-offs of orders to people across the city, further emphasizing the theme of personal connection and intimacy.
Through her work in Partizanka Press, Bursey hopes to inspire and support more zinemakers to publish their work and introduce a larger community to zines.
Sometime in April, she will be publishing her own zine under Partizanka Press, which will also be the first publication under the micropress label. At the Toronto Comic Arts Festival in May, you can expect to see Partizanka Press as part of the festival’s zine fair.
Bursey’s initiative to bring tangible, physical pieces of art, when all we have access to are virtual means of connection and entertainment, offers a refreshing way to experience community.
Multidisciplinary artist speaks about the importance of conversation and our histories
C/O Bhavika Sharma
This article marks the beginning of the Artist Talks series. The pandemic has resulted in the closure of many galleries and limited the opportunities for artists to showcase their work. However, Hamilton artists have been far from idle this past year, continuing to create and exploring new experiences.
Bhavika Sharma is an emerging multidisciplinary artist and is currently the artist in residence at Hamilton Artists Inc.
They recently completed their undergraduate degree in architecture and visual arts at the University of Toronto. Sharma points to their time as an undergraduate student as a pivotal point for their art practice, as they gained more experience through studio courses and were also able to experiment with different mediums.
“When I was younger, like in high school I did [advanced placement] art and I did a lot of oil painting and stuff. But I feel like as I went to university, I think also it really was a lot of the professors I met who encouraged me to work in these mediums. Learning how to use video editing software and stuff that interested me and incorporating sewing and fabric, it really opened up a lot of opportunities. It was like, “Oh, yeah, this is what art can be. It can be like a whole range of things. And it can be just a drawing or a painting,”” said Sharma.
"Learning how to use video editing software and stuff that interested me and incorporating sewing and fabric, it really opened up a lot of opportunities."
Bhavika Sharma
Regardless of what medium they are working with, whether it be textiles or video installations, there are two key elements at the core of all their work: conversation and space. Sharma hopes their art encourages and holds space for conversation, with particular concerns surrounding the spaces we live in.
“[It’s about] getting people to think about [these spaces] differently or thinking about how we consume these spaces. And maybe we can change our ways of thinking about these places . . . I think just for people to think more about the way we learn about places or interact with the spaces that surround us,” explained Sharma.
Sharma begins all of their projects by doing thorough and thoughtful research about the history of space they’re exploring in their art. These histories are a crucial component to both key elements of their work. These histories — particularly the non-dominant histories Sharma works to shed light on — are important aspects of the spaces they’re exploring and important topics of conversations.
“I also want people to understand personal narratives deserve a space within these conversations. Shared experiences, non-dominant histories, they are something that we need to actively look for and actively try to find. We shouldn't just take what is there as the [only] history,” added Sharma.
"I also want people to understand personal narratives deserve a space within these conversations. Shared experiences, non-dominant histories, they are something that we need to actively look for and actively try to find. We shouldn't just take what is there as the [only] history."
Bhavika Sharma
In January 2020, Sharma had an installation piece at Christie Pits Park in Toronto, which included soft sofa-like sculptures. Sharma wanted to explore the narratives that converged in the park and after compiling their research about the more traditional historical narratives. Sharma invited community members to join them in conversation about the space.
“I hosted an event and I had people come over and we sat on these soft sculptures. I brought people tea and people just talked and shared. I read my research to start the space, but then I opened it up and we talked. People just talked about like “Oh, I used to play ping pong here with my boyfriend.” Just people saying small things and memories that they have associated with the space and building on to the history of a space,” explained Sharma.
The pandemic has forced Sharma to rethink their art. Their current work at the Inc. has given them the opportunity to explore new ways to bring their work into the virtual environment.
Currently, Sharma is working on a project surrounding the Grand River, which is close to Hamilton and their hometown of Brantford, focusing on its connection to Indigenous communities and histories.
The pandemic has forced Sharma to rethink their art. Their current work at the Inc. has given them the opportunity to explore new ways to bring their work into the virtual environment.
Looking to the future, Sharma noted that they are still an emerging artist and plan to continue exploring and experimenting with different mediums.
Sharma also offered some encouraging words for students interested in pursuing an art practice of their own.
“I would say just start making, I feel like it's the hardest thing to do. I think that for me, at least, I plan a lot and then it takes me a lot to make it but making can be thinking. You can think about your work while you make it. So just really just starting it and making it and also taking things that you're interested in outside of maybe art and bring that into it. Like if you have a nice interest, incorporate it into your artwork. Why not? People will want to learn about it or want to hear about it. If you like going on Wikipedia wormholes or like research wormholes like me, incorporate it into your art,” said Sharma.
By Donna Nadeem, Contributor
As part of a year-long residency at the Art Gallery of Hamilton, artist Reinhard Reitzenstein is exploring ideas of the natural world and technology through sculpture and drawing in collaboration with the Hamilton community. While an established artist, Reitzenstein’s residency has been an opportunity to reintroduce himself and his artistic identity to the public sphere.
Reitzenstein graduated from the Ontario College of Art and Design in 1971. His work explores the relationship between nature, cultural science and technology while utilizing installation, sculptures, drawings, photography and sound as his medium of choice. Over the course of his career, Reitzenstein has been described as an environmental artist with focuses on land and ecology, and an allegorical minimalist after creating his own art movement combining allegory and minimalism.
Allegory refers to abstract ideas and principles in forms of storytelling, figures and events, while minimalism is a style that focuses on the simplest of forms and techniques. A seemingly contradictory combination of these two concepts allow Reitzenstein to create visual pieces that are meant to change and unsettle the viewers' perceptions.
Entering the AGH exhibition, you’re greeted by a quote from the artist depicting what he understands his movement to be. “Allegorical minimalism: paradoxical synthesis of the material and natural world, challenging the perceptions of the spectator (as critic) while denying not only a fixed interpretation but the very possibility of interpretation itself.”
Reitzenstein began his residency with the intention of developing at least one or two projects and the capacity to focus on them for a duration of year. This allowed him to engage in a gradual creation process. The space itself was another dimension Reitzenstein had to take into consideration. High and vaulted ceilings along with windows bringing in natural lighting from every direction allowed Reitzenstein to push his sculptures and drawings further to produce larger work that force observation and interaction.
[pjc_slideshow slide_type="reitzenstein-agh"]
The exhibition features two communal projects that have created an opportunity for community members to contribute through various workshops and interactive tours.
The first piece, the Erable Project, is composed of an array of discs suspended in the middle of the room. The discs are individually cut sections of a tree and hung horizontally next to each other. Reitzenstein created some of the discs, while community members contributed to others, creating a diversity of unique colour choices and designs. Each piece is covered in an assortment of wet felt. The soft material requires constant repetitive motions to achieve a desired outcome.
“Some of the kids who were here working on the wet felting got really into it and it was incredible. There's something about the tactility [of felting] that connects to people and allows them to focus and concentrate. It seems to have a therapeutic effect,” said Reitzenstein.
The second piece is a large communal tree drawing done with white gel pens on a black wall. After reflecting on the diversity of languages practiced in the Hamilton area, Reitzenstein decided to ask community participants to add to the drawing by writing the words ‘tree’ or ‘maple’ in their own languages.
The piece includes approximately 58 different languages and counting. As more and more words in different languages get added to the drawing, the tree visually reflects on the cultural diversity of the Hamilton community.
“I wanted to make it a community project where, again, we do workshops with community groups. I thought it would be great too because of the multicultural aspect of our region now, and to make sure everybody has a voice here,” said Reitzenstein.
The David Braley and Nancy Gordon Sculpture Atrium is also filled with Reitzenstein’s bronze sculptures and other art pieces from the museum’s permanent collections. Reitzenstein chose the pieces to coincide with his exploration of allegorical minimalism throughout his residency at the AGH.
In Residence: Reitzenstein is still a work-in-progress at the Art Gallery of Hamilton (123 King St. West). It will be exhibiting until March 29 and is free to all McMaster students with a valid student card.
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It's no secret that Canada has a long history of systemic racism and injustice. However, much of that history has been buried deep, locked away in old filing cabinets in disused archives. Deanna Bowen's exhibit, A Harlem Nocturne, seeks to break open those cabinets and reveal that history to the world.
Deanna Bowen is an interdisciplinary artist based out of Toronto. Her work explores race, migration, historical writing and authorship. In creating A Harlem Nocturne, she spent three years combing through public and personal archives to uncover the truths of institutionalized racism that have been long forgotten or ignored.
A Harlem Nocturne takes its name from the nightclub that Bowen’s family owned and operated in Vancouver in the 1950s and 60s. It was the only Black-owned nightclub in Vancouver at the time and was subjected to repeated police raids and violence. The exhibit explores the institutionalized racism of the Canadian entertainment industry — and the country as a whole — through the stories of her family members, and others in the industry, from the 1940s through to the 1970s.
Kimberly Phillips, a curator at the Contemporary Art Gallery, Vancouver, where A Harlem Nocturne was first exhibited, curated the exhibition for the McMaster Museum of Art. Phillips describes Bowen’s work as an effort to expose the past by transforming it into something that’s impossible to ignore or overlook.
“[Bowen] starts with the archival material itself, and so each [artwork] will find its own form, a new form in the world that’s very much through a process of extraction from the archive, a kind of translation, often an enlargement and kind of bringing it forward in a different form than you would’ve encountered it originally,” said Phillips.
One of the more literal ways that this is done is through the physical enlargement of a newspaper ad for the nightclub, Harlem Nocturne. The ad was originally the size of a postage stamp, but is now larger-than-life, taking up much of the gallery wall. By sizing up the ad, Bowen is calling attention to the club, inviting the audience to interact with the document and the history behind it that might have otherwise been overlooked.
“[T]here's no point in having these documents around unless you do something with them … the document existing in and of itself is not is not meaningful. It's like we have to take them up, and in order to take them up, we need to make them visible,” said Phillips.
Several of the pieces in the exhibit are hidden or obscured by black fabric, or are set up to be viewed at a distance. Phillips says that these varying levels of visibility reflect the difficulties that Bowen experienced while compiling her research.
“Deanna and I talked a little bit about how those registers of blackness does a number of things. One, which is speaking towards a kind of sense of opacity, or the kind of difficulty in … actually reaching some of this material, not because it doesn't exist or it's hard to find, but because of the blockages that [Bowen] experienced in the form of archivists and trauma, and other things that you know, different members of the community gatekeeping who gets to tell what story. But it's also a measure of protection as well of not over exposing bodies who have been subjected to discrimination and hyper visibility in certain ways,” said Phillips.
Each aspect of the show is intentional and purposeful, even choosing where to exhibit the show. When choosing where A Harlem Nocturne would be shown, both Phillips and Bowen emphasized the importance of working with other women curators. The McMaster Museum of Art’s Senior Curator is Pamela Edmonds, which is part of the reason why the show is being exhibited there.
[pjc_slideshow slide_type="harlem-nocturne"]
“The word that I used to define all the people that we're working with is that they're all co-conspirators, feminist co-conspirators. And that's something that I think is super important. I liked the idea that we could generate something, a project that could span over many years and many institutions and all of it being done with women. It maybe speaks to an unspoken reality that more often than not, it is women doing this hard labour,” said Bowen.
A Harlem Nocturne blends the personal with the public. One of the pieces is a transcription of an interview between Bowen and her mother, and the exhibit itself is named after a building that was integral to her family. She says that A Harlem Nocturne is a homecoming for her, and in some ways a form of healing.
“[G]rowing up in Vancouver, my family was not always well regarded. And so if anything, I hope that people come away and feel the compassion and love that I have for these people, my family, especially for the hard edges that they have and the rough and tumble-ness of their story. These are beautiful people that have persevered over generations of resistance and discrimination and I hope that people really come to see and value their strength and importance,” said Bowen.
Bowen’s work also applies more broadly, underscoring the realities of life for Black Canadians and the injustices they continue to face today. She emphasizes the idea of perseverance in the face of adversity, and the refusal to be silenced.
“The project also helps to push against... Vancouver's old narrative about [how] 'they used to have a Black community and now it's gone.' This show for me is about affirming 'there used to be a Black community, and we're still here,' and really trying to undermine this notion of again, the demise of a Black community, locally, and then of course, nationally,” said Bowen.
Bowen hopes that viewers will leave the exhibit with new curiosity, and a desire to explore their own family history.
“I would encourage people to see themselves in what I'm doing. There's so much rich history in our own family histories. And I think it's important to emphasize that everybody's family story has some impact on the making of a nation … You know, it's about recognizing that the power to create our history and our personal and our national narrative really does kind of boil down to people like you and I,” said Bowen.
A Harlem Nocturne will be exhibiting for free at the McMaster Museum of Art from Jan.16 - May 9, 2020.
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cw: use of profanity
McMaster LIVELab houses an endless array of technology on our campus, from active acoustic control to motion capture and electroencephalography. This technology is a necessity, for LIVELab needs it to combine research-based studies with theatrical and musical shows.
Synaptic Rodeo, a project presented by McMaster LIVELab, seamlessly blends neuroscience, technology and art into a nonlinear show about human consciousness. Synaptic Rodeo is based on the premise that humans often rely on past experiences to inform future predictions. This subconscious activity is constant, we are always trying to hypothesize what will happen next.
After a two year residency, six diverse interdisciplinary artists have joined forces to put Synaptic Rodeo together and take advantage of all the technology LIVELab has to offer. Julia Aplin (choreographer), Anna Chatterton (playwright/performer), Christopher Stanton (director), John Gzowski (composer), Jim Ruxton (new media) and Lauren Trainor (neuroscientist and professor) have lended their knowledge with the hopes of creating an experience for everyone to enjoy.
We caught up with Stanton, Ruxton and Gzowski for an exclusive Sil Sit Down interview all about Synaptic Rodeo, the interdisciplinary artists involved, and what audiences can expect from this show premiering this Friday Nov. 29 and Saturday Nov. 30.
How did you get involved with the project?
Stanton: I was welcomed onto this train while it was already chugging along, and it did not slow down for them to let me on . . . they’ve been going for about two years and I’ve been with them for just under one year.
Ruxton: [LIVELab] put out a call for submissions and I have all these interests in the brain, ideas of consciousness and how the brain works, so I spearheaded that proposal to study those things at LIVELab using their technologies. It was a great opportunity I think.
Gzowski: I was involved from the beginning . . . [Ruxton, Aplin, Chatterton and I] did one show before this called “Yellow Wallpaper” based on an existing short story and it was really a lot of fun. It was really a nice collaboration and outside of the straight theatre, dance and music world. After that when we were talking about what to do next, Jim said he would love to work at the LIVELab, it has been sort of a dream of his. So we looked into it and it was an amazing place. We applied to do a residency there and they happily accepted us.
How would you describe “Synaptic Rodeo”?
Stanton: We play with ideas of identity, we play with ideas of just how slippery our hold on reality is and just notions of reality all together. As [Trainor] mentions in one of her lecture segments, we’re taught to believe our eyes. Seeing is believing and really our experience of the world is shaped by subconscious biases. [With] the way our brain is taught to perceive the world, there’s no way of knowing what reality really is. There’s no core ontological experience, so we’re really playing with the notions of what’s real and what’s not real.
Ruxton: I think it’s a way of taking advantage of a lab and bringing together all the technology that they have available to pull it all together into what may not seem like a cohesive narrative at times, but it’s all tied together by the fact that Trainor, the neuroscientist, does little snippets of talks in between to pull the threads together of what we’re doing and showing. It’s really a blending of all the technologies available at LIVELab and making use of all those to create an interesting, visual, audio synaptic rodeo.
Gzowski: “Synaptic Rodeo” is a journey down the predictive mind. About how the predictive mind works, what happens when you lose it and how our sense of reality is based on predicting where things are gonna go, what’s going to happen next and what we’re gonna see. When those interactions don’t work or when our mind messes with what we expect is going to happen.
Can you walk me through the process it takes to create your parts of the show?
Ruxton: I’m using a lot of video processing and we’re also using the motion capture system [at LIVELab]. It’s kind of unique to have access to a motion capture system of that size and quality, because artists would never have [access to] that. For example, one piece [of Synaptic Rodeo] uses motion capture to control the lights in the space. [The lights] emanate from [Chatterton’s] head to look like neurons of her brain. [When Aplin] moves around the space, [she is able] to control different lights based on where she is in the space. That’s something that would only be possible with something like the amazing motion capture system in LIVELab.
[Aplin] has [also] become a master at taking video [during the performance] and converting it into a kaleidoscopic video and changing it in real time. Depending on the objects she brings into the image, it’ll change the image. It’s kind of mesmerizing, it’s a real trip. It appeals to a certain side of your brain to see those things transform. We’re kind of akin to provide people with a psychedelic trip without having to do the acid.
Gzowski: Most of the music isn’t really written, it’s been improvised to stick with the show which has been a lot of fun because it sort of changes with what we do as the technology changes. We’d just play around and improvise . . . and it’s really just trying to find that balance of meditative, hypnotic, sound and video that really brings you to that sense of your mind where you can lose your predictive mind.
How do you think this is different than any other project in Hamilton?
Stanton: The particular blend of music, dance, text and scientific lecture . . . it’s so funny because the only way I can describe it is all my nerdiest loves all in one place. I’ve never been able to indulge the science nerd in me as equally in one project . . . it’s been incredible to be able to roll them up into one ball and have the generosity of all these folks into one room. They all bring something so different into the process and [Trainor] has been so generous with her knowledge and her time, there’s some surprises that will blow some people’s predictive minds. It’s like the most fucked up jazz band that I’ve ever worked with. It’s great and it’s nothing like I’ve ever worked on before.
Ruxton: I think one of the things that makes it really unique is our different skills and bringing those together. Often you’ll go see a concert, a video artist, a dancer or play but because we bring all those elements together, it makes it pretty unique. John works all over the country in theatres creating sound design for amazing shows. Julia has been a choreographer for many years and has done dance work in Toronto, Anna has been nominated for the Governor General’s award for playwriting and has done a lot of really amazing work all over the world. I think we all at a certain level of our career, we’re all pretty professional. Bringing together these professionals in this way is pretty unique.
Gzowski: It’s different in that it has so much more involvement in tech . . . I haven’t worked on a show that has all this sort of stuff going on at the same time . . . To develop it slowly over such a collaborative workshop has been really a pleasure.
What message do you hope somebody will walk away with after viewing the show?
Stanton: Two things: One is I hope they enjoy the non-linear, non-narrative expressionistic journey. A lot of this is just great to sit back and come on the trip with us. The truth is that I would love for people to be taking some of [Trainor]’s fascinating points and be curious about that. I hope they learn a thing or two about the human experience.
Ruxton: Well a very rich experience coming out of it. I hope it’s a bit of an altered state feeling coming out of the show. Also, leaving with this idea of the potential of what happens when you bring people together. The LIVELab has typically been used for concerts and things like that but to show other artists in the city, the potential of what that space has and perhaps they can make use of that. It’s world class and it’s right in our city and the potential of that is pretty amazing I think.
It’s an experiential thing that I want them to have and also academically, [Trainor] does talk throughout the show in different areas and I want people to learn about these ideas of the extended mind and extended cognition — the idea that our mind is no longer stuck inside our head but is in our phones, our computers, in the internet and we’ve really extended ourselves through technology and I want people to leave with those concepts that she talks about why music is important to us, she talks about rhythm, there’s a lot of things that she talks about in just a short period and I really want that to sync into people too and maybe go away and think about the mind in new ways.
Gzowski: I think it’s not really a message show but it’s an idea of how you really see the world, how your brain interprets it and how much of what you think of the world is based on how your mind works.
Synaptic Rodeo will be showing on Nov. 29 at 8 p.m., Nov. 30 at 2 p.m. and at 8 p.m. in the McMaster LIVELab (Psychology Complex 202A)
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Hamilton has become an increasingly popular destination for production companies to film their projects. From Netflix’s Umbrella Academy to Marvel Studios’ The Incredible Hulk, pictures of all genres were created on the streets that we call home. One such movie is an indie project called Speak Your Mind, directed by Hamilton-born Cyrus Baetz.
Baetz called Dundas home throughout his high school years. When he graduated, he decided to pursue a path in public relations at Humber College. At Humber, Baetz tried out an acting for film and television course for a year and then decided to complete a course on intensive film studies at Ryerson University. Since Baetz completed his studies, he has focused on film, writing, directing and editing two short films and two feature-length projects.
Recently, the director has been working on his latest flick, Speak Your Mind. The film revolves around a struggling actor who was told by his therapist to express everything and anything that is on his mind. He struggles to walk the line between what is socially acceptable and what is honest enough to satisfy his own conscience.
“Speak Your Mind came from a desire to work with [Steve Kaszas]. I have worked with him on a short film called Blue Collar Buddha . . . He was so special, so talented in the audition and he showed up for the film and really sort of stole the show . . . so I wanted to work with him and I wrote an entire feature script,” said Baetz.
Writing film is a methodical process for Baetz. He likes to work and write by himself, setting time aside each day to chip away at scripts. However, for this production, Baetz was operating under a tight time constraint as he wanted to film in Hamilton, but he was set to move to Brooklyn at the end of 2017. Since he had started the script at the beginning of the new year, there was little time to make final revisions before going into production.
Indie films work on far different schedules than those of major motion pictures. Although each have their benefits, Baetz looks more to the indie side of the industry.
“The benefits of the more indie style of the film, once we auditioned the actors, we were able to do a pretty intense rehearsal process . . . it let us perfect the scenes and dig deep in the dynamics, that way we showed up on set and the actors felt comfortable and prepared,” said Baetz.
Post-production, Baetz sat down with his laptop and cut together his film from start to finish. This time, he was no longer pressed with a tight timeline. Finishing the final edit of a project that had occupied so much of his time, Baetz was able to reflect on the movie as a whole.
“The film is designed to be provocative but also very entertaining . . . at the end of the day it’s a comedy, a bit of a dark comedy at times but it’s still a comedy,” said Baetz.
Thus far, the film has been well received,. At the Toronto Independent Film Festival, it won the best no-budget feature, an award for films with budgets under $25,000. While the film has been popular with audiences thus far, Baetz hopes that patrons walk away with their eyes opened to the times that we live in.
“[On] a more personal level and more one-on-one based level, the idea is that we assume things about people based on what we see superficially on the fronts they give us and we think we know people who we’ve been in relationships with and [in] friendships with for years, in fact a lot of the time we don’t. Sometimes the only way to really get to know people is to humble yourself and not assume you know them and ask from a place of vulnerability,” said Baetz.
The Westdale movie theatre (1014 King St. W.) will host a screening of Speak Your Mind followed by a question and answer period with Baetz. While everyone is encouraged to come out and watch the film, the director believes that students especially will take something away from it.
“This film is perfect for students because it’s a film about young people . . . who [are] struggling to find their place in society, in their social circles and find their voice and their confidence,” said Baetz. The emotional yo-yo process that comes along with that, it’s also really relevant in terms of the conversations that any socially and politically engaged student inevitably has been having. It deals with that in a way that genuinely attempts to be fair to all parties and tries to point it in a direction where there’s a compassionate dialogue and I think that’s something that could hopefully be a productive and entertaining fable for any student to enjoy.”
Speak Your Mind will be screened at The Westdale (1014 King St. W.) on Thursday, Nov. 14 and will be followed by a question and answer period with director Cyrus Baetz.
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By Donna Nadeem, Contributor
Cootes Paradise surrounds McMaster University’s campus, creating a warm, natural environment at Mac. At the Art Gallery of Hamilton (123 King St. West) and within the heart of the Jean and Ross Fischer Gallery, a collection of various works comes together to express the impact that Cootes has had on Hamilton — spanning the past, present and (hopefully) the future.
From paintings of the beautiful landscape contained in Cootes Paradise, to photographs of the life that resides within and maps documenting the area, “Cootes Paradise: A Place Above All Others” reveals the importance of this wetland. The works emphasize that if we don’t take care of Cootes, then we are going to lose it.
The exhibition is a collaboration between the Royal Botanical Gardens, Dundas Museum and Archives, Hamilton Public Library and the Art Gallery of Hamilton. It celebrates the centennial of the Hamilton Naturalists Club, discusses sustainability within Cootes Paradise and reflects on stewardship of the land. There is a focus on the human connection to the land and biodiversity.
Cootes Paradise has had a long past. Its usage claims were constantly debated in where a by developers and entrepreneurs. However, local bird watchers saw the threat looming. They began fundraising to preserve the wetlands as a natural habitat.
“Everyone had a different notion of what they wanted to do with this area, they wanted to live in it, hunt in it, they wanted to commercially develop it and this has been its fate,” said Tor Lukasik-Foss, director of programs and education at the Art Gallery of Hamilton.
Robert Ross is one of the artists who has contributed to this exhibition. Ross has been viewed has one of Hamilton’s most successful artists and considered a master of realism painting. The artist has focused much of his work on Cootes and Dundas Valley, detailing how the land has changed throughout time. This artwork, combined with maps and aerial photography provided by the Hamilton Public Library, effectively helps viewers understand how history has taken its toll on Cootes Paradise.
The Hamilton Naturalists Club asked its members to share their photos of the area, specifically of the birds that live and dwell within the trees. Reaching out to amateur photographers within their membership, they curated 40 photos of Cootes’ long-term residents.
The Hamilton Naturalists Club have been at the forefront of annual bird counts and record-keeping for bird activity in the area since 1927. Thanks to this, they have the most complete record of bird activity anywhere in North America.
“Even though we look at nature and think that this is a place where humans don’t reside, it's not really true, we are there whether nature wants us there or not, for the sake of its continuance we have to be there, so there’s this rich human culture that abounds beyond,” said Lukasik-Foss.
Naturally, as McMaster University overlooks the grounds of Cootes Paradise, a new course was created to explore the area. “Designing Paradise” will run during the Winter 2020 term. It will explore eco-concepts and re-define McMaster’s campus as an environmentally sustainable space. The course will be led by professors Judy Major-Giradin and Daniel Coleman.
“I love that through this course we can engage with the historical and political elements that still reside in the Hamilton landscape, but also have the chance to artistically explore the natural environment and reimagine west campus as the diverse ecosystem that it once was,” said Mariana Quinn, a 3rd year Studio Arts student who is enrolled in the ART 3DP3 Designing Paradise course.
Both Major-Giradin and Coleman are focused on sustainability. Major-Girardin is a Studio Arts professor that actively seeks methods in her studio practice that can provide and offer more environmentally responsible approaches. Coleman is an English professor who recently published a book called Yardwork in 2017 that analyzes Hamilton through ecological, cultural and political stories as well as builds awareness for the sacred land where he resides.
“These spaces, they are not untouched by humans, they are massively touched by humans, in fact, the only way that they live now is because of human advocacy and human action, so they are as talked about and combed over as any other urban space in a lot of ways,” said Lukasik-Foss.
“Cootes Paradise: A Place Above All Others” is a tremendous effort by members of the city to teach it’s residents that even though we live in a densely populated city, we have beautifully vibrant natural spaces. With these spaces; however, comes environmental issues that we need to get behind in to preserve our nature.
“Cootes Paradise: A Place Above All Others” is on display until Dec. 1 at the Art Gallery of Hamilton (123 King St. West). The exhibition is free to all McMaster students with a valid student card.
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By Donna Nadeem, Contributor
If you walk by Centre[3] for Print and Media Arts (173 James St. North), you will no longer be able to peek through the gallery’s front window at the usual art. Instead, you will see a black curtain and green leaves, setting the atmosphere for the forest that has grown inside.
From Sept. 5 to Oct. 3, Andrew O’Connor, a Hamilton-based multi-disciplinary artist, is exhibiting his sculptural, audiovisual installation, “Lost Illusions” — transporting visitors to Hamilton’s surrounding forests.
O’Connor is a Hamilton-based artist, VJ and designer whose work explores and blends light, video, 2D mixed media, animation and interactive installations. O’Connor completed his undergrad at McMaster University in 2012 with a double major in multimedia and studio arts. O’Connor has exhibited in Europe, the United States and around Canada and is a confounding member of HAVN (26 Barton St. East).
“Lost Illusions” is about the moments of tranquility and solitude that resonate when being truly present with the natural landscape. Blending layers of painted surfaces infused with projected light, shadow and movement, the scenery elicits an introspective, meditative quality influenced from experiences of walking through moonlit trees under the midnight sky,” said O’Connor.
The exhibition was made possible with the support of the Ontario Arts Council’s Media Artist Creation Project grant. O’Connor’s core idea was to blend projection lighting with painting. Unsure of what the final form would take, but focusing on site specifics, he knew that he wanted his artwork to change the entire ambience of a room and influence how a person felt when they walked in.
“The whole idea was that I wanted to capture that peace and tranquility that you can feel when you’re immersed in nature. When you’re away from all the distractions of society, the technological distractions . . . all the fears and anxieties when they melt away, you’re at peace. That was something that I definitely wanted to convey above all. It doesn’t matter to me what people see specifically, it’s more about what emotions that people are feeling from it,” said O’Connor.
O’Connor experimented with a variety of different materials to be the foundation of his work. He tried acetate, but found that it ripped too easily when being transported. After much trial and error, the artist landed on dura-lar, a polyester film that is a mix between mylar and acetate.
O’Connor started with six stencil drawings that he created while hiking around local Hamilton forests. The artist scanned them into his computer, digitally cleaned them up and applied them to create the basis of “Lost Illusions”.
“One idea that stuck out for me was . . . I remember I would just film stuff as I was biking through woods. I started filming the treetops as I’m biking through woods and I would look at those video clips and that sort of imagery stuck with me . . . A lot of it are just closeups of trees with the sun shining through and gusts of wind blowing the leaves,” said O’Connor.
https://www.instagram.com/p/Bz_YZSHnRxs/
Although the video component was vital to O’Connor’s piece, something was missing. He realized that audio can immerse an audience and add depth to artwork.
“Given my background with VJing, I did a bunch of recording sessions of myself using a MIDI controller fading in and out, activating certain effects on the video clips as I’m listening to the composition, taking those recording and splicing together the best bits,” said O’Connor.
The still art and projections amalgamate to enchant the viewer, transporting them directly into the heart of Mother Nature without the pressures of the outside world.
“If students want an escape from whatever’s happening in their life, the exhibition has a very entrancing affect on you if you give it the chance. As students, we can be extremely stressed with our studies, but this piece is an entrancing piece, it’s a sense of escapism from the stresses and anxieties of your life,” said O’Connor.
“Lost Illusions” is on display at Centre[3] for Print and Media Arts at 173 James Street North until October 3, 2019.
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