I’m thinking about the early-rise tomorrow morning. I will drive over to my daughter’s place where we’ll watch the Canda-Sweden game together and share some breakfast. 4:00 comes early, but I wanted to archive a few more events/ideas before I head for bed, so that tomorrow is a fresh beginning to the week. I feel so blessed for so many reasons.
Tyler Los-Jones presented an artist-talk at Esker this past week. These sessions are always so rich and a multitude of connections are made. Tyler’s piece is titled The Way Air Hides the Sky and is located in the Project Space tucked in at the entrance to the Esker building.
Tyler’s talk was both academic (heady) and in so many ways, humourous. He was very authentic in his approach. As a result of the talk, it is easier to enjoy the work…or form more of a relationship to it. Also, I came home to do some more reading about Tyler’s process and intention. I like the images found here. The following image and the body of work related to it was most appealing to me. Photo Credit: Walter Phillips Gallery
I captured some images of The Way Air Hides the Sky, …and more reflecting…as the glass reflects my own image back to me…and I become an inclusion to the myriad of reflective surfaces already present in the piece. An interesting program.
On the Esker Foundation website, Shauna Robertson writes…
December 16, 2013 – March 16, 2014
Much of Tyler Los-Jones’ practice is concerned with the way in which we frame nature and insist upon a detachment between it and ourselves: the anthropocentric assumption that we are distinct from it and not intrinsically linked to it, neither physically nor temporally. That nature is Othered to us and exists for our use, enjoyment, and consumption has long been inherent in the vernacular of landscape photography, and this type of mediated representation of the natural persists to this day largely unchanged.
The way air hides the sky suggests a meditative proposition for reframing or dismantling these invisible divisions, complicit hallucinations, and the uneasy relationship between humanity and the natural world. The installation borrows the language and materials of industrial and interior design as a vehicle for the natural image—light boxes, room dividers, rolls of wallpaper, and mirrors: tools for image-making—and deploys them within the conceit of a perpetually in-progress storefront. Situated in a space of commerce and high traffic, the sense of something in process—or, noticed eventually over time, in a mode of permanent stasis—gives us pause, for a moment, to become productively stuck.
Our expectation of the fictitious display window, with its conflation of sultry, slick, sexy, high-gloss theatricality and the serpentine infiltration of the provisional and the natural, operates—in the timbre of a whisper—as a permeable barrier that suggests that which we are already aware: the open secret that we exist not outside of, but within, an oscillating space between the real and the imagined, the interior and the exterior, the natural and the constructed, the opaque and the transparent.