Posted by Irene Loughlin on September 20th, 2014
(l to r): Soufia Bensaid, Pam Patterson, Angela Skaley Photo: Irene Loughlin
Well, as we speak I’m both in and blogging about Pam Patterson’s performance work which includes the artists from the festival: Nayeon Yang, Gavin Krastin, Soufia Bensaid, and as well as some visiting artists/participants: Ester Scott MacKay, Beau Coleman and Angela Skaley.
At first I felt kind of sad that I wasn’t performing with them although I am kind of performing with them (I’m sitting at the table typing this, but they’ve all left me about 10 minutes ago for the video area of the room) but it all seems good right now. I took a photo of them throwing a stack of images that represented themselves in the centre of the table. That was the beginning of the performance. (inserted 6 am Day 7)
Performance by Pam Patterson Photo: Irene Loughlin
I’m struck by how the performance is somewhat slowly paced but I’m having a hard time keeping up. The viewers are sitting against the wall on benches, at the north wall of the gallery. I wonder why they don’t come over here.
Now the artists are taking from a huge pile of bricks, and they are stacking the bricks by each artist’s pre-stationed, open umbrella. Audio has started of rain and there’s old film footage of a man running by a brick wall. Beau, Gavin and Ester cast shadows of various lengths into the video projection. Some of the stacked bricks are also shadowed in the projection. They’ve picked up their umbrellas and are now walking around the space. Another brick in the wall by Pink Floyd is playing and each of them have a different action with the brick. Nayeon seems to be scrubbing the floor with her brick. Beau is rubbing two bricks together. Pam is slowly lifting a brick to the ceiling then down to the ground. I haven’t caught the rest (although they all had their individual actions) because now they have started throwing the bricks.
hey teacher leave them kids alone
Perhaps a reoccuring theme as earlier this morning we spoke of research-based practice. But I still have to organize the notes from this morning, so today’s posts are not created in a linear fashion. I hope you don’t mind.
Well, this turns out to be quite a clever piece. Nayeon is dragging her umbrella full of bricks. Several of the umbrellas have been deconstructed into their basic form.
Well I wish I had time to post the photos right now but I don’t I’ll do it later. It does seem like general chaos now. Should Pam really be holding Gavin up to the ceiling? I don’t think that’s so good for her body. Oh now Beau is helping her. They are doing it! He’s hanging the umbrellas off the grid, which is pretty high up since Latitude has high ceilings.
(l to r: Beau Coleman, Nayeon Yang, Gavin Krastin, Pam Patterson, Angela Skaley) Photo: Irene Loughlin
There’s various aesthetic arrangements of bricks on the floor. Check out this one. That’s Ester’s.
Arrangement of bricks by Ester Scott MacKay, work by Pam Patterson Photo: Irene Loughlin
There seems to be a lull where not much is going on. That’s great maybe I can post a photo. Oh wait, Gavin is throwing a brick into the corner. Now Beau is going to. Soufia just jumped for an umbrella. This seems to be the destruction phase of the performance.
Oh they are all sitting down now. Thats my cue. I’m supposed to turn the light off or something. I think I’ll make them wait. They all construct a personal symbol as they stand behind their chairs (generally with their hands), something that represents them but I can’t catch it. now they sat down and are ripping up their paper. gavin just threw some afrgAT ME. its interfering with my typingg. damn itsannoying. noow i can’t ssew the screen. see the screen. i should take a picture. oh well. seems like the piece is over i think perhaps?
yes seems like it is. the end.
Posted by Irene Loughlin on September 19th, 2014
Soufia Bensaid’s work took place in a ‘black box’ alcove constructed within the Latitude 53 gallery space, a remnant structure created for a previous exhibition at Visualeyez that had not yet been dismantled. The artist paced slowly around the interior of this black alcove, scratching a large piece of chalk against its three walls. The resulting wavering, continuous line began at floor level and continued up the walls. (Soufia Bensaid Photo: Jack Bawden)
It was difficult to catch the moment where Soufia turned at the edges of the space, and her rhythm remained unbroken. Working from the ground to the height of walls, the performance recalled the techniques of drawing, but this horizon line in motion referenced some other kind of landscape, perhaps symbolic of the ocean, or the hum of background noise in a room. (Soufia Bensaid Photo: Jack Bawden)
As she continued to draw this uninterrupted line, she maintained equal pressure and distance from the wall with her arm. Occasionally there was a barely discernible, awkward twist of a wrist and elbow. The elevating height of the line recalled rising tides, a long twisting path. Upon completion of the drawing, Soufia began to punctuate the work with the chalk, rhythmically punching at the environmental scale that she had just created by fixing dots in space. These dots splattered on the lines of the wall, recalling imploding notes on a musical scale. (Soufia Bonsai Photo: Jack Bawden)
A sense of her frustration with the order she had created descended upon her as deep sounds emerged from within her body. She eventually broke through the flimsy alcove structure that contained her by increasing the ferocity of this action. (Soufia Bensaid Photo: Jack Bawden)
I interpreted the work as both a negotiation and confrontation with normative structures of sound, a kind of breaking through the fixity of auditory environments in relation to her experience of hearing, and an assertion of the kind of sensitivity she had previously talked with me about, a sensitivity that can be unwelcome in a society focused on outward knowledge and capitalist production and in opposition to the emphasis she places on ‘listening’ to her body and the subtle information in her environment.