Category Archives: Projects
The above fairground ride is something I remember well from Chippewa Park, although I don’t recall ever seeing it in operation. I think it was dismantled more than twenty years ago. The roller coaster suffered the same fate this past Spring.
I couldn’t find images to refer to for this drawing – and I’ve been looking for years. So this past summer I made a little research trip to Thunder Bay. I found nothing in the museum archives and nothing at the libraries. Finally, at the city archives, I found correspondence dated from the mid 1960s – negotiations between the city and proprietors at Winnipeg Beach Amusement Park, which closed in 1964. Along with a roller coaster and a number of other rides, this swing-style ride was purchased for Chippewa Park and set up in 1967. Still no photographs!
Researching Winnipeg Beach, I found and purchased this postcard:
Thanks to Coaster Enthusiasts of Canada I found out it was called the Sea-Plane De Luxe. It also mentions elsewhere that Flash Gordon styled rocket ships were offered as updates to the planes, but I don’t think that’s what the bullet-shaped cars were supposed to be. I could only find rockets with tail fins on a similar ride, but I am certain the ride at Chippewa didn’t have fins.
So, those bullets I have drawn completely from memory… I have no recollection of their interiors, but I seem to recall two seats on each. I’m pretty sure there were six cars, and that only the nose and tail of each was painted red and green. I also remember it being surrounded by spruce trees.
Did I get it right? If you’d like to share your memories of Chippewa Park – in particular this ride – please leave a comment below. Any relevant info I can incorporate into the final art would be appreciated!!!
The final artwork will be a companion piece to this other familiar attraction that once graced the beach at Chippewa:
You can help!
Swiss NGO Kaïcedra was selected as a finalist for a solidarity prize in Switzerland. Their project will bring bikes to women in Burkina Faso and help them change their lives for the better. Can you spare your voice for them? Enter your e-mail address and the code and click on “Votez.” You will then get an e-mail asking you to confirm by clicking on a link. Easy as 1, 2, 3.
These are much like the now-famous Chia Pets, which were trademarked in the 1970s by Joseph Enterprises of San Francisco. Now manufactured in China and as American as apple-pie, their true origin is the region of Mexico named after chia – Chiapas. And they have been around since the days of the Aztecs! Even Joseph Enterprises engaged craftspeople in Oaxaca in the production of their original line of Chia Pets. For more information you can read an extensive history of the origin of the chia planter here.
A dealer also sent me these photocopies along with a planter:
Chia and Contemporary Art
More recently, the chia planter has been explored through the brilliant creations of Toronto artist Naomi Yasui. I spoke with Naomi about her chia pillar and planter and about collecting.
IPi: Naomi, how would you describe your work, what is the foundation behind your practice?
NY: I attempt to articulate ideas rooted in the discourse of archeology and anthropology. I’m interested in the relationship between cultures and objects and what objects can communicate about both past and contemporary civilizations; our understanding of society and human experience through objects. I try to understand and articulate these concepts through my personal experiences with the material, with objects, and the process of making. I believe, as sentient beings, there is an impulse to create and to express and I’m on my own journey of discovery with what this means to me and what it can mean in terms of cultural identity and expression.
IPi: How did you discover chia?
NY: I first saw a Chia Pet on TV, and always wanted one. In preparation and research towards building the chia pillar, I purchased a Garfield planter from Canadian Tire.
IPi: So Chia Pets are what attracted you to utilizing chia in your work?
NY: In a way the 2 pieces I’ve created with chia were directly influenced by the recognition of chia planters in contemporary culture. But, I think even more so, I was drawn to the relationship between the porous nature of clay and the ability to grow vegetation on it.
I’m interested in the history and culture of moving plants indoors and cultivating indoors and in small spaces, with minimal resources. I’m also drawn to the idea of bring the outdoors indoors with our desire to arrange cut flowers in vases or keep indoor plants. Ceramics, a material I most often work with, facilitates these endeavours/impulses to live with plants in an indoor domestic setting.
The forms and structures I create visually reference obelisks and perhaps ritualistic artifacts of unknown function or utility, and in turn greatly reference the origin and history of chia.
IPi: Almost everyone I know has some familiarity with Chia Pets. Do you think this makes your projects more approachable to your audience? People were excited when they realized what your installation was.
NY: “Is that real?” and “Can you eat it?” were two questions I was asked a lot. Surprisingly, I often had to explain what chia is. I think the plant is mostly recognizable on a Chia Pet form as many thought the pillar was covered in bean sprouts. Everyone wanted to touch it, and some felt compelled to spray it (there was a spray bottle left at it’s foot), they wanted to interact with it somehow, help take care of it. It’s funny how people have an immediate reaction to a living thing.
IPi: I am curious to know what challenges you faced in constructing such a large planter.
NY: I wanted to further explore the concept of growing on a porous surface and was curious to see if I could succeed using different porous materials other than the traditional red earthenware. No red clay allowed in our space!
The pillar, made out of one-foot containers of plaster, was relatively successful. I think a better stacking and watering system could be engineered and perhaps one day I will revisit this. Maybe next time I do revisit this project I’ll do it with an engineer so I can go bigger and innovate a more even watering system.
This piece tended to leak in certain places and growth was uneven due to this. The chia was definitely happier and more robust on the plaster compared to the ceramic piece, however, plaster breaks down over time and with its constant contact with water and is not a sustainable material choice.
The chia pillar, sadly, is degrading in a dump somewhere….. Overall, ceramic is the most ideal material for ethical and sustainable reasons.
IPi: The blog you co-produce with Heather Goodchild, The Wardens Today, is partly about collecting, about objects. Do you think collecting is a part of what one does as an artist?
NY: I think the habit of collecting and the origin/history of objects go hand in hand. It’s all under the umbrella of the psychology of objects and why we feel so connected to inanimate things, why we insist in surrounding ourselves with them. As a fellow collector and maker of objects, and the older I get, the more I see objects as distractions from real truths in oneself and our relationship to the universe, though I very much understand that objects are critical tools for understanding our historical past and for psychological comfort or therapy….. As I continue my study, the complexity of my relationship to objects deepens.
IPi: Naomi, what are you doing right now?
NY: I am installing pieces from my Alchemical Vessel Series for a group exhibition, which opens tomorrow at The Latcham Gallery in Stouffville. It runs June 14th through July 28th.
The Haunted Hillbilly
Montréal’s Centaur Theatre
May 8 – June 3, 2012
The award-winning musical based on
the novel by Derek McCormack.
Produced by Sidemart.
I saw it 3 times last summer in Toronto at Theatre Passe Muraille!
Featuring all-original music by Matthew Barber, this season’s production launches the soundtrack on both vinyl and CD. The album includes twelve songs from the play and has guest appearances by Doug Paisley, Justin Rutledge, Oh Susanna, Julie Fader and of course, Matthew Barber (and others!). The album will be exclusively available at the theatre during the run of the show and will have a wider release in June.
Matthew asked me to design the cover for him — such an honour!
I wanted to keep the same character I used on the original book cover and poster – the skeleton in a cowboy hat, playing guitar. I found this old photo at a flea market and altered the person’s face to resemble a skull.
This doesn’t have the impact I was looking for. Dropping the photo and
updating the illustration I came up with something more effective:
Something closer to the original poster could work. I used a
typeface that is easier to read at smaller sizes, but the type and the
cowboy are competing for attention — more revisions!
Thinking of bats, some snapshots I took at the South
End Cemetery in East Hampton came to mind:
I’ve always liked those little angels on tombstones. They remind me of bats.
Changing one angel wing to a bat wing and adding cowboy hats,
I came up with this new design:
I wanted to keep the new cowboy so used him elsewhere:
I really liked the leather and denim colours on the design, but we
decided something warmer and more colourful would
be better. It’s more musical, more sideshow, more carnival.
The final design: