The Principle of Uncertainty

Over thirty years ago, I was part of a very diverse art community in Vancouver. Though I was a painter, a friend of mine, Toby MacLennan, who was a performance artist, invited me to join her in a number of her quasi-theatrical performance pieces. We began with a late-night sojourn to one of the parks in Vancouver. I was to bring my cello and she brought a tall music stand (made of wood) that was fitted with staff lines (five small tree branches), situated some eight feet high at the top of the device. The spaces in between the staff lines were left empty, allowing for the complexity of the stars in the night sky (on this clear evening) to congregate, clump together and shine through these lines, thus becoming musical notes. At first, I played the actual stars/notes as they appeared on and in-between the staff lines as though I were playing conventional cello music. However, it soon became obvious that the star-notes that came in clusters and nearly crowded out single note sounds, had to be dealt with in some other way. So, I began to trill this particular star/note configuration. And then, as there was only one giant measure from which I could work, I decided to "play" the stars backwards and forwards and from there, the "music" became improvisational. (I could tilt the staff lines up and down to form other groupings of stars/notes.)

This photo shows me looking up through the music stand/staff lines, and playing pizzicato notes. A flashlight was attached to the base of my chair so that I could see the staff lines up above. Do you see the impish white figure floating over my head?

After this particular night-sky activity, which consisted of just the two of us and a tape recorder, Toby scheduled a performance in the star dome of Vancouver's MacMillan Planetarium (1976). This performance included an opera singer and other musicians who "sang" the stars. The piece was called "Singing the Stars". Later, we performed in Toronto at the McLaughlin Planetarium and other venues which would allow the projection of a night sky on the walls and ceiling of an ordinary room.

This photo shows another variant of a music stand (see vertical posts) as sculpture, where an individual (that's me!) prepares to be both a part of the night sky (mask) and a musician. This activity, with its principle of uncertainty, is not far removed from my passionate work of assembling and layering sections of frottaged textures with figurative elements. Each art form consists of a kind of mystical faith that the spiritual, visual outcome will prevail.

Please see Toby MacLennan' s website ( http://tobymaclennan.com/ ) and hear a little "night music", or read about her other performances in the book "Caught in the Act" an anthology of performance art by Canadian women edited by Tanya Mars and Johanna Householder, pages 315-323.

No See-Ums Revisited

Continuing with the inadvertent imagery idea, bring your attention to the lower right-hand corner of the drawing of my husband and me, which is titled "Art and Natalie". At the lower edge of the back of my head, a lightly patterned profile of a figure faces into my hair at the nap of my neck (see detail).

Where this profile touches the hair, have a look at the darker profile which seems to be about to kiss the lighter one! Two inadvertent anomalies! Then, if you look just above these two figures, you will see yet another profile of a person with a protruding chin and lower lip, his eye looking out from under an excessive sweep of hair.

The couple kissing - is that a secondary narrative describing the two of us? I'd like to think that maybe unconsciously I could have willed this to happen…

However, given that interpretation, what would be a probable story line for the profile above the lower two? Is that the faint image of a clock, just to the right of this profile? Could it represent aging and the passing of time? Okay, I've got to stop all this and come back to a less confabulated mindset. But you know, Art and I will have been married for many many years come this July (passage of time?), and as far as I'm concerned, that knowledge may be floating somewhere in the mysterious collective unconscious.

The No See-Ums (continue to surprise me!)

While looking over details in my large drawing called "Family Tree" (see October 16th, 2009 post) and other of my frontage works, new, obliquely hidden images caught me by surprise. The no seem-ums, or unintended figurative elements, seemed suspended between the rather pattern-saturated atmosphere of my intended imagery. In "Family Tree" for example, a number of fish, inhabiting the post-like supports of both figures, came to my complete attention. Repeatedly, and in startling detail, the fish were caught midstream in other-wordly relationships, perhaps as irrational as an automatic writing discourse. With this discovery, I drifted into a thought pattern best described by Paul Klee when he wrote in his diary that his paintings were like dreams flowing beneath the waking surface of life. "From the uncertain, a something shines not from here, not from me…" It is a known fact that fish often symbolize the deep waters of the unconscious psyche. As ancestors of our own species, fish may also characterize the division between the conscious and the unconscious, matter and spirituality. In this way, could a possible secondary narrative be explored in these drawings? I leave that up to your own imagination.

In Victorian times and as early as the sixteenth century, intentionally hidden images could be found to create fantastic Arcimboldo-like portraits (see the Napoleon postcard, circa 1905) and portrait-landscapes (see the "the hidden giant" eighteenth century - a face in the landscape.)

I have been fascinated by the limitless possibilities of such an approach to making art, and it never ceases to amaze me that, at the finish of every one of these drawings, an element of surprise continues to shape the content.