A moment of love, anticipation, self-love, longing and peace. Mark Bridges articulates the dress of Peppy Miller here played by Bérénice Bejo to stand out from the background curtains and wall. He designed/chose the dress with stripes and swirly motifs, of sequins in patterns which all separate her from the surroundings. Because the film was transferred into black and white, Mark Bridges had to be mindful of this phenomena so that depth and the dynamic use of space with figure is maintained visually and carries the story in an exciting way. Mark Bridges does this brilliantly.
Above is a black white collage of some ladies in contemporary 20’s fashion. I created it. The ladies are connected to the abstract trees. In this case I had to separate them away from their environment because the patterning that is in their garments is also in the trees. Close to camouflage. This is the opposite to what Mark Bridges had to resolve. His characters had to stand out in the sets at all times.
To freshen your memory, watch the trailer of THE ARTIST by Director Michel Hazanavicius if you can. You gotta love the 20’s style.
She is fun, courageous, eccentric and inspiring. She is absurd, ridiculous, playful and innovative. She is dark, feminine, makes the terrifying possible and thus she is a game-changer. Her style endures the embarrassing without shame. She is the definition of abstract, a poem and the striker on a soccer field. Her scores reverberate again and again with the unconventional. You can’t miss her. She will make your anxieties pass out of fear and into the realm of acceptance. One couldn’t be cooler.
Patterns, simulated textures and odd juxtapositions are revealed here in quirky perspectives. Castle Diaz presents female beauty as a kind of half hollow statue where Rauschenberg meets Duchamp meets Vogue’s Erte with Art Deco flair. We certainly construct our identities with a relationship to our inherited past.
Whether the flora and fauna of the environment take over in ambiguous disguise
or if provocative hidden agendas trap our identity with pseudo disregard,
wouldn’t it be fun to just throw away all our knowing baggage and pretend we were something else, utterly?
According to Versace, women no longer have a role in the world of fantasy but are about the real world. Women have an obligation to show their strength, diverse beauty, and intelligence. Does fashion represent the woman differently today than it did ten years ago? In my opinion, back then, fashion was caught up with revealing our sexuality, and sensuality self-consciously. I think now, the crux is what we do with our empowered selves because sharing that power is what will make a difference. The alchemy between inhabiting clothing and audience will persuade new justices, new identities and therefore new tolerance and new inclusive liberation. Maybe this is what equality means.
Sounds like we better show ‘m how it’s done, be the present, and strut the future with our own voices.
I am nostalgic around an exhibition I created early this year from my residency at Oxygen Art Center in Nelson, BC. I thought I would share some of the performance that came out at that time. I created the set, directed and choreographed the movement and momentary stills of the performance called Glamourie. You can visit the intentions of the concept here-http://www.samtalbotkelly.com/news.php.
Fantastic creatives: Architect and dancer Thomas Loh, Teyana Neufeld, Lynn Dragone, Ho Soon Yeen along with a giant teddy bear were the performers wearing specific costumes who bump into each other on a dilapidated, topsy turvy, insecure ‘vessel’. Ships and vessels are typically with ends at the bow and stern. My ‘ship’ had signs of foreboding and comfort, dark and light, stable and insecure at either ends. The narrative wasn’t visually linear with characters moving in and out of space from a beginning act to an ending act. Rather the performance was happening before the audience knew it was happening. These characters pre-existed in the entire space before the audience came in, as if they inhabited it for an uncertain amount of time, as seemingly unrelated people with random connection. The audience stumbled into their space of ‘happening’ and together performers, audience, time and space collapse into a collective ‘real time’.
The ‘vessel’ set jutted out on a diagonal from one corner and extended over to the opposite corner. The center of the vessel found the characters colliding and culminated into a vortex of uncertainty. None of the four knew what to expect from the other, none of the four knew if they could trust one another. They circled together ambiguously without trajectory, without destination, without fully knowing who each other were, yet the attraction to pull through and out of the culminating maelstrom peak was strong. A reliance on instinct came upon them, on that which they couldn’t perceive, not of each other’s powers but on some oblique acceptance and perhaps responsibility to that which is beyond themselves.
People often get stumped by nonfigurative art. Ellsworth Kelly convinces us of the value of staying in the present, and abstract painting is his vehicle for attending to that larger mystery. Abstract art really does take time like he says in this interview with SFMOMA https://www.sfmoma.org . There is no story when looking at his work, our body and instincts respond. We can get lost in colors, shapes, feelings and memories when looking at abstractions. That is a beautiful thing.
Many of you have probably heard of the Mushroom Burial Suit conceived and invented by artist Jae Rhim Lee. It is brilliant and something to seriously think about. In fact I think I might have to re-write my will. If I believe humans as a species are intrinsically connected to the planet then I should eat my words around being responsible on how I leave this earth plane. Cremation is pretty toxic. But Can I forgo cremation? I love having the ashes of my parents, and I want my kids to have them of me. To decline on cremation the option of The Mushroom Burial Suit makes sense from an environmental perspective listen here…
Below is her experimentations of mushrooms that could decompose her nails, skin and hair which I believe are already outgrowths of biological waste we naturally eliminate.
MUSHROOMS have this capacity to live on and on and on and on decomposing the world around us in a profound system of communication with co-habitors on this planet.
Mycelium Learning at the Edge says
The mycelium organism is the root system of mushrooms; an underground network that connects to the roots of plants and trees and distributes nutrients and information to support the health of the whole ecosystem. This adaptive, pro-health organism is a teacher for us as we ask, “How can humans more successfully interact with each other in ways that nourish ourselves, each other and the world.” http://mycelium.is/about-us/
Well something to contemplate and imagine, right? Could you take this radical step? Perhaps in the meantime if we eat more mushrooms to boost our immune system an illumination will arrive.