How old is your Bosco? I saw your earlier videos from 2012-ish and his build back then looked really similar to my young pal. :-) Great progress, you have such a lovely dog! Has he done his BH/do you have plans on doing his BH anytime soon?”
Bosco is three years old; he’ll be four in November. His body really matured between 2.5 and three (ie. his chest broadened and he gained a lot of muscle in his rear end and shoulders).
Martin says not to watch those awful 2012 videos…he’s really grown as a trainer since then. :)
The way that Martin was mentored is that you train as far as you want to go and then you do all your titles back to back in the same one or two months. So, Martin hasn’t done his BH yet and won’t until he’s finished Bosco’s training. However, Martin loves training (ie. he’s a process oriented engineer in real-life) but titles aren’t important to him. I’m pretty sure Bosco’s breeder would kill Martin if Mart never gets around to titling Bosco. :) It’s really challenging to title in Alberta since there are so few IPO trials. For CKC tracking, most people trial out of province since there is only one trial held in Alberta for the year. Martin would have to drive to Regina, Sask. to title his dog in CKC tracking.
I am lucky to be apart of such an amazing project. On 28th & Reed In South Philadelphia Is a Small Warehouse. Three others and myself have been Converting this Building into an Artist Photography&Printmaking Facility&Studio Space.
First three pics are the Top Floor, which is our Future Living space! Next is the Ground Floor, which is our Printshop, Shooting space and Digital lab! And last, The Basement, Our Darkrooms for Color, Black and White, and Alternative Processes!
Did I Mention Tommy and I are building our own massive etching press? haha. (5ft long roller!)
Super productive day. More of a learning and discovery day. Its been hard finding the right minds and right suppliers for our massive etching press. However we are getting really close to it taking physical form!!! Well part of it…
In my experience, some of the best moments in life are when hard work and effort reveal the path that needs to be taken to achieving your dream. Be it a piece of art, a destination of travel or even an education. I have never been offset (pun intended) by how long or hard the road looks. Ill happily travel it. What eles am I going to do with my life?
Nothing satisfies me more then making something I had no idea how to do yesterday. Im very lucky. I definitely learn and work slower then others, but I use my time well. Im not afraid to ask questions and certainly not afraid to ask for help. I try my best to reciprocate what Im given by so many amazing people. If it weren’t for them I couldn't do ANY of this. All I want to do is create a positive example that proves “Thought allied fearlessly to purpose becomes a creative force"
I cant wait till the next stage where the frame work comes into shape. Ill try to keep posting :)
Following my last long run towards Ojai my posterior tibial tendon started barking. 10 days later and it’s not 100% yet, which means I may have to pull out of my second race of the year (the first being the pacific half marathon following a weird but of high groin gnar). Frustrating, but I’ve tried to take a process oriented approach to my running versus an outcome oriented approach, and I have to say, perception is everything. Rather than let these setbacks define me, I’m taking the big picture and using these episodes as blueprints to make myself a stronger and more resilient athlete.
Plus, missing the race just means I get to head up to Santa ynez valley a day earlier than planned. And that’s not so bad.
Ever since he can remember, Ross Sonnenberg has been fascinated with space. In his Color Bang series, Ross uses some unconventional materials to create images of solar systems and swirling nebulae. He writes:
With this series I have tried to create imaginary solar systems and super novas using different materials, and fireworks for my light source to make one-of-a-kind camera less images directly onto color and black and white photographic paper.
The starting point for this project was my interest in identity, social commentary and storytelling through mixed media, such as drawings, prints, photographs and other found materials. As an artist, I attempt to take the viewer on a creative journey, showing them the process of my art making with collage and altered imagery.
Dada and surrealism were particularly helpful points of reference for me because artists like Man Ray and Tristan Tzara, happily moved between different media and the idea motivating the art was viewed as more important than the artwork itself. I began to adopt a more progressive and process-oriented approach, which allowed me to produce work that was both instinctual and aesthetically appealing.
During tutorials Tara suggested places to visit and artists to look-up. The Photography Show at the NEC in Birmingham was probably the most influential. Although I don’t class myself as a photographer- rather, an artist who uses photography- the event encouraged me to follow the path of documentary photography/filmmaking. I wanted to lift my work from the page and engage in more time-based work.
I admire artworks for how they are made. Acknowledging the creator and knowing about how an artwork came to be changes the way I think about it. So I decided to present, as the object of study, the contemplation of an exhibition rather than an individual piece.
Practice as research
In search of an idea, I realised that the idea was ‘me’. I decided to put up a mirror in front of myself, so to speak, and say “YOU are the artist, it’s time to let people know.” My interest in the dance community and how choreography and dress empowers people motivated me to present this culture to others. Filming and recording the weekly dance sessions I attended uncovered an interesting narrative.
I also interviewed my dancer/choreographer friends and these discussions, paired with my own experience of dance, revealed themes of power and vulnerability. Some dancers feel powerful when they perform in front of an audience, describing it as being like ‘wearing a mask’ and becoming utterly confident. While others (like myself) feel exposed and vulnerable when asked to perform in front of others, so I became interested in confidence building and empowerment through movement, space and costume.
My contextual research was an ongoing process and while looking for surrealist influences, I came to learn more about the late Alexander McQueen. His fashion designs and shows were presentations of dreams and stories. He is most renowned for putting emotion onto the catwalk, successfully merging light and darkness, joy and bitterness, sensuality and decay, sorrow and happiness in a sort of impossible communion. He also sought to involve the audience at every stage of the process- live streaming his shows from 2010 onwards.
Inspired by McQueen’s “Lace Face”, I got to work documenting my search for fabric and the mask-making process. The idea was that a mask could hide my imperfections and I’d be able to perform with confidence while wearing it. The significance of the lace was that it creates a powerful reactive connection with the viewer, whilst conveying a lot of messages- it’s strong, fragile, varied in pattern and form, structural, romantic and functional. A lot of women would like to be like lace. Furthermore, dress and adornment have long played an important role in the visual allure of dance.
During the final shoot I was forced to confront my own insecurities. Being photographed and watched by others was really anxiety-inducing. I worried about my imperfections and I think this was visible in most of the early shots. But after the studio had cleared, I let the camera roll and my confidence came in floods. I was able to capture some really fun, candid footage.
Editing the final film was a painstaking process. There was lots of material to go through, but somehow it all worked perfectly. Everything fit together like puzzle pieces- soundbites, music, photos and choreo worked really well together to tell a story that people might not have heard before.
Here it is…
(Soundtrack: “B*tch I’m Madonna”, Madonna feat. Nicki Minaj)
If I were to do this project again I’m not sure what I would change. It was a very organic process based on my intuition and sensitivity, yet the final outcome is exactly what I hoped to achieve. Choosing to shoot in black and white was a good decision, it keeps in with my artistic style but also represents the dichotomy of power and vulnerability effectively. The original plan was to perform a solo contemporary dance piece at the end of the film (since I’ve been learning both contemporary and commercial routines), but I decided against it because it felt a bit too sombre. For me, being a part of this culture is about fun and attitude. The people are so energetic and lively. Furthermore, I wasn’t confident enough to perform a whole piece full of emotion for the camera, so I decided to reveal a small part of my dance persona and conceal the rest… keeping it private and something that’s just for me.
^ Alexander McQueen (inspirational artist)
This whole project has taught me that inspiration can be found anywhere and if you cast the net wide enough you might surprise yourself. I’ve produced work that I never even contemplated making, moving from paper-based imagery to time-based which allowed me to grow as an artist. I’ve really enjoyed the FMP process, and the whole foundation year! I just hope the final show goes well and the viewers enjoy the outcome. The installation itself will play a big part in how my work is received. My aim was to create a mixed-media experience, so my images will need to be displayed in an interesting way that draws people in to watch the film.