once, the sakura tree
blossoming cloud 
of pink

blood,
like split cherries

a pulp of wounds

I, fleshy stone fruit
soft under his fists

brazen, the road
where I walk

brazen, my ripe cherry
nectar

-



A creative treatment on the theme of violence against women. The ending is meant to be positive - she's no longer hiding, is defiantly living from her source of nectar.

Shot with an iPhone4, and edited in FCE. The text had a lot of treatment, and took as long to create as the film itself. Normally I don't like text in videopoems, unless the text is a pictorial element in the composition.

The track, Chinese Sunrise, by bjarneo on SoundCloud: http://soundcloud.com/bjarneo/bjarne-o-chinese-sunrise

direct link: immersion /2

This week an immersive video experience for you. A collaborative music video poem by Sheila Packa and Kathy McTavish. The poem, Immersion, is Sheila's, and the voiceover is Sheila's reading; the cello is played by Kathy. While both Sheila and Kathy chose the images for the video, Kathy composed it.

The film and the cello work marvelously together. Kathy, to quote from her website, is "a composer/free-style cellist. she uses chance and generative/organic forms to create everything from sparse, minimalist spaces to dense, orchestral landscapes." immersion /2 manages to be both sparse and minimalist, while maintaining a density of a natural orchestral landscape in the background. My sense of the music is similar to the visual images, the way they are composed, layered with a sparse simplicity on the surface and yet we find representations of the elements densely underlaid - wind, water, light, bird, earth, fields in bloom.

Sheila's reading is liquid and silky and flows with the stark and sonorous sounds of the cello and the shifting lights and colours of the video itself. Nature and natural processes are everywhere in her writing and in her reading. We enter a Tao of living through water that is water. With our inner ears, we can hear the flowing tides and the birds in a profoundly open landscape. Sheila and Kathy live on Lake Superior, a lake I found deeply mystical when I travelled around it some years ago. Her poem is from her collection, Undertow. I quote from her poetry blog:

"(immersion)

water resists
breaks without breaking
flows along invisible scores
courses between continuous
ends, begins

doesn't resist
touches, touches, turns
over the same skin...."

While I could rhapsodize on this music video poem all day, let me close with mention of Kathy's video technique, which is likely an original interpretation of the Bokeh style.

Kathy has explored Bokeh photography techniques, and puts her knowledge of this Japanese art form to amazing results in her videos. She uses stop motion, and to my eye, layers photograph tracks so that they emerge and recede with the flow of the music. She likely has used a cut-out shape over the camera lense to make that bird/wave shape which permutates and shifts in changing light patterns throughout the video and is perfect for Sheila's poem; but I couldn't guess how she composed the weave of slow motion of brilliant colours towards the end. Unlike traditional Bokeh, there is no foreground subject. Rather we are immersed in an ever-shifting slow-moving background. It is as if she composes abstract expressionist artwork before our eyes, painting with light and colour. As Sheila writes in her blog:

The still motion images are created by the use of DSLR camera, a Canon EO5. Kathy has been exploring Bokeh effects. It is an artistic technique initially used by some Japanese photographers who enjoyed the aesthetics of blur. She comes to this work by way of music; in fact the images are created in the same way that she creates music in her studio. Her echo pedal and harmonics perhaps are a musical expression of blur. She likes the 'infinite between.' She began using images in her search for techniques of writing scores. The images evoke meaning; to her, they create a synesthesia and seem to have their own sounds.

Sheila Packa and Kathy McTavish are two brilliant, creative women making, in my estimation, collaborative masterpieces.
_

I have a Videopoetry group at Vimeo - if you are a videopoet, and are on Vimeo, please join. Love to see your work there. Also I feed all videos posted through to Facebook, and will to Google+  as soon as that feature is added: http://vimeo.com/groups/videopoetry.

direct link: Shadow Cave.  [The video is subtitled, so you can read along if you like, or have Google automatically translate the text into one of 25 languages. The option appears after you press play. If the cc in the play bar is red, the subtitle track is on; if black, it's not. Mouse click to toggle. Click on this image to see the steps to opening the subtitle/caption file:


This videopoem is a postmodern fairy tale. Sort of Jungian. Integrating the shadow into the self. I re-wrote a piece I'd written many years ago of an inner journey though a land of strange figures representing repressed selves.

And I did everything in this video. What a lot of work! Shot the clips with a tripod. Edited the footage so many times that it's like a Samurai sword, beaten, and wrapped onto itself, over and over again. At one point I so overloaded my video editing software that it crashed every few minutes. But I pushed it, until the effects I was seeking emerged.

That she becomes quite pixelated in it is fine - it's all reflection, image, celluloid, burned light, a digitally composed moving image.

As an artist, I cannot help but think of the screen as a canvas, and so I expect that some of the all-over appearance is influenced by Color Field Painting, like a Larry Poons, has an abstract art quality to it. Meaning, while there were probably 50 cuts, I didn't do any zooming or duplicating or other fascinating video possibilities.

Also the tribal influence is strong. That's my childhood in an African jungle in Zambia, it comes out from time to time. This is the first video that I've attempted to create a sound track for. I used rattles, a singing bowl, a bell, two different drums. Since it's all quite primitive, the story, the dance, even the reading has a colloquial quality to it, I wasn't too worried about melody. My postmodern fairytale needed a strange and primitive soundscape, which it certainly has. ::smiles::

The dance footage was shot for my forthcoming videopoem, a triptych, Tangled Garden. (Which I have been working on for 5 months and hopefully will one day finish.) But, see, I had this abstract pastel clip that emerged from another project... oh, background, I thought, so went looking among my clips for something that might work with it. That's how it goes...





I enjoy the stills, too. Crazy, how'd I create those scenes? Seriously, it's like it creates itself. Magic behind and magic in front. Movie magic, that is!

A hundred and forty suns from Jonathan Blair on Vimeo.


Brilliant! From start to finish. I watched in delighted awe. The animation, the lights, the sound. I feel shaken out of my realism and like I've been to a hallucinatory summer cottage.

Let me describe my viewing.

The clicking rainbow lights flash on and in the male animated character's body upon waking, the fast cuts match the sound track of a kind of scurrying, insect-like scurrying on a hard floor. As the character rises and walks the dark room turns into machines, cog wheels, factories. Caught in the factory, in a time-marshalled setting, a vision seems to grow out of the man that is a pulsing red blob that perhaps represents anger. He begins to go crazy in the factory which seems more and more a nightmarish prison. Then it is as if the sun itself draws near as psychedelic visions take over. His body begins to dissolve into the lights. After the Kafkaesque beginning with insect-like noises that become a mechanical factory of looped wheels and cogs, the organic sound of drumming as the light increases is warm, comforting. And the light is shining, shining into the perception of the animated character who responds with joy, and into the screen where we as viewers feel that pleasure. Ultimately this film imparts joy, beauty, forgiveness, transcendence, the pulse of life renewed anew.

A brilliant little animated film, A hundred and forty suns, was a group effort. It was produced at Duncan of Jordanston College of Art and Design at the University of Dundee in 2009. The film was inspired by a poem by Vladimir Mayakovsky (1893-1930), a Russian futurist: An Extraordinary Adventure which Befell Vladimir Mayakovsky in a summer cottage, and especially by this line:

"A hundred and forty suns in one sunset blazed,
and summer rolled into July;"

Thanks are given to a dozen people, as well as the all the students and staff in DoJ Animation.

Here are three readings at CENtRAL that I videoed and edited. There were more, but I ran out of disk space and had to delete them. The editing for each took approximately 2 days. Not something that I can continue to do for everybody -it was an interesting learning experience for me. They are presented in the order in which we read. I hope you enjoy these readings.


 
direct link: Brenda Clews reading Wear White Paint for the Moon. (*This video is subtitled* -after you hit play, hover your mouse over the CC in the playbar, when it turns red, the subtitle file is loaded and you can read along with the prosepoem if you wish- red is on; black is off.)



direct link: Jennifer Hosein reading I Love You.



direct link: Cammy Lee reading Tingly Fingers.

On Fridays I am going to host a videopoem on my blog that I have found somewhere on the NET - Vimeo, YouTube, Moving Poems, etc. I will try to write something of my reaction to the videopoem in the post. My only rule is one videopoem per 6 months per videopoet (including my own work). Four posts a month is not very much, and there's lots to choose from. I can't aim for the best on the NET because I have no idea what that might be. My aim is simply consistently high quality, and my weekly criteria may change for what that is depending on what angle I'm exploring - ie perhaps the visuals are amazing and the poem ok, or vice versa. Videopoetry is a multi-media art where a number of arts intersect - film, text either on-screen or accompanying, music, voice - so visual art, writing, music and performance. A videopoem is, then, a juggling act. I am planning to begin posting on Fridays as I begin to prepare for setting up a site that will focus on Videopoetry Theory.

Whiteness, a high tide drawn by the moon. Light coiled around and inside her, claiming her. Thoughts passed through like schools of fish. Luminosity opened in the depths and kept opening.


Woman of the Sea, 2011, 12" x 10", 30.5cm x 25.5cm, India ink, conte crayon, oils on [100lb archival] paper.

She got wetted and blotted and re-painted a few times. This is what she became. Below is an earlier moment on the journey towards the final version.



Another Woman of the Sea, mostly oils on [100lb archival] paper. Those white scraping marks, like dots, on her right bother me, yet if I remove them the foreground, where she is, and the background, where the dark ocean is, separate from each other too much to my liking. Those white scrapes anchor her to the swirl of fluidity, the sea.

 .... yet I am still finding my relation to this painting like it was to the drawing, difficult.

But it's quite detailed, isn't it. About 4 layers of different coloured paint. Interesting what can emerge when you prepare for a run. :) The living room/dining room in my tiny apartment is currently set up as a make-shift studio, so it's just a few feet to the work table. But it takes gumption to get there. I did, and I done.

So tuckered out now, after that jaunt of paint, I'll have to have lunch and a rest. [ps It looks better in a large size -click on it -it'll open to a new screen.]

I am seeing the Symbolists here, and the French Surrealists.

Figures, 25.5cm x 34.5cm, 10" x 13.5", India ink, oil on 100lb archival paper.

Freshly painted sketch from the life drawing session I went to in August. Probably two 3 minute poses drawn on the same page, but the imagination runs wild...

_
With thanks to Pierre-Marie Coedes for pointing out that the figures look like a couple - which I hadn't seen but did after he mentioned it.

Old Woman of the Sea, 35.5cm x 39.5cm, 14" x 15.5", India ink, conte crayon, oils on 100lb archival paper.

It's not that I paint, but that the painting paints me. It changes me somehow. It's not that I paint something but rather that I paint what's changing in me through the process of creating the painting.

Old Women of the Sea: the old woman is in the ocean; the ocean moves through her; she is the ocean. Like a mother ocean.

A figurative landscape, or, rather, seascape.

I painted her in near darkness last night, in a dimly lit room. The colours looked almost the same on the paper - I only knew which was which because of the names on the tubes, which I could just make out. As I painted, I trusted my intuitive aesthetic senses.

In the midnight air I went to the table I've set up for painting while my children are away (at their Dad's - it's Canadian Thanksgiving and my half of the family wined and dined on Saturday night). I chose a sketch. And began painting, hardly being able to see what I was doing. Doing it by intuitive sense. And I wanted to let go of the naysayers in my head, and paint with an emotional clarity.

And I guess that's perhaps that's why I have to be alone to work. My children's presence or absence has nothing to do with it. I'm learning who I am when I paint. Or being taught by my painting. It's a very intimate, private process - until it's finished, and then you can show the world.


I'm painting some of the sketches I did at a life drawing drop-in session at TSA (Toronto School of Art) in August.

The original sketch as I did it in the life drawing session
that I went to with my niece. If you click on it, you'll go to the album.



Lifedrawing6, 28cm x 35.5cm, 11"x14", India ink, conte crayon, 100lb archival paper.