Surreal Gowns and Paintings by Brent Coffin

Brent Coffin poses with the models in the "Living Gowns".  All photos by Malin Enstrom.

During the Valentine's weekend I made sure to attend the fashion show that animated the Living Gowns exhibition by Brent Coffin.  I had heard Brent Coffin interviewed on Mac Furlong's Weekend Arts CBC broadcast, Coffin explained that he had been a visual arts student at the Grenfell campus and had been dragged kicking and screaming into sewing by his professor Barb Hunt.  I was curious to learn more.  The show pairs gowns designed and created by Coffin with his paintings that depicts the gowns worn by models.  Coffin had said that in part the gowns were like portraits of the women but I had a hard time imagining the relationship between the 2-dimensional images and the 3-dimensional gowns.  The only way I was going to learn more was by seeing them first hand and what better way than to see them come alive on the proverbial catwalk.

 Model in her Harem head-dress and gown by Brent Coffin.

I was not familiar with Brent Coffin's earlier painting so in response to my query Bonnie Leyton pointed out an example for my comparison.  We both agreed the stylistic term that best described Coffin's style, then and now, was surrealistic.  There is an element of fantasy, an interior psychological world that Coffin shares with the viewers.  It is as if we have interrupted something, an event or extraordinary narrative.  It makes sense visually but it has its own logic.

The new body of work revolves around the gowns, like the peacock dress or candy corset gown, that seem almost like archetypes or larger than life.  The women have become mythic or endowed with powers, such as the ability to summon waves to do her bidding.  The paintings suggest the worlds wherein these things are possible.

 The wave-dress painting.

Talking to the real people at the fashion show provided some delightful doses of real life that augmented the fantastic.  For example, Brent's husband mentioned to me that Brent's day job was in retail at the dollar store and I thought that was nothing less than perfect.  It seemed a Cinderella story come to life where Brent brought home the feathers and sequins purchased from the store and transformed them into something that would transport us from the cinders of everyday life into a magical world where all things were possible.

Each of the models I spoke with voluntarily mentioned how surprisingly comfortable their lavish gowns were.  The harem model marveled at how light-weight her headdress was for example.  Elaborate collars were detachable and several models commented that the dresses fit well.  And these were women with ample curves –not the usual rail-thin fashion models.  The fantasy gowns amplified aspects of the women's personalities and bodies; redheads were complimented by green and turquoise toned fabrics and details. 

The fashion show event bristled with the cameras of well-wishing, weekend (amateur) paparazzi.  Little girls played on the sidelines in their princess dresses and tiaras.  Brent Coffin's creations made it possible for his real life, grown up women to assume equally regal personas.  Nobody was playing pretend.   

Here's Brent Coffin's website if you'd like to investigate further:
http://www.brentcoffin.com/

Why are we still talking about Craft vs. Art?

One of the iconic horse figures from Houdé's Ming Series.

One of François Houdé's boule brisé or broken bowls.

I was really looking forward to Denis Longchamps' lecture on sloppy craft and how it pertains to the exhibit (February 13), which he curated, Boxed In that is currently on view at two venues - The Rooms Provincial Art Gallery and the Craft Gallery of the Craft Council of NL.  Back in 2011, I had suggested Sloppy Craft as a theme for that year's Universities Art Association of Canada (UAAC) craft session.  Thanks to the hard work of co-chairs Elaine Cheasley Paterson and Susan Surette, a suite of papers was presented on the topic–including one by Denis Longchamps.  His examples of ceramics, such as the work of Lauren Craste, were pretty self explanatory but his choice of glass art by François Houdé totally floored me.  I'd always thought of Houdé's Ming Series as achingly beautiful and meticulous.  So, I was really curious to hear Longchamps' talk about Boxed In.

On this occasion what surprised me was the hefty amount of time devoted by Longchamps to the issue of craft and art definitions.  I had no problem with any of his points, they were all familiar, but I was surprised it was even on the agenda.  Didn't we put this discussion to bed a long time ago?  Why are we still talking about craft versus art?  Aren't there more relevant and rewarding discussions to be had about craft and or art?  Like Post-disciplinarity, Sloppy Craft or Craftivism?

Working class baseball bat meets upper class porcelain in Lauren Craste's sculpture.

To his credit, when I asked Denis about the focus on the definitions of craft and art he explained that this was not his choice but was in response to queries from the public in St. John's and The Rooms Education staff.  So, my understanding is that his follow up talk on February 21st will reveal more about the Boxed In exhibit.  By the way, I am happy to report that I will be submitting a review of Boxed In to Espace Sculpture.

Regarding Sloppy Craft, during the recent lecture Longchamps revisited the ceramic and glass art examples mentioned earlier.  However, Longchamps did a better job of building a continuity between the functional perfume bottles, the brisé or broken bowl series and ultimately the Ming series, which were composed of recycled window panes – that made the talk worth attending all on its own.

Two final points:  1) The papers presented at the 2011 UAAC conference plus others (including one by yours truly) are now being reviewed as a volume of essays by Bloomsbury Publishers, which is the reincarnation of Berg, U.K.   www.bloomsbury.com/uk/academic/

2) Check out the article in the February 7th e-version of Canadian Art for an article about NL's Craig Francis Power's recent exhibition at the Art Gallery of Nova Scotia. (Canadian Art <weekly@canadianart.ca> Craig Francis Power Puts Bad Boy Spin on Folk Art) His hooked mats in all their cheek, raw themes and willful disregard of technique are an excellent example of Sloppy Craft.

Craig Francis Powers' raunchy hooked mats are reviewed in Canadian Art, February 7th.

Craft and the blonde bitch goddess

Part of my fascination with tattoos started in 2008 when I encountered a German artist who was tattooing pigs with images from religious art and then putting the pigs up for auction.

Why do we expect things to go as planned?  Each week I start out with a work plan:  I plan the work and then work the plan.  If I can screen out the distractions, I usually do a good job of meeting deadlines.  In my life there are a wide variety of short term and long-term deadlines.

E-mail and phone calls are definitely distractions and with a certain project mine have definitely gotten more colorful than previously.  I have received messages with subject headings such as: "I can feel your sizzle", "another town to paint red" or "your king-size bed is booked" in reference to a new assignment, I have been referred to as "the Highway to Hell girl" and my all time favorite "blonde bitch goddess".  If this doesn't sound like your usual fine craft goings-on you'd be right.

For several months now, I have been talking, thinking and investigating tattooing.  I am very taken with the craft and narrative behind the contemporary practice of tattoo.  Here in Newfoundland, tattoo has been associated with sailors, soldiers and prisoners.  Where I come from in Quebec, the association has often been with bikers.  Somehow, I never dreamed I'd be interviewing Hell's Angels in the name of craft but there you go:  never say never.

It is clear to me that tattooing has made the transition from being part of the fringes of society to the mainstream.  A quick troll through the TV channels: Miami Ink, Ink Masters, Tattoo Nightmares and more makes it plain.  And when I heard on the Dragon's Den that there were currently more tattoo parlors in the United States than Star Buck's, I was convinced that tattooing had reached a new height in the contemporary psyche. Tattoo Life has become part of my required reading.

 I believe this tattoo is worn by Dolly Cool Clare in the U.K.  Feltmaker Trine Schioldan sent me a whole raft of craft related tattoo images.  Thanks!

The joke has become if you want to find Gloria in a crowded place just look for the line up of men taking their clothes off.  When I was at this past summer's Folk Festival in downtown St. John's I asked lady potter Maaike Charron if I could see her medieval-inspired tattoo.  Both she and I studied at the Pontifical Institute for Medieval Studies in Toronto at one point.  Maaike obliged me and to my surprise it sparked a chain reaction that was instantaneous. Before I knew it there was a line up of strangers quite literally taking off their clothes to show me their ink.  I remember looking up from the craft tent and seeing the line up and thinking, "I will never make it to the beer tent before closing time."

Why does someone make the commitment of using their body as a canvas?  How do they choose their designs?  How do the designs reflect taste and society?  Where do they choose to put it?  Tattoos are both private and public and the narratives are endlessly engaging.  I've talked with young men who have brought their own drawings to ink masters and it appears that some are even doing their own inking in a version of the Do-It-Yourself movement.  I think I've stumbled into an area of contemporary craft with huge accessibility.  Think street culture or graffiti and sketching meets embroidery.  My imagination spins with how the show might look, the combination of wall-hung images and living models.  The programming has endless possibilities…

HOT MUD: Call for entry

OK, It's official, the Burlington Art Centre is celebrating the 30th anniversary of its contemporary ceramic collection with a special exhibition.  Along with some very good company that reaches across the country, I have been asked to be a juror.  Do see the call below and share the good news!

One of my favourite aspects about the Burlington is the multiplicity of display spaces in the venue.  Everything from exhibition halls, to floor to ceiling display cases in the corridors to a courtyard space, as seen above.

CALL FOR ENTRY

HOT MUD Emerging Canadian Ceramists

The Burlington Art Centre is now accepting submissions for the exhibition Hot Mud: Emerging Canadian Ceramists. The exhibition will take place in the Lee-Chin Family Gallery at the BAC, from September 7 to November 4, 2013.

Exhibition Focus

A survey of the most exciting and promising emerging artists working with ceramics in Canada today, selected by senior Canadian artists and curators in five regions across the country.

Eligibility

Emerging artists are those at an early stage in their careers and have created a modest independent body of work. To be eligible for this exhibition, artists must have completed basic training, are recognized by other artists working in the field, have a history of professional exhibitions and publications, and who have maintained an independent professional practice for a minimum of three years to a maximum of ten years prior to their application. Submissions by individual artists, groups, and collectives will be considered.

Jurors

Atlantic Provinces:   Gloria Hickey

Quebec:  Alan Elder

Ontario:  Rachel Gotlieb

Prairies & the Territories:  Greg Payce

British Columbia:  Sally Michener

Submissions 

To apply, please submit the following materials by mail, no later than March 15, 2013

 Cover letter with current contact information and one paragraph biography 

 CV and one page artist statement 

 15 numbered and labeled images, JPG format, no larger than 500kb, with

accompanying image list 

 Self-addressed return envelope

Hot Mud – PROPOSAL

Burlington Art Centre 1333 Lakeshore Road, Burlington, ON L7S 1A9

For more information please contact:

George Wale, Director of Programs waleg@thebac.ca Jonathan Smith, Curator of Collection smithj@thebac.ca

1333 Lakeshore Road, Burlington, Ontario, Canada L7S 1A9, 905-632-7796, Fax 905-632-0278, www.theBAC.ca

Boxed In Exceeds Expectations

The invitation features the work of Merv Krivoshein,  a wood turning talent from Alberta.

On all accounts Boxed In appears to be a huge success, with two ample shows filled with 67 top-notch pieces drawn from a submission pool of close to 200 proposals.  The exhibition has work from all the provinces and territories–not something we get to see very frequently in our far-flung province.  And it was great to see a healthy representation of artists from away who traveled for the opening–like Elvira Finnigan from Manitoba.  This allowed me a wonderful opportunity to chat with her about her engaging collaborative piece, which incorporated a paper cutout crown by Paul Robles.  Flood Monkeys II represented the monkeys amid foliage in paper submerged in a Plexiglas container filled with brine.  As the water evaporates, salt crystals form on the paper recording the process and transforming the piece.  Elvira showed me other works at various stages of evaporation on her iPad, including a dinner setting that had an eerie Pompeii quality.  I will ensure that I revisit the show and her piece.

After a six-week period the shows in The Rooms Provincial Art Gallery and The Craft Gallery will trade places, which I think is a neat resolution to a thorny problem and fair to boot.  It will be interesting to see how the works appear different in a domestic scaled space after the vast exhibition halls of The Rooms.

With a show of 67 works, it is difficult to discuss the show adequately but I will isolate a few favourite pieces as this is a blog and not a proper review.  For example, Lois Schklar and Noah Gano's Three Point Perspective Drawing/Sculpture, which combines a living quality (its cord trembles and breathes in response to movement) that I associate with Schklar's more organic string drawings with an elegant geometric purity.  The cord draws a box in space.  It is downright sophisticated without being clever and the public marveled at it during the opening.  I am glad it has its own dedicated display space, which in the past I have seen used for videos.

Rosalind Ford's piece is suspended from the ceiling in the show and completes the visual metaphor of the birds' future 'hanging in the balance'.

Out of the work done by Newfoundlanders, I take my hat off for Rosalind Ford.  Her State of Canada's Birds is a quantum leap in terms of her career in soft sculpture.  The piece is composed of life-like birds made by Rosalind that are mashed together in the confines of a cage suspended by rope at eye-level.  The birds are naturally dyed, stitched meticulously and it is clear they have been loved into existence.  Rosalind's experience as a field biologist who has studied and handled the real-life versions is imbued in the heart-wrenching piece.

Frances and Maxine Ennis are also ably represented by a soft sculpture that to me signifies a major step forward for them.  I had seen their 3-dimensional efforts done with rug hooking and it is satisfying to see how they have refined their technique and combined it with a theme–women getting the vote and fighting for rights–that is near and dear to their hearts.

Other artists, like Reed Weir and Nicola Hawkins, are represented and give us their classic best on a smaller scale than we usually encounter but loses nothing in impact.

There is so much more I could say, for example, about themes that run like an under-current through the show (coffins, reliquaries, urns, etc) not to mention curator Denis Longchamps thoughtful essay.  I should make the effort of pitching the show as a review idea to a few magazines and see what happens.  Wish me luck!

This is an example of Lois Schklar's more organic work.  This one appeared in a recent show at Toronto's Aird Gallery.

Reclaim Your Stolen Artifacts!

I thought this was important to share and yes I will post about Boxed In in a few days.

Museum, Archives and Antique Dealer Thefts - Atlantic Provinces 1996-

present

Hello everyone, 

The RCMP has recovered hundreds of artifacts and archival items that were

taken from museums, archives, libraries and antique shops from across

Atlantic Canada over the past 15 or so years. CBC have already  reported

this story to the public. You can read the article by clicking on the link:

http://www.cbc.ca/news/canada/nova-scotia/story/2013/01/22/ns-stolen-antique

s.html. The initial estimate of approximately 600 items has grown to over

800 and they are still busy cataloguing. It is extremely important that you

all check through our records on missing items and forward a list to the

RCMP in Nova Scotia to see if anything can be reconciled. Important to note

- accession numbers and museum labels are still on some of the items!

At this time we ask you to please draft a detailed list of items that have

gone missing from your museum, including accession number, label info,

detailed description, measurements, and photos if possible. As you will read

below and in the news article, Cst. Darryl Morgan has already been able to

reconcile a number of items and we want to get our heritage home where it

belongs. Cst. Morgan stated that:

“… [W]e need descriptions of what ever each one of you have had stolen from

your location over the years, no matter how big or small. Photos of these

items, if you have them.   We have identified  and recovered pieces from all

over the Province already from Dal, SMU, Mt St. Vincent Libraries, The

Legislative Library, Parkdale Maplewood Museum (New Germany) Kentville

Museum, Fultz House Museum (Sackville) , Waverley Legion, Shand Museum

(Windsor) , Blue Shutter Antiques (Chester) , Borden House Antiques (Port

Williams), Brambells Antiques (Chester) .”

MANL would like to take this opportunity to remind everyone how crucial it

is to have security measures established at your museum. It is also very

important to have a current inventory of the museum collection. If you would

like to speak with someone at MANL and find out what you can do to try and

prevent this from happening at your museum call us at (709) 722-9034.

You can reach Cst. Darryl Morgan at:

Darryl Morgan 

Street Crime Enforcement Unit 

Halifax District 

1171 Cole Harbour Road,

Cole Harbour, N.S.

Cell # (902) 448-6523

Office # (902)244-7208    

darryl.morgan@rcmp-grc.gc.ca 

-----------------------------

Sarah Wade

Outreach Officer

Museum Association of NL

15 Hallett Crescent, Suite 201

P.O. Box 5785 

St. John's, NL A1C 5X3 

Tel: (709)722-9034 

Email: manl@nf.aibn.com

Web: http://www.manl.nf.ca

Gallery Do's and Don'ts by David Hayashida

Despite a snow storm we had a good showing at the first ever Member Mixer at the Craft Council of Newfoundland and Labrador where I spoke about the SOFA Chicago 2012 show and event.  Executive Director of Craft Council, Anne Manual had on hand David Hayashida's tip sheet that he put together after the ACTS 2012.  In case you are interested, I am printing it below.

As a reminder, don't forget this Friday the Boxed In exhibit opens at The Rooms, Provincial Art Gallery this Friday…I'll be sharing my view in the next blog.

A sauce boat and to catch the sauce drips - a saucer!  Guess we know the origin of the word saucer now.  Both by King's Point Pottery.

Gallery Do’s and Don’ts from Gallery @ ACTS 2012, Halifax, NS Canada.

Author: David Hayashida of www.kingspointpottery.com

Here are the points that made the most impact on me from the truly amazing opportunity to hear 4 American and 3 Canadian fine craft galleries talk about the gallery and the fine craft artist.

Top 10 Do’s

1.) Do think monumental in scale! In the USA most galleries want bigger work because it can be more lucrative! After all millionaire buyers do not live in small houses.

2.) Do get it in writing - have a written contract with the gallery. Who is responsible for what and especially if things go wrong . . . i.e. damaged goods, discounted sales, payment percentage, how long it will stay in the gallery,…

3.) Do invest in the highest quality professional images of your work. Each gallery has their own standards but 300 dpi 5” x 7” is a good minimum to start with. And have all the details of size, materials, dates…attached. (Never send large file images to galleries unless requested.)

4.) Do ask other artists how they feel about that particular gallery. Do they pay on time, are they easy to work with…

5.) Do attend gallery shows and SOFA if that is what you are aiming for. Nothing replaces seeing and experiencing first hand how the game really works. Only the most ambitious world class artists will succeed.

6.) Do look outside of your medium for inspiration. Galleries are always looking for the next big thing that is totally new and different.

7.) Do name drop. Buyers love the connections to other world class individuals. ie… this work is inspired by Picasso’s blue period.., Van Gogh’s sunflowers.., Einstein’s theory...

8.) Do be consistent and dependable. Is your work consistently improving in quality? Does your work arrive on time? Are you in for the long haul…“in it to win it”?

9.) Do consider preparing a short promotion/teaser card with some print information that of course includes a gorgeous image of your work for the prospective gallery to consider. Also have hard copies and of course a disc with a full presentation package available for the interview. Have an updated cv, artist’s statement, bio, images…Be ready to sell yourself!

10.) Develop a strategic plan for your fine craft career. Then make a work back schedule to create measurable milestones to achieve your goal.  Things like competitions, special projects, group shows should all be on there.

Top 10 Don’ts

1.) Never (ever) approach a gallery to consider you as a new artist during an opening or other major event! Galleries are only selling machines at these events and not about buying. (And isn’t that what you’d want from a gallery.)

2.) Keep your ego in check. Galleries are looking for a long term, friendly and uncomplicated relationship with their artists. Remember they have hundreds of other helpful talented artists to choose from.

3.)  Don’t assume those fragile stickers will make any difference with the shippers. You must become a world class double box perfect packing expert. Tips: use green painters’ tape over bubble wrap, hand cut foam cushions, minimum of 2” between boxes, provide images of the work on the outside, images of how to unpack/pack your work inside, images of how to install/display…(Think Murphy’s Law here for sure.)

4.) Don’t expect a simple email inquiry to trigger a reply. Some galleries have a policy of only responding to phone inquiries. Find out what their policy is on reviewing new artists and tailor your professional artist’s package accordingly.(Are they even considering any new artists at this time?)

5.) If your work too closely mirrors that of the existing artists at a gallery...don’t expect they will automatically want more of exactly the same. Covering the same artistic territory can cause unwanted ego conflict among gallery artists and does not increase overall sales for the gallery. Consider other like minded but less similar galleries.

6.) Don’t assume you will suddenly make more money selling through a gallery (in the short term). You will be responsible for the cost of perfect packaging & shipping to the gallery, the gallery will of course take their percentage, some galleries may charge a display fee, you may have to travel to the openings, some artists will be asked to share any collector discounts,…and remember commercial galleries price the work to sell; they don’t want to display work without sales.

7.) Don’t show old work. They are not interested in how you got there. The galleries want to see only the artists most current, innovative & visionary world class work. Your work is either better than the hundreds of other talented artists from around the world who have applied or not. Getting a referral from an artist they already work with can be very effective.

8.) Don’t think solo show for your first experience. Most galleries initially think group or themed shows with solo shows typically reserved for only the best of the best of their proven artists.

9.) Don’t be shy in either the work or your promotion of it. Initially it’s totally your responsibility to get the message out there and allow the public to discover you are a star.

10.) Don’t give up. Remember most galleries will not be the right fit for you but there is a good match out there if you are persistent.

A fine teapot, salt and soda fired by King's Point Pottery.

Best of luck to all the fine craft artists seeking gallery representation!

(Any comments on this article would be most welcome.)

Special thanks to everyone associated with the Gallery@ACTS project especially the visiting galleries: Rick Synderman of the Snyderman Works Gallery (Philadelphia, PA), Barbara Silverberg of Option Art (Montreal, QC), Jo Anne Cooper of Mobilia Gallery (Cambridge, MA), Scott Ashley of the Perimeter Gallery Inc (Chicago, IL), Christian Bernard Singer of the Canadian Clay and Glass Gallery (Waterloo, Ontario), Victor Armendariz of the Ann Nathan Gallery (Chicago, IL) and Cheryl Fraser of the Zilberschmuck Art Jewellery Gallery (Toronto, Ontario).

Author: David Hayashida of www.kingspointpottery.com