Untitled(2) by Eduardo Cuadrado

direct link: Untitled(2) by Eduardo Cuadrado

Eduardo, I am moved beyond comprehension by your Untitled (2). Your sculptures? Realist, the realism of poverty. Yes, I know this world. A beaten world; people who are usually ignored in the busy city. The shadows. The shadows who you have given solid form to in metal and other materials appear everywhere, as sculptures. Magnified. They are worthy of focus. They have their stories. People stop and look for a moment. It is strange. They are the poor, lost, downtrodden, forgotten; it is as if they call to their gods in the moments of silent suffering you have represented. They ask the existential questions. Why? Why me? How did this happen? How do I rise from this place of despair? I am in tears. I want to protect all of these beautiful people from the harsh life they have been cast into by circumstance, drug abuse, violence, or a soft incessant falling away of belief in the status quo until there is only raw existence left.

This is a great video. You disabled comments, so I started writing a response here...

Besides the stark, troubling opening shot, a video of an installation on the street with a doorway, the figures are all male. They wear suits or trench coats: perhaps they are white collar workers who have fallen through the cracks in culture. Some of them are installed where they might have worked before getting laid off or fired for whatever reason; or perhaps it was bankruptcy. The men in Cuadrado's film, his sculptures, have intellects, you can see that. They are conscious of their predicament. They are worn down by life. But they have not blown their minds out with drugs or alcohol; they are fully aware of where they are. In their faces of despair, desperation, futility, humiliation, sorry we see a deep grief.

That grief burns in my soul; whether it does in all viewers, all of those who witness these works, I don't know.

Solstice Photos

Two Druids on Salisbury Plain at Stonehenge at Summer Solstice. I love this photo! They are wild; their outfits quite something.

A silly photo from yesterday's re-take of dance footage in High Park - taking a water break. My daughter, unseen, sits in a Director's Chair, reading.

Wishing you a beautiful Summer Solstice

direct YouTube link: "Green Goddess" Masque

Wishing you a lovely day as spring turns into summer! Midsummer Night's Eve, or Summer Solstice is a magical time!

For those of you who might like to read a longer post on the process behind making this video poem: "Green Goddess" Masque.

Terre Verte

Pale green stretch lace, shimmer of embroidery, like Japanese watercolours catching the spring sun through pale green trees.

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A Wedding Stone for Fiona and Kaspa's nuptials today.

Note: Besides 'Green Earth,' Terre Verte is a painter's paint colour.

Treats on Bloor Street

Since I may return to High Park to dance before the camera again, with the track of the video, Tangled Garden, on a speaker - the movement would embody the words of the poems in my own idiosyncratic way, I decided to go to Fabric Land for some notions, patterns, fabric.

On the way, on Bloor Street in Toronto, I passed some young, gorgeously dressed people, men in grey business trousers and white shirts and a woman in a small tight red dress giving out boxes from cartons on the street.

Naturally, I joined the line. The man behind me wore a purple T-shirt and cool mirrored purple sunglasses - I laughed that he looked appropriate for 'Mink Mile.' Never mind, he didn't understand either. Though I asked people in front and behind me, no-one knew what we were lining up for.

It was so Beckett. So Godot. I loved it.

"Perhaps a glass," a woman said.

I had to show my ID (haha) to the gorgeous lady in the tight, short, red dress, and she stamped the top of my hand with red ink.

Then I received a packaged bottle of Stella Artois beer in its own bag, which I'm enjoying now.

In the Hands of the Garden Gods

One of the poems I'll be reciting in the video poem I am still working on, "Tangled Garden." I wrote In the Hands of the Garden Gods when I was 27 years old, and it fits beautifully. I guess I've been working with the themes of a Tangled Garden most of my life. It will be the poem in the middle, after A Floral Opera, and before, Tangled Garden. The video poem is 21 minutes long, and I have been working on it for quite awhile. As many hours, days, go into it I see it emerge slowly, slowly.

You'll have to email me for the password.

Encrypted poem:

In the Hands of the Garden Gods

Still from my video poem, Tangled Garden, which I'm currently working on.
(click on image for larger size)


A draft form of the video is up at YouTube (update Thurs June 16th).


direct link: Garden Gods

This video is not finished. It has no title or credits and is 'Unlisted' at YouTube. The final version will be much higher resolution. I've posted it for critique purposes only.

It is a clip from a long video poem, Tangled Garden, that is 22 minutes. The footage is mostly all like this cut. There are three poems: 'A Floral Opera,' which I recently wrote; 'In the Hands of the Garden Gods,' which I wrote when I was 27; and 'Tangled Garden,' which I wrote in 2006. This clip is the 'Garden Gods' one. It's still quite raw. I am seeking feedback, critique.

From my perspective - the dance in the background needs to be re-done. I need to get my costume and myself back to High Park for another round, perhaps without my daughter. Though can I go and dance alone? I'm hesitating. There are very few people I'd feel comfortable with doing this. If I manage it, it'll be like the one here, only perhaps a little better (I hope).

The voiceover poem was done one night, reading straight from the journal I wrote the poem in so many years ago. It probably needs to be re-done too. I'm not sure about the saturation of the voice and whether it distorts. The reading itself, though, is just about right in emotional tone, so I'm not sure I should do another.

Since this is an 'art' video I am not worrying about catering to any kind of popular taste. Um, I guess I move to my own drumbeat, or something like that.

What I am looking for are responses, and ideas that I may incorporate into the final version.

Thanks.

_
Music, 'First Night (Lilith's Seduction)' from Catherine Corelli's album, 'Seraphic Tears': http://www.jamendo.com/en/album/79547

Another update:

I realized it's better full screen, also 720p. Tonight I walked by the house where I rented a small bachelor's back when I had the dream that became this poem. And as the dream itself comes back, I realize that the way I've done the footage of the Garden God (or goddess) is incredibly close to the dream I had so many years ago. That was a wow moment, on the street corner tonight.

"Green Goddess" Masque

direct YouTube link: "Green Goddess" Masque

"Chthonic goddess of the greening earth. Wrinkled, like tree bark, painted, an exotic glade. Process, the recycling of Nature, life emerging from death. An organic art. The mask's fronds as if growing out of the forest floor in the Spring. Papier-mache, mulch: paper, or leaves. The face as landscape; the face carrying the landscape with it. Flower colours framing her face; the iridescence of insects, sheen of dragonfly. Feathery wings, plumed serpent, vestiges of living vines. A vision of a Nature spirit, Summer Solstice, a Midsummer Night's Dream. Shaman of the forest. Tutelary guide in the rainforest. Jungle of the imagination. Then the Surreality of the sky-blue mask on the greening gold fields of her face: I offer you a masked mask."

After the papier-mâché green goddess masque was finished, I wrote some of the thoughts I had while making it. That became the prose poem.

Last Spring I had wanted to make a dancing video with the mask and the prose poem, but it didn't happen until a few days ago. The footage is from a 4 min clip of the only usable footage from a shoot in High Park in Toronto with my daughter not actually on camera, but affecting things.

A blog post from 2009 with photos documenting the process of making the masque, along with the writing: http://brendaclews.blogspot.com/2009/11/green-goddess-papier-mache-masque.html

This video is part of my multi-media work, 'Green Fire': http://www.brendaclews.com/green-fire

The background birds and forest track is a mix I made mostly from http://freesound.org/

__

In a class once, where the professor had taken us through a very dense reading of a movie, someone asked, 'Did the director think of all that when they made the movie?' While we would like our work, poems, photographs, artwork, videos, to stand on their own, sometimes we also like to discuss some of the thoughts we had while composing them.

I would ask that you please not consider this personal essay as an explanation of the videopoem, though. The response and thoughts of the viewer can and should differ from my own - the artist is never responsible for the meaning of a work, only the viewer, reader, audience has that privilege.

A good poem, for me, is always a repository of a body of knowledge. A poem is a condensation of part of our history, be that political, social, personal, or intellectual. A poem carries a body of knowledge with it, and this knowledge can be unlocked by the reader/viewer who cares to delve into the background of the poem's images.

All I'm doing here is talking a little of my thought process while making the masque and composing the videopoem. Some of the knowledge I have gathered and woven into this piece. Your responses to the final product, the videopoem, will, of course, be different.

Here are some of my meandering notes:



My masque wears the landscape of the green goddess. I sought to create a figure representing the processes of life, death, recycling/rebirth in the performance - through the costume with its mask, the movement, and the prose poem. I hoped to achieve a videopoem that was ethereal, earthy, surreal and entertaining.

In the process of making the masque, planning a videopoem, sewing a costume, and the 30 hours of editing the footage into the video you see here, many thoughts crossed my mind. I'll briefly touch on a few themes: a resonance with the Green Man motif, Minerva's owl, a little on subjectivities or notions of the self, that this is also a Solstice celebration, and about my discomfort with producing 'creative movement/dance' videos at my age.

My "Green Goddess" masque reminds me of the Green Man: a drawing or sculpture "of a face surrounded by or made from leaves. Branches or vines may sprout from the nose, mouth, nostrils or other parts of the face and these shoots may bear flowers or fruit." The Green Man is usually an architectural ornament on churches, buildings or gates in parks, and so on. The article in Wikipedia continues, "The Green Man motif has many variations. Found in many cultures around the world, the Green Man is often related to natural vegetative deities....Primarily it is interpreted as a symbol of rebirth, or "renaissance," representing the cycle of growth each spring." The 'Green Goddess' masque has leaf-like fronds in her headdress and the colours of the wilds on her painted face. My prose poem refers to many of the same vegetative processes of nature. The dance is meant to be of a nature spirit. She is like a counterpoint to the Green Man. They are fertility figures, emblems of the fecundity of Nature.

I included the sound of an owl hooting; though the video was shot in daytime, I created darker clips in the editing to create a motion of light and dark throughout the video. Always in the jungle there is danger (I lived in an African jungle in Zambia as a child so know this), and the owl carries that haunting in its birdcall. The owl is also sacred to the Ancient Roman goddess, Minerva: "She was the virgin goddess of poetry, medicine, wisdom, commerce, weaving, crafts, magic, and the inventor of music. She is often depicted with her sacred creature, an owl, which symbolizes her ties to wisdom." All of which is appropriate to this videopoem.

Being a 21st century woman, concepts of subjectivities, construction of the self, the ego, in the midst of the natural abundances of the earth, the way as individuals we are part of the larger processes of life and death is important. Hence the masque. Who are we?

During the days it took to make the papier-mâché mask, I thought about how our masks enable us to be who we are. Our performative aspects reveal us to ourselves and others. We construct ourselves through our masques, and reveal ourselves more fully to each other when we are disguised. Yes, I know it is a bit of a double take, and the opposite approach to the Buddhistic peeling of layers of the self to arrive at essence. Yet, like the Buddhist practitioner sits in the semi-lotus pose of the Buddha meditating, and thus takes on the pose (or mask) of the Buddha to achieve selflessness, the masque also removes individual personality and reveals the archetypal nature of our essence.

Masqued or un-masqued, wearing a mask to represent the deity, to represent the spirit being called, or peeling away layers, perhaps we arrive at the same realization of 'selfless self.'


A forest doppelgänger appeared in the footage, in the imprint of a large woman of leaves, a reflection of the dancer, and I have no idea how that happened, and was not able to produce it in other sections, but I really grokked it. That vegetative figure has resonances with resurrection motifs, perhaps even the horror genre of movies when plants take on human form and come to life. A bit humorous, yes. Yet it is as if the masqued shamanic dancing called the spirit forth. A large figure emerges like a forest angel, the manifested double of the woman dancing a medicine dance, a potent force of the power of nature, a little dangerous if not directed properly by the shaman to become the energy of a spirit of healing. The appearance of a doppelgänger has made me very happy with this little video.


It is nearly Solstice, and a celebration of the sun at its zenith in the sky in the Northern Hemisphere here in Canada. I edited the video to culminate in a moment of solar worship, an adoration of the light of life, perhaps the figure becomes a solar priestess for a moment (for she has long since stopped being me), along with the overall representations of the fertility, decay and recycling of greening Nature.

The video is delicately layered and looks best on HD. Different parts of it play in differing speeds of slow motion. The video itself is composed like a compressed poem of images, and is one of my best video poems, I feel. It is, of course, not without humour.

If I'd had this technology 20 years ago! It is hard to produce 'dance videos' at my age, especially in a culture that focuses on youthful beauty, and while there are two more planned (since musicians have sent me music for specific performance pieces), I may not be able to do these types of "creative movement/dance" videos much longer. If I get those last two done, this year will have seen 5 dance videos, wow. A long-time dream, to do this, to create poetry dance videos.

The woman in the "Green Goddess" masque, therefore, wishes you the courage to realize your dreams.

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Joining July's Festival of the Trees with this video poem on the shaman of the forest.

Little update: I also took this video poem with me last Sunday, along with some photos of the making of the masque, to a Digital Storytelling workshop (I can't find a direct link, but it's at NFB Mediatheque) with my independent film group at NFB (National Film Board), and was surprised at the positive comments from other participants and NFB staff that I received. Unfortunately, the computer I was working on there froze, so I don't have the piece I produced to show you - though I will link to the video slideshows produced by our group when they become available.