2019 – Evidence of Walking – Extended Stories

The Next Step in the Series

What I found when I looked back over the black and white images of the last year, was the subtle patterns of the shoe prints and how these suggested two dimensional magic. The textures and intensities create exquisite design patterns and sometimes suggested landscapes. When I poured over them, I recognized that some of the images were begging for a foreground to their background to create a more literal story.

Conference of Birds

Painting small additions onto these backgrounds provided new three and four dimensional qualities.  I started focusing in on all the areas AROUND the shoe prints and realized that often the real and dramatic story was being told there, not just in the strong designs of the shoes themselves. The new atmospheric emphasis began to deepen the stories being suggested by the literal images.

Ancient Air

To Giclee or Not to Giclee, (Increasingly that IS a question).

I am just in the beginning stages of turning work into high-end giclee art prints in a limited series. These quality prints have many advantages over framed originals. They can be shipped fairly inexpensively inside a cardboard tube anywhere in the world. They are cheaper to purchase and have really fine production values on high quality art paper. And…..they can be any size, from say 8 by 10 inches to 4 feet by 6 feet or larger. This printing machine is a genius. It can print on canvas, cotton and other great materials. I am super excited too, from an educational point of view, to learn more about which images need to stay small, which ones want to be stretched a bit, and which ones are dying to be life size.

Face of Nostalgia

Harmonics

The majesty of colour is well documented. There is something though about black and white imagery that reaches back into the recesses of our memory. There is an immediate and simply dynamic that gets right to the facts of the matter. We can’t live without colour, but we can’t think or choose without black and white.

The Union Meeting

Desert Night

Quantum

Here’s the full collection

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New Works 2018 / 2019

   Evidence of Walking 2018

EVIDENCE OF WALKING
A New Series of Images in Black & White
BIRTH OF THE CONCEPT: A couple of Christmas’s ago Vancouver was hit by a number of ice and snow storms. The streets and sidewalks were literally canvases built by layer upon layer of shoe treads embedded in the ice, signs of people, dogs and a few skunks and coyotes moving about in all directions.

Stars at Centre Stage

Evidence of Walking – Jazz

I photographed dozens of these small film noirs and got to the point where I said to Max (the dog) “we are both going to freeze to death out here so let’s just capture abstract works that Matisse would approve of”. They were all over the place. Based on these photos I started collecting dozens of shoes at 2nd hand stores, ones with aesthetic sole designs. These soles became stamps that could be covered with acrylic paint.

Evidence of Walking – Creation

Footprints in Air

Suddenly all kinds of ideas and metaphors about taking action, walking, finding a path, leaving behind a light footprint on the earth…. started to shape images that appeared. I could see that some of the images and their abstractions could work on very large canvases. One of these images came from a love of Calder’s mobiles as I imagined how Calder would playfully turn the Milky Way into a mobile.

The Birth of the Milky Way

Sailing the Milky Way

So the images you see here are soon headed for a larger format. I remain committed to seeing where this idea of leaving traces behind as we move takes me. The Japanese language may be unique in having a word for the experience we have when we see the wake from a ship even though the ship itself has disappeared behind an island. Giacometti, particularly in his large free- standing figures wanted to capture what was left in the memory after you turned
away from a friend. His bronzes became goldfish thin, very tall figures as if his memory had compressed them for better preservation.

Birth of a Constellation

PAINTING WITH SCISSORS – Dean Fogal’s First Vancouver Art Show! May 6 & 7, 2016

Following two group shows at the Expression Gallery in Berkeley California, my 1st Vancouver Art Show happened in The Yoga Studio, 3476 West Broadway, Vancouver BC Canada on Friday May 6th to Sunday May 8th, 2016.

Previews

I’ve added some thumbnails below so you can get a quick overview of some of the Art Show work. You can see more at my website http://www.deanfogal.com but new works combining wire and paper and acrylic inks and paper were featured at the show.

About the Work

I’m passionate about working with recycled materials and vibrant colours. My theatre background makes me interested in environments where many different stories can be told. Some reoccurring themes are metamorphosis of one form into another, mythology, playfulness, the re-wilding of the earth and archetypal imagery.

Spreading the Word

Any forwarding of this composite is greatly appreciated, as well as sharing the event on social media.

Capture - top 12 art show images

Testimonials

“Dean Fogal’s adventurous visual exaltations/explorations bring to mind Matisse’s late paper cuttings, First People’s bone carvings, and Paul Klee’s profoundly whimsical portraits of interior mental spaces.” Thomas Leabhart

“I immediately see in front of me, simplicity, truth alignment, fluidity, expansion, playfulness, Joy, sweetness and gentle strength in all his pieces.” Naomi Lang

Comments?

Please feel free to add your own feedback here: https://deanfogal.com/community-commentary/

Thanks so much for your support.

Dean

Capture - bottom 12 art show images

Brakin’ with Tradition

Life without a Role

What if it is possible, for a day, an hour, a minute, a millisecond, to actually not be our mother’s son our father’s daughter, our Aunt Tillie’s piano player. What if, for a moment, we chose to not play any of the roles assigned to us by social and genetic tradition.? What if, for a millisecond we even chose to not play one of the characters WE have assigned ourselves in the totally fictional drama we like to call ‘My Personality, For Better or For Worse’?

Can you even imagine life like that? Even if its complete fiction the idea itself is extremely enticing. Some people will say ‘there is no way you can step out of all that patterning because its bigger than just family patterning, it goes back generations, even perhaps including other lifetimes that we ourselves have led Role playing has become the very fabric of who we are, not our soul maybe which is transcendent, but our character, our personality, the way we act, react, behave, think and feel.”

We might have started playing a role, thinking ‘this will help me see who I am, test my muscular strength, put my emotions through a wringer…’ And soon the role was part and parcel of who I think I am, or at least who I once thought I was.

Enjoying that millisecond beyond role playing would include putting aside the critics of the idea as they play pivotal roles in our cast of characters.

This moment beyond programming has no room for the critic. Annihilating the critical voice, in itself, brings up trouble as it sets off a riot in the internal prison where all the inmates with CRITIC written on their uniforms set fire to their cells, thinking “if they’re attacking one of us, I could be next. I will not sit here in this predictable, boring lifestyle while my boring, comfortable and predictable lifestyle goes down the toilet. Resistance to change is the only thing that still fires me up. Hand me that Bic lighter over there, the blue one. I’ve got to go to work.”

A number of people have written about life beyond addiction. The glories of it, the sublimity of it. But life beyond role playing is the grandmother of all addictions.

dean fogal

Opening Umbrellas in Theatre

I was talking with a student today about original writing for theatre, gathering new material, specifically interview material for a project the class was working on.  As the people interviewed in this project were grandparents, the taped interviews featured a lot of reminiscences from the “good old days” which were heavy on ‘exciting events’ and very light  on what was actually going on emotionally inside people during these times lived.

 

She was having trouble not only getting useful information from people, useful in the theatrical sense, but also then in finding ways to dimensionalize this material and turn it into ‘theatre’.

 

This image occurred to me and it may be a useful reminder when turning rather sentimental, de-emotionalized accounts into something we could call theatre.

 

We could walk into that kind of detail as an actor, as a storyteller, and experientially, open up an umbrella in our imagination.  Suddenly we have a defined space that the observer, the witness, the writer, the main character is directly connected to (by holding the handle) a space in which a story, or story elements, are unfolding.  This space would be created by the actor’s breath and 360 degree awareness of both body and space, a space in which powerful and dramatic ideas could come in and out from any angle, any level of space.  The creation of this ‘spherical’ space would help open up a similar space and ability inside each of us in the audience.

 

 

It was  tempting for the students to judge this interview material as uninteresting or useless theatre material but as soon as we judge it we prevent ourselves from getting inside it.  We stop breathing and expanding our play space.  A space with no breath soon becomes breathless, stuck, cartoon like and two dimensional.

 

Laurence Olivier once told an actor (Charles Laughton) who was struggling to play King Lear, “you have to love him, in the sense of’ be willing to see the world through his eyes’.  And this love needs to be physicalized, made tangible to an audience.  You need to take his words up over hills, down into valleys, down staircases, any landscape that allows the language to have an actual terrain to come out of.”

 

Characters speak from 3 and 4 dimensional worlds.  Actors have a lot of duties to perform and will sometimes flatten these dimensions to create a 2 dimensional representation, a cartoon, of the character they are trying to make live.  Cartoons can be funny, but they don’t know how to breathe.  They are designed for the page or for flat film stock and we understand that their projected reality is an illusion or animated image of life rather than life itself.

 

Because the ‘umbrella’ space has been articulated, defined, brought into awareness and made specific, there seems to naturally arise a corresponding need for whoever is in this space to also be specific about what they are seeing, feeling, suffering, hearing, etc., saying and moving.  Specific context and location necessitates specific response to this context and location.  There can be context that is felt with no location, but not location without a context.  Real responses are specific responses.

 

In theatre we are less interested in descriptions of things than who is describing, who is feeling, thinking, who is moving or who is acting.  How is that someone impacted by what happens.  What happens to them on the outside and on the inside. This is the real context that the outer material context is a metaphor for.  They can speak complete nonsense and be highly interesting to us if they are there.

 

Do they reveal to us what is happening and the degree to which they are impacted either  verbally or non verbally or do they mask their true responses and make us guess by throwing out various clues for us to follow.  As an audience we can have fun with a Sherlock Holmes adventure but clue leaving is an art form and if not done carefully and progressively can lead to us running off in all directions resuming the Sherlock game we already have running in our lives.

 

If actors actually did this,  consciously, opened specific umbrella (360 degree) spaces within themselves as they delivered text or used a form of movement language,  they would open up, for all of us, an accessible space housing different dimensions, and this space would communicate  to us the size and type and quality of world that had just been created.  The training of the good physical actor, usually accomplished over three or four years, deals with the HOW we create this space both inside and outside the actor.

Dean Fogal