We often think of landscapes as traditional and conventional works of art. We have forgotten that right there in both words, lie the roots of our imaginary worlds and spiritual realms. Christmas brings back childhood whimsy and play to the darkest time of the year, when we most most need to escape to another land.
In a forest fire, animals immediately move as one towards their common safety. In our current climate of global destruction, the ‘return of the buffalo’ evokes the desire for the rebalancing of our ecosystems, and for the reestablishing of our connection with our home. When we work together to restore the health of one species, many species thrive, and feed the spiritual health of the landscape.
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.
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.
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.
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.
Here’s the full collection
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.
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.
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.
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.
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.
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.
“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
Please feel free to add your own feedback here: https://deanfogal.com/community-commentary/
Thanks so much for your support.
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 it’s 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.
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.
I was an instructor trying to get the attention of young college students who were all over the map, some starting to eat their lunch before class had ended, going out into halls and laughing with friends, and texting already as if lunchtime had already started. Other teachers were also wandering into the room before our class had even finished so there was pandemonium. I was trying to rally their attention for a few more minutes to tell them something REALLY IMPORTANT. SOMETHING I HAD JUST DISCOVERED IN OUR THEATRE RESEARCH AFTER YEARS OF LOOKING.
I looked around at all this chaos thinking of the irony that they even needed to remember that it was important to focus on the last few minutes of a class or anything else for the sheer fact that you never knew when something extremely important, paradigm shifting, was going to happen. Why assume that things needn’t be fully completed whether these ‘things’ were classes, sentences, or relationships ? I thought of great singers who seemed to never end the song and would slide into home plate after a home run in slow motion, recalling eternity. In the dream there were few great singers present.
I must have been dealing with this whole idea of how you tell people something important, to you at least, when they have so so many distractions competing for their attention. I remember wrestling with the idea of whether to tell them about the idea of a ‘key word’ for example, say the word ‘GERONIMO’ and the idea that when someone says this word, they REALLY want to get the group’s attention to say something serious.
Sometimes a therapist in a group situation will say out loud a word agreed upon with a particular individual that tends to get out of control or ‘over contributes’ and hence takes up an extraordinary amount of time or space in the group. This key word is an ‘invitation, perhaps a warning’ that in the opinion of the therapist that individual is going into this over indulgent space and can pause and reconsider whether they really need to go there.
Our own names cut through everything when they are said loudly at a cocktail party lets say – everything stops momentarily and people focus. A loud single note on a piano stops our collective attention for a moment. A spoon hitting a glass at a wedding. The trouble with emergency words or sounds is that they can soon lose their ’emergency’ status. (the boy who cries WOLF too many times).
Back in the dream, other teachers were entering the classroom even before my class had finished and I had the strong sense that they, even more than the students, had had years of contending with this reality of no one really listening to them or not listening at key moments, and that they were not about to hear ME get serious and insist on everyone’s attention. They would have no patience with it. It would seem like an indulgence no one had time for in this kind of chaos.
Just a now thought – so many movies now days are actually based on this idea – how to say things to get everyone’s fleeting attention. The old shock and awe technique. But it can quickly lose its effectiveness. We can be so used to getting shocked that we don’t respond any longer to shocks. It becomes the norm. We obviously have to develop other methods for getting people’s attention, other than over stimulation and the creation of shocks. Stroboscopic images try to do both, over stimulate and shock our systems, to get our attention. Sometimes things whispered will get our attention. Whispering in a noisy crowd is a kind of reverse psychology saying “maybe if I go completely in the opposite direction, this will work to get their attention”
So in my dream, I heard myself say to myself, “just for now at least, tell it to me, I will listen. They are actually listening too but to a thousand other things that were also extremely important to you at one point. Don’t worry about it. On one level it’s none of your business, how busy their minds are. They could all be working on Unified Field Theories and don’t need the interruption. There might be another moment, sometime, down the road to share your insight. Who knows? It may prove to be ‘insightful’ to you alone, even AFTER you’ve shared it. Swallow this one, breathe and get back to whatever makes you full, full with a little room at the top of the cup for cream.”
As a friend of mine once said, someone who had managed big projects, “I learned bit by bit to ‘point but not carry’, indicate a direction, an idea, but not to take people on my back to get them over the finishing line. And believe me, as I was learning this ‘point but don’t carry’ rule, I developed legs like a mule and a spine bent into the letter C”.
When good physical actors work I sometimes think I’m watching a spider weaving first the spokes of its web then an intricate pathway of interconnecting perpendiculars to those spokes. Great actors might be playing one scene but they are holding the whole play as they play this scene. Like a hologram, the whole is in all the parts.
These web lines are playful, elastic connections with everything and everyone in the play. Every playwrights thinks he or she has created a unified Universe no matter how bizarre that thought might sometimes appear to us, the paying public. The actor’s duty is to play the play as if its a unified Universe. Like a lawyer he says,’it’s none of my business whether my client is guilty or not, my job is to defend him according to the law’. An actor’s commitment and raw ability can, at least for a short time, turn a badly rendered story into King Lear.
The play they are in demands that actors build not one web, but many, strung in different directions.
And unlike the spider ,actors are not trying to trap our attention (or ARE they), but seem to be building a series of vibrating web planes, architecting a kind of eardrum that can sensitively react to every sound, every footstep on its surface, sounds from the actor, the play and its other actors, and from the audience too as they breathe and sound in response to the play. The silk material just might be produced by the coming together of the two attentions, the actor’s and the audience’s.
Actors, I think, are working to affect the space itself, to fashion the materials IN the play space, in order to funnel sound to a place shared by all of us in order that it become available to all of us, in this very moment we share. What is true for sound may also be true for images. Actors bounce images down these web lines to a space at the core where all of our attentions meet, a kind of black hole but one where things get illuminated rather than annihilated. What the hell, could we call it a white hole?
Jean Louis Barrault said “all senses reduce to the sense of touch”. Actors touch but do more than touch things, touch on ideas, touch on feelings. They caress the words, they caress the objects, they caress the emotions coming from themselves and from fellow actors, and these caresses linger longer in the space, like an engraving rather than a stroboscopic image. WE in the audience then have a chance to also caress it, take it in, hold onto it, nurture and remember it for a very long time. Good actors are engravers of
the space, they are not glib cartoonists content with a caricature that struts his hour and then is heard or remembered no more.
The stroboscopic world of advertising which uses some of the best creative brains in the world, spits us out the back of IT’S theatre once we have purchased, become deflated with the purchase and are now in no mood to re-purchase.
Actors pick us up in a limo, waltz us through the front door of THEIR theatre, amuse us, rouse us, inspire us and even listen to us, all the while pausing between phrases and allowing us to assimilate what has just been said by them and by us. Even in the shallowest of plays, there is play, real play attempted if not brought to fruition and on some level we are revived by this attempt. We play again like the child artists we all were. We touch again the re-enchantment of everyday life. Occasionally we walk out of
THEIR theatres having accepted all that we have become and all that we have not become like the jester in the Tarot deck that knows he is all the characters and so is content to be called fool.
Can so called empty space have walls, web walls like this? I don’t know. I’m only imagining it can.
Maybe this metaphor, if it is one, is not something that has practical merit, but I would like to think that in our attempt to physicalize emotion, thought, passion, all these invisible and fleeting things we know have impact on our lives, we benefit from creating a language that translates the seeming ’emptiness’ of space between ourselves and others, into something vibrant, elastic, tangible and inspiring.
Decroux, in being asked “why do Mime”, said, “well you have to do something between breakfast and lunch, it might as well be Mime”. By the same token, we hang out enough in the emptiness of space. Why not turn its ‘floor’ into a responsive trampoline, its ‘wall’s into the walls of a listening eardrum and its various ‘rooms’ into echo chambers where sounds and passions move through like torrential water ways just dying to be embodied by someone.
We can say we want to be loved, we say that all the time. All cowboy songs attest to this. We also want to be heard, and its possible to feel loved but not heard. We know what that feels like do we not? The word ‘parents’ springs to mind.
Do good actors and playwrights know about this need? Is this the driving desire behind the playwrights and the actors work? Was the theatre invented to provide us with a laboratory where we could collectively grow new ears, new eyes for experiences we only dreamed of inside the dogmatic borders of all polite society?
When others concerned themselves with Philosophers Stones that could turn base metals into gold, were actors working in their cheap, damp studios in the hills surrounding the cities, not to produce gold, but to re-work space into a vibrating series of planes that could dynamically funnel the gold down and down the mountain, driven on by torrents of water, arriving straight into our hearts at the bottom of the hill?
I don’t know but am only imagining that actors must have had SOME strong reason to collectively turn their backs on money for so many years. There are some film celebrities of course, that are making up for lost time. But most theatre actors were doing something between breakfast and lunch and it wasn’t adding to their stock portfolios. They were mining gold, even taking some of it to market, but along the way to cashing it in they got this strange idea that became an obsession.
The idea was, “gee, the only way I discovered any of this gold was through working closely with others in my ensemble and feeling safe enough to plummet into myself and my creative life. What if I invited everybody into my ensemble, whether they had training or not, regardless of their age, background or ethnicity or socio economic status…… What if I assumed they could totally hear what I had to say or what the play had to say, ? What then? I have watched myself and countless others in my group, rise
to the occasion and create huge breakthroughs on physical, emotional and intellectual levels. What if, in fact, it wasn’t about training or knowledge but that my training merely gave me the time and the space to realize I had valuable insights, connections and experiences that were always and already inside of myself? I saw in that rarified space of training that what I was discovering was available to everybody that took the time to see and know that it was there.
Our training as actors points to that and says “be the first one in the water, swimming, and invite them in to swim with you. The swimming is what’s important not who sends out the invitation.”
Speaking of spiders, isn’t it one of the great ironies to discover that spider web material is woven into fabric then used in bullet proof vests. The material is stronger than steel of the same thickness. Have spiders known all along just how flexible and powerful their webs were and have they, for centuries, being trying to find the words USE IT TO MAKE BULLET PROOF VESTS YOU IDIOTS, every time we wrote a poem about the romantic nature of spider webs? We might never know. Unless, that is, some actor gets
the bright idea of opening a theatre training centre for spiders. Then, all bets are off.
They will no doubt go on and on about eardrums, and trampolines and sharing everything with the collective. Inviting everyone into the swimming pool with them may require training techniques that can only, at this moment in time, be imagined.