I have been a pretty absent blogger of late as I’m in a perfect storm of selling and buying houses and readying to move in a few days, sick little boys who pee beds and vomit copiously, sewing and editing gigs galore, prepping for christmas, goodbye visits my amazing gaggle of Toronto friends and so on. The adventures are coming thick and fast, offering all sorts of fodder for brilliant blogginess, but alas, no time to sit and write. I’m keeping a list of good ideas for quieter days ahead … all that said, I should really not be blogging at this moment, but I simply must share this right now!
Today I picked up my first big-girl art. A real, alive, commissioned piece from the remarkable Casey Von Esteban. A friend of mine had a piece on her wall by Casey that I fell hard for. In mid gush to my lovely husband about Casey’s stitched art, he suggested that I commission a piece for my autumn birthday. And so I did. That was in September sometime. And now it’s done. And I picked it up (jamming it in front of my sick sleeping boys’ feet in our Toyota Matrix because I am obviously a highly responsible and priority-straight parent). A 4′ x 4′ stitched map of my childhood neighbourhood! Here it is perched on the radiator in my almost-packed house:
I am on a big map kick right now, or maybe for always. I simply enjoy them, never tire of looking at the grid, always seeing new bits and places. I like the architecture and design of a place I don’t know or revelling in the comfort of familiar streets or landscapes. To that end, I asked Casey to stitch a chunk of South Edmonton, specifically Parkallen, where I grew up.
She did such a great job! Perhaps because I am moving cities for only the second time in my life and am overtired, or whatever the reason, emotions are close to the surface these days I can barely look at this piece right now without a misty wave of memory and nostalgia for childhood days and a beloved prairie city.
This piece of art encompasses a bunch of things I love — old, weathered wood, embroidery, maps — it is all of that. It’s tactile, I can run my hands over it, see and feel the care with which the artist worked. I love the back too, a rough, knotted mirror of the front. Casey actually drills every single one of those holes and then embroiders the work through them. It blows my mind. And. I. Love. It.
See the burgundy street in the centre of the image above above? That’s where I lived! Right on the inside corner. We had a great yard on three sides of the house because of that inside corner. I did a lot of dancing and daydreaming there, sigh!
I am a fairly large fan of the work of Casey Von Esteban. Ahem. You should check her work out, she’s a local Toronto gal. Her stuff is readily available (not just commission) and it’s not too late for holiday gifting (insert horn tooting here)! In addition to her maps, she does Toronto images (I really love the streetcars), animals (the squirrels and racoons make me giggle), miscellaneous (fingerprints, hearts and microphones, oh my), inappropriate words (nothing compares to a carefully embroidered f-bomb, nothing) and more. My map will have pride of place in our new home. Big girl art, sorted.
I’ve been tossing around the idea of doing a series of interviews with some lovely creative types I want to share with you. Since I’m heading to Alberta this summer maybe I have gold rush on my mind, but truly, each of the women I’ll feature here is a golden nugget of excellence in the career she’s carved out for herself! Therefore, I am delighted to present the inaugural:
Pocket Alchemy Nugget of Awesome Interviews: eight interviews with eight inspiring, artistic, self-starting women over the eight weeks of summer. I am proud to call each of them friend and am delighted to share them and their work here. Please note that I am replacing my regular Rearview Fridays posts with these interviews over the summer.
THE INTRODUCTION
Michelle Silagy. Photo by Michael Haas.
MICHELLE SILAGYtaught pedagogy to me at The School of Toronto Dance Theatre. She has a magical ability as a dance educator for children, I remember her commanding a huge gym full of grade 3s without hollering, extraordinary! Michelle makes delicate, thoughtful dances and immerses herself in the work of an artist. I think she has a backdoor pass to fairyland as her work on stage and in the classroom often seem dusted by something intangible and delightful, wild and beyond reach for the rest of us. Once I graduated from school Michelle hired me as a teacher in the School’s Young Dancers’ Program. She is a mentor who has become a loyal friend, she manages to be my boss yet works with me so collaboratively she feels like a colleague — it’s a fine, rarely achieved balance. Michelle is deep and wise-cracking and an enduring champion of dance and art and joy, she is a quiet gem in Canadian dance.
THE BIO
Michelle Silagyhas her BA (Hons) Drama from San Diego State University, California and is a graduate of The School of Toronto Dance Theatre’s Professional Training Program. She has been active in Toronto as an independent choreographer, dancer, and teacher since graduation. She began teaching in the School’s Young Dancers’ Program in 1989 and is currently its Program Director.
Michelle Silagy in her own dance, “Time Folds.” Photo by David Hou.
Over the past 23 years, Silagy has received many awards through the Ontario Arts Councils Artists in Education program to bring dance to schools throughout the province where her kindhearted approach to working with children has been lauded by educators and parents alike. Michelle has also taught dance to youth at the Canadian Opera Company, the Institute of Child Study and in schools across Ontario. As a mentor artist with The Royal Conservatory of Music’s Learning Through the Arts program, Michelle has worked across Canada and abroad as a creative movement specialist.
Michelle’s dance work has been presented across the country in galleries and theatres, and at Series 8:08 — a monthly Toronto choreographic workshop — which she co-founded 1992. Michelle travelled to Vienna this summer on a grant from the Canada Council for the Arts to take the Danceabilities Teacher Certification Course as taught by Danceabilities founder Alto Alessi within the ImpulsTanz 2012 Festival.
THE INTERVIEW
Pocket Alchemy Question: Tell me about your artistic work.
Michelle Silagy: I am a Contemporary Dancer who loves/seeks collaboration with contemporary artists from other arts backgrounds. My work is largely influenced by nature and by a curiosity in the human form in all its stages of development. This is what makes up the guts and viscera of my movement vocabulary. I work extensively within Ontario’s numerous communities through education with a vast range of ages and abilities. The nature of this experience allows me to reflect on how I wish to create within a dynamic, malleable society. This influence finds its way into the dances that I make since my intent is always to cultivate a unique expression with the overarching goal of portraying the beauty of the human form, of humanity itself. Each time I venture into the studio to create anew, I revisit my vision for dance. I invest together with interpreters and collaborators, the most valuable catalysts, since the work unfolds through them. It is through this collaboration, I feel, that intimacies within a given work are revealed, accented and brought forward for the viewer to receive.
PAQ:what is currently sparking your imagination?
MS: Nature, people, garden lettuce and books. | The garden – and how life seeks water and light and a place to grow. | Working with Dancers in the Young Dancers’ Program. Having the privilege of working with Patricia Fraser and with all the people who make the Young Dancers’ Program sing. | Being in the studio and finding where the light is landing in the studio that day. | Working with Jennifer Lynn Dick on any day in the studio. | The thought of going to Vienna soon to study for 4 weeks with Alto Alessi and learn everything I can about DanceAbilities. | My family always. | Any and all conversations with the ever-brilliant Sarah Chase. She remains an extraordinary influence in my life and in my aspirations to make something that someone else will love and remember.
Jennifer Dick in “HOME/WORK.” Choreography by Michelle Silagy and Jennifer Dick of The Identity Project. Photo by Ecstatic Photography.
PAQ:How do you structure and manage your days/weeks/months to get it all in? Do you have micro/macro plans that you stick to?
MS:You are the third person who has asked me this over the past 2 weeks. The other 2 presumed that I had this one figured out – how I wish it were true. Still I love trying to make it all balance.
Regarding a plan. My Macro Plan includes – getting enough sleep, sweating every day and eating home made organic food grown as close to home as possible. I am most balanced when the doing of dance is driving the day – when I am rested and not slogging away at the computer too much. As an independent dancer balance is hardest. When trying to do too much myself, it doesn’t work. Working with a creative administrator who knows dance and knows how I work is essential. Beyond that: knowing when to ask for help, when overwhelmed, combined with my own commitment to finding simples/elegant solutions makes for more balance. I also know that reciprocating the generosity extended to me by helping others get things done when ever possible (hard to do with a full schedule) is a lovely and absolutely necessary part of my survival as a practicing artist. Consistently keeping the daily function of my home life as light and simple as possible helps a great deal – as does giving loved ones plenty of notice when work demands more attention than usual.
Michelle Silagy teaching at Kimberly Public School in Toronto. Photo by Sheena Robertson.
Regarding scheduling a career pastiche together with a selection of varied projects and 3 annual contracts, priorities are made easy by being clear and knowing what can be achieved within the timeframe given. I am a big fan of careful and fun planning with whomever I am working with. That goes a long way in keeping things in balance energy and time wise. Having said that, when left to my own devises I still come way too close to the wire regarding deadlines. And so now that I’ve got my e-box cleaned up and files almost cleaned up, the new goal is to bring things to completion before the eleventh hour.
Teaching makes up the majority of how I make my living in dance. It is important to me that I only teach where I can joyfully contribute – no one benefits from a teacher who isn’t happy in their environment. I am always making dance work with people who inspire me from process to performance. Any excesses in my dance life fall away, in the presence of being in the studio and working hard with people who I admire and enjoy. Lastly, each part of my life has to feed and nourish the other. If it doesn’t, then a change has to be made. I know that seems cliché, but truly that is how I keep things in balance.
PAQ: What is a current favourite resource or material?
MS: Sun, Water, Dirt and Love. | Music from all eras, all corners of the world. | A beautifully sprung floor with light spilling onto it. | Anatomy of Movement by Blandine Calais-Germain. | The Poetics of Space, again, read and purchased long, long ago. | The Name of the Tree. A Bantu Tale retold by Celia Barker Lottridge. | Roots to Fly by Irene Dowd (still). | A hoola hoop given to me just last week.
PAQ: Give me 4 great songs to work to!
MS: Songs, okay, you mean with words. Hmmm – so many. Strange Fruit by Billie Holiday | Smile by Charlie Chaplin | Stranded or Steady On by Shawn Colvin | I Paint My Sorrow by Stephanie Martin and Chad Irschick
PAQ: What about your work keeps you up at night (for good or ill!)?
MS: This is hard since my days are full, making sleep come easily. There are so many artists and there are so many people who help artists whose work is still undervalued. Progress is being made but not nearly enough. And though carrying on against all odds remains second nature, still, I find this a hard reality.
Megan Andrews, Andrea Nann and William Yong in “Necessary Velocity” by Michelle Silagy. Photo by John Lauener.
PAQ: How has your aesthetic evolved over the years?
MS: I am even more interested in creating works for interesting environments in addition to creating work for stage. Collaboration with extraordinary artists in other mediums changed the way I work. Meeting and working with Kai Chan, a senior visual artist who creates incredibly unique realities with textiles and found objects, altered the way that I view collaboration with artists in other disciplines. Kai is the one that insisted that he respond to and interpret the dance work that I was developing on his own terms rather than acting as a craftsperson who was hired to realize what I was imaging his contribution might be. And since He was not at all interested in crafting a set based on what I was imaging the set could or should look like, through him I embraced a new way of communicating with partners during the making of work. I am also trying to work with live music whenever possible. I feel it monumentally changes the nature of a dance performance – for the better. In terms of my aesthetic evolving, I have always aspired to foster a process where the interpreter is respectfully revealed to the audience as much as is possible within the comfort and willingness of the interpreter to do so. I wish to continue along these lines and become increasingly fluent at doing so.
THE WRAP UP
You can always find Michelle Silagy at The School of Toronto Dance Theatre’s Young Dancers’ Program, of which is is Program Director. She is also part of The Identity Project with Jennifer Lynn Dick. She presents her dance work regularly in Toronto and teaches in schools across Ontario through the Ontario Arts Council’s Artists in Education program and Learning Through the Arts. If you are a school teacher, I highly recommend getting her into your classroom to share her passion for dance with your students!
I’ve been tossing around the idea of doing a series of interviews with some lovely creative types I want to share with you. Since I’m heading to Alberta this summer maybe I have gold rush on my mind, but truly, each of the women I’ll feature here is a golden nugget of excellence in the career she’s carved out for herself! Therefore, I am delighted to present the inaugural:
Pocket Alchemy Nugget of Awesome Interviews:eight interviews with eight inspiring, artistic, self-starting women over the eight weeks of summer. I am proud to call each of them friend and am delighted to share them and their work here. Please note that I am replacing my regular Rearview Fridays posts with these interviews over the summer.
THE INTRODUCTION
Quinn Covington.
QUINN COVINGTONis a woman I’ve known since high school. I met her in line while waiting for our ID cards before the first day of grade 10 (with my friend Christa Couture who was the 1st Nugget of Awesome interview this month!) and the three of us got lockers together in the basement hall. We were all pretty hippy-dippy and it turned out we had unknowingly picked “the cheerleader hallway,” so we were an island of middle-parted hair, long patchwork skirts, and, in Quinn’s case, Janis Joplin glasses throughout that whole year! Good memories. By the last year of high school I rarely saw Quinn without a camera in her hand. We stayed in touch a wee bit over the years and then this spring ended up randomly, fatefully, on a plane together for 5 hours, so we talked our way through the entire flight, catching up on art and life and babies. I love that she’s gone the school of life route with her photography and am inspired by her just-get-down-to-it attitude and practice, in the midst of mother two little ones no less!
THE BIO
Quinn Covington’s tool of trade has been a camera since she was around the age of 18. That was when she photographed her first wedding for a friend. Quinn bypassed any formal training and went straight for the hands on approach working alongside other photographers, which leaves her at a point in her life where she can say she’s been doing something professionally for 15 years now!
A bridal portrait by Quinn Covington, Covington Studio.
Quinn grew up in Edmonton and attended an art-driven high school with a photography department that helped her to focus her fanatic interest in cameras. A few years after graduating she moved to the Canadian Rockies where she worked as a wedding, portrait and tourist photographer for a few years. In 2001, Quinn photographed the Alpine National Ski Team and in 2002, she was published in Ski Canada Magazine. She has often found herself working at camera stores, film labs, and imaging retailers.
Quinn and her husband moved to Vernon, BC in 2010. At that point she took a hiatus from photography to deal with moving and a couple of babies, but now that their children have grown to toddler and pre-schooler, she is looking forward to giving her photography career the attention it craves.
THE INTERVIEW
Pocket Alchemy Question: Tell me about your artistic work.
Quinn Covington:I do photography. It’s an incredibly versatile and evolving art form. It gives me a platform to be literal and scientific or wacky and emotional. There’s lots of room to breathe, which is why I adore it.
An engagement shot by Quinn Covington, Covington Studio.
PAQ:what is currently sparking your imagination?
QC: Artistic spark doesn’t just reside in the technicality of the tools used but also in the rapport I have with my subjects. The starting point of any image are the words I use and the energy I exert to inspire the process of delivering the end product. The chemistry I have with my clients definitely plays a part in my creative process. Each person I photograph provides me with the materials I need to work with, from there my imagination takes off.
PAQ:How do you structure and manage your days/weeks/months to get it all in? Do you have micro/macro plans that you stick to?
QC:In my world, time has little influence except where others implement it for me. I have many goals and to-do lists that push me along, all without a master plan. The structure of my photography rests with the demands of the people I work with. Once I’m in session, once I’m holding a camera, I’m oblivious to my own personal needs. When I’m editing images on the computer, dishes get ignored and I drop everything except the child on my hip to get the work done. Typically I’ll create a week-by-week goal of the work I hope to finish.
PAQ: What is a current favourite resource or material?
QC: Currently, I’m inspired by the style of wedding photography that asks a photographer to design sets with a bride but keeps the authenticity of the wedding intact. Collaborating on a visual theme, which would allow me to do more than simply show up the day-of with my camera at the ready, is the direction I’d like to take my photography in. I’m constantly looking online for crafty and stylish ways of contributing to a photo shoot.
A smiling couple by Quinn Covington, Covington Studio.
PAQ: What about your work keeps you up at night (for good or ill!)?
QC: My clients’ satisfaction keeps me up at night. I do whatever I can to not only give them what they expect but hopefully supersede that with fun extras they can look forward to.
PAQ: How has your aesthetic evolved over the years?
QC:My niche is in knowing what I like when I see it, being inspired by people and ideas, and then expanding on that creatively, hopefully giving it a new beautiful life. Knowing this about myself is what has helped me to evolve my work over the years.
THE WRAP UP
Check out Quinn Covington, she’s based in southern and interior BC and if you want an easy-going yet passionate photographer I’d recommend looking her up! She’s got creativity and ideas exploding out of her ears and she has the true ability to listen, which I think is so key for a photographer capturing people’s intimate and important life events.
My regular dance collaborator and dear friend Brittany Duggan invited me to join her in creating two tents for The Encampment by Thomas and Guinevere. I probably didn’t need one more thing to be involved in but oh, this has been so inspiring and intoxicating. And I have to share what we’ve come up with!
Unravelling Powdered Wig, detail shot (part of the William Powell tent). Modelled by Brittany Duggan, made by Susan Kendal. Tyvec, staples and scotch tape, 2012.
The Encampment (Toronto Version 2012) has been commissioned by City of Toronto for the War of 1812 Commemoration and Luminato, Toronto Festival of Arts and Creativity. It’s an art installation that will stand on the grounds of Toronto’s Fort York National Historic Site during Luminato from June 8-17. The Encampment will stay up at Fort York until June 24.
For The Encampment, 200 tents are being pitched to reflect the bicentennial of the War of 1812. Inside each one is an artistic interpretation of someone who lived and breathed during that period. It’s fascinating to walk around and see the care, curiosity and creativity rendered by the collaborating artists.
Our Anne Powell tent.
Brittany signed up to participate in The Encampment a while ago and has done an enormous amount of research on our two historic figures. That’s when she invited me to come along, brainstorm and create — um, that’s my favourite!
The historic people Brittany chose for us to interpret in our tents are:
Anne Powell (born in Montreal in 1787, died at sea in 1822)
Our William Dummer Powell tent (with Brittany Duggan contemplating the work).
The Toronto Public Library’s Digital Archive has a beautiful drawing by William Dummer Powell showing proposed buildings at Caer Howell (the family house) from the 1830s. It’s location is listed “n. of Queen St. W., w. of University Ave.” If you know that area of Toronto try to stop and imagine it as bucolic as this, I am amazed at how different things looked 200 years ago! the image is in the public domain so I’ll include it here along with the link above, courtesy of the TPL:
Today’s Rearview Friday is my paint sample art — a piece I made to brighten our bedroom wall last year. I’d found a stash of leftover paint samples from another project (which I describe below) and the muse woke up!
It’s an quick and dirty way to make a beautiful (if I do say so myself!) piece of art. I think I’ll make a how-to for it soon, so stay tuned!
Now why did I have a stack of paint samples tucked away? Press on …
When I present my dance work, I like to make unique program inserts, something to treasure, a little piece of art that supports the dance. In the spring of 2008, I created a dance about Achromatopsia (colour blindness). I used paint samples as my program inserts and put a quote from Dr. Oliver Sacks on the backs of them, a teaser to whet the audience’s curiosity. I’ll eventually include a Rearview Friday post about the dance, a piece called A|Chromatic.
The quote is awesome, I’ve gotta share it too:
“What, I wondered, would the visual world be like for those born totally colour-blind? Would they, perhaps, lacking any sense of something missing, have a world no less dense and vibrant than our own? Might they even have developed heightened perceptions of visual tone and texture and movement and depth, and live in a world in some ways more intense than our own, a world of heightened reality – one that we can only glimpse echoes of in the work of the great black-and-white photographers? Might they indeed see us as peculiar, distracted by trivial or irrelevant aspects of the visual world, and insufficiently sensitive to its real visual essence? I could only guess, as I had never met anyone completely colour-blind.”
Dr. Sacks wrote about Achromatopsia in his book Island of the Colorblind, a fascinating read. I was drawn to explore the idea of colourblindness — black and white vision — in my dance project because my mother and aunt were both born with Achromatopsia. And in spite of literally growing up alongside someone so close to me whose eyes see so differently than mine, I was/am hard-pressed to imagine what the world is like through a constant black and white lense.
