Monday, January 5

BACKSTAGE AT WARNER BROS


Just before Christmas I joined Afie on a quick trip to LA for a taping of Conan and enjoyed a day witnessing television magic at Warner Bros. Studios.   I was fully prepared for a long boring day of waiting around in a dark dressing room for the purpose of our visit to be achieved.  Instead, I was completely entertained from the moment of arrival at 9am to our departure around 6pm. Spending time before the show was much more fun than the taping itself.  The taping was almost too entertaining.  The comedian and stage band intended to warm up the audience gave me the nervous sweats. I sat in fear of being called upon for audience participation and regretted asking for a seat when a jazz trumpet was blown in my face.

After soundcheck, and throughout the day, we could watch the rehearsals from various monitors around the studio. I enjoyed seeing the team of writers lined up on the guest couch (which was covered for protection until show time), with pads of paper and heads down rigorously preparing for that night's taping and for upcoming skits.  The rehearsals were more hilarious than the taped show, being looser and more relaxed.  We ate a geriatric turkey dinner and banana pudding in the cafeteria, served by a man in a tall paper hat.  The meal tasted better because it was purchased with food vouchers. Loved that cafeteria experience. We then spent the afternoon walking the grounds of various exterior sets, seeing New York in the California light.   Like most of my trips to America, novelty abounds and I certainly got my fill.

























Tuesday, December 9

CRISIS AT CAMPBELL HOUSE


Henri Fabergé and his gang are at it again.  They're preparing Crisis at St. Creskins, the second festive special to follow Henri's antics at Boyce Academy. Part play, part cabaret, often bawdy and never boring, the performance will be sure to kindle your holiday spirit this coming weekend. Toronto's historic Campbell House Museum has bravely agreed to host the cast of characters and during rehearsal I stopped by to see inside the elegant Georgian home incongruously situated at Queen and University.

Campbell House has been a museum since 1972 but was originally built in 1822 by Upper Canada's chief justice Sir William Campbell and his wife Hannah.  It is the oldest house remaining from the Town of York and is a wonderful example of Palladian architecture.  Passing from the Campbell family in 1844, the place remained a private residence until 1890.  The building then became commercial office and factory space for companies selling horseshoe nail, elevators and finally Hallmark greeting cards.  In 1972, with demolition looming to make way for Hallmark's parking lot, the building was offered to anyone who could move it.  The Advocates Society took up the challenge and the building was moved 1.5 km from Adelaide street to its current home where the Queen Mother herself was on hand to cut the ribbon on Campbell House Museum.  


The phrase "well appointed room" comes to mind while admiring the open spaces and dramatically low window casings of the house. There is no fussy Victoriana about but rather a special collection of early 19th century furniture and household articles.  The portrait of Sir Campbell looked on sternly as the actors went about their antics, with wardrobe racks and coffee cups disrupting the calm repose of a by-gone era.  To be sure, these old walls have never seen such sights as the weekend will bring.

Crisis at St Creskins runs December 13-15 with two shows per night at 7pm and 9:30 pm.Visit the Campbell House Museum website for ticket information.


















Sunday, November 16

MOON ROOM


Moon Room is Kristin Weckworth's curatorial exploration of the moon and the layers of hidden meaning associated with our beloved night time companion.  Weckworth's starting point for the show was the documentary Room 237 (a film that attempts to unravel the many conspiracies, confessions and subtexts thought to exists in Kubrick's The Shining) and the 1940's children's book Goodnight Moon.  Both the Overlook Hotel and the rabbit's quiet bedroom have captivated audiences and prompted searching for deeper meaning within the patterns and symbols presented by their respective authors.  Weckworth uses the  moon to epitomizes this shrouded second reality: "Moon Room acts as a holder of possibilities and hidden meanings, a physical example of the myriad faces that can exist amongst those presented and masked."

The exhibition Moon Room closes today with a reception from 3-6 at Narwhal. Naomi and I were pleased to participate along with Adrienne Kammerer, Alexandra Mackenzie, Alicia Nauta, Carly Waito, Eli Langer, Eunice Luk, Hanna Hur, Jennifer Murphy, Karen Azoulay, Kendra Yee, Lisa DiQunzio, Maggie Groat, Margaux Williamson, Maryanne Casasanta, Nikki Woolsey, Patrick Krzyzanowski, Rebecca Fin Simonetti, Sab Meynert and Vanessa Brown.

Photos courtesy of Narwhal 

Nikki Wooley, Aside the table and Alicia Nauta, Goodnight Moon

Naomi Yasui, untitled and Heather Goodchild, and the evening and the morning

Lisa DiQuinzio, Owl painting

Nikki Wooley, Aside the table

 Eunice Luk, It's only five after ten

 Adrienne Kammerer, The infernal eternal

Karen Azoulay, Ancient Crater

Jennifer Murphy, Hands

Patrick Krzyzanowski, untitled

Hannah Hur, SOS

Maryanne Casasanta, Half the Day is Night




Thursday, November 13

CHAPTER IV : PAINTING WITH FIRE









Closing this Saturday is Naomi Yasui's solo exhibition at ESP Project Space:

Chapter IV: Painting with Fire is a collection of ceramic vessels and photographs produced during a residency in Skælskør, Denmark. These forms look to historical Japanese ceramics fired in atmospheric kilns. The firing process dictates the form, a means to capture the mysterious and erratic colours that emerge when unglazed clay meets fire. Elongated and bulbous forms were created to best capture the effects of firing and cooling with natural materials, while embracing the uncertainty of this method. Yasui’s conceptual practice revolves around process, form, and happenstance. The products of experimentation are exhibited as remains alongside finished pieces, allowing the viewer to glimpse and judge the artist’s edits. 

The title of this exhibition is borrowed from an instructional ceramic book titled Soda, Clay, Fire by Gail Nichols, a text Yasui referenced frequently while experimenting with atmospheric firing. Accompanying the sculptures are photographic works that explore traditional ceramic documentation and play with these aesthetic choices. When three-dimensional objects are flattened by photographs, the viewer is forced to observe them from only one perspective. This relationship between perception and reality again explores what the artist decides to reveal.