Well here we are… careening on as the one year anniversary of the global pandemic approaches. There sure are lots of things still to grieve. Mostly i’ve been missing in person gatherings, shows, concerts, playshops, and all that was mostly my lifestyle and livelihood in the “before-times”. Grieving memories of when i was working and touring as a theatre artist. Sigh. But, all is not lost! I really want to share the continued thread of joy that has filled my creative and social void inside all this. Specifically the community collaborations with Mind of a Snail and the evolution of Shadowjam! to an online live stream platform. Shadowjam! is always something that has built community, and it continues to do so despite the physical distance. It surprises me how present it feels. Every Sunday evening from 7:30-10:30pm PST we host a real-time virtual connection place on twitch that actually really feels connected. It’s a community cauldron… collective story-making…an interactive art, music channel. All moods welcome. Participate directly or just hold space at the edges. Welcome to follow and join us! https://www.twitch.tv/mindofasnail
i’m curating a retrospective art show of my mum Shelley’s photography. She died less than two years ago and we never had a public memorial thingy. Grief is totally ongoing and organic; it’s like…how many innumerable (little and big) ways can we continue to honour the dead?!
Art shows are fun.
It’s been kind of like a timeless collaboration between her and i as i decide which images to enlarge and frame. Lots of trips down memory lane digging through all the photos to find the specific negatives to print from.
You are invited, the exhibition is next month Nov 5-29th at the GPAG gallery in lower Gibsons.
I also made a webpage of the show (plus extra bits) for those who won’t be on the Sunshine Coast during that time and for those farther away. www.motherdaughtercoast.ca Click a way.
Shelley Twohig never used photoshop; she didn’t alter her photos digitally in any way. These images are some from her “cello” series, where she would photograph from still life onto slide film; then by using two slide projectors, would layer the images onto the same surface and reshoot. This analog blending technique is pretty neat.
love to shell
“dish of orcas is a flash in the pan; bite sized muscular predators of the sea that are endangered.”
excited to announce that today dish of orcas gets hatched into the whirl’d
How did you find creating music for the 20×20 project?
Fun loops in restraint. I enjoy the limits set by this project. Art is free to wriggle wildly inside clearly defined frames.
Describe the approach you had for making a 20 second long track?
Initially I mulled over the numerology of it all…like something in the saying “2020 hindsight”. I thought maybe math or nostalgia could help guide me through this. I turn 40 years old in 2020 too, so that milestone might have some sort of significance here. The passing of time, the restrictions in time, the way time loops. Regurgitating time into smaller digestible bits. This collection of songs/sketches has burst forth from a place of random memory excavation: by rooting through field recordings and dream journal excerpts I collected onto cassette tape over the past year.
How did this approach differ from making music without a strict time-limitation?
As listeners, how does our attention increase when we know that there is a strict time limit set on what is being shared? What type of story can actually be told in 20 seconds? in 400 seconds? How can I make each second count? I felt these limits force me to trim my source materials more ruthlessly in an effort be more succinct.
Is there a theme, narrative or concept to the 20 tracks you’ve contributed?
I wanted the whole album to sound sort of like shuffling tarot cards, tossing them down, and then trying to make (non)sense from the symbols that are played into the ears at random. I create sound collage in a similar way that I create visual art. What colour catches your ear? What sounds do the eyes follow? It’s as if each of these twenty second tracks could represent an art card pulled at random. That card could then also fit together with the next 20 second image to answer any “question” the listener may pose to the sounds as a tool for random sound divination(?!) The result is pure dadaism, which to me is essentially tarot, the subconscious, and an open invitation into the dreamtime.
Meaning is optional.
What instruments / software did you use to create the pieces?
All sounds are originally recorded onto cassette tape: field recordings, dream journal excerpts, ukulele, jaw harp, voice, plucking elastic bands; then everything gets cut up and layered in the computer with audacity.