Jodi Sharp Artist Talk, March 24, 2017
Jodi Sharp Artist Talk, Concordia University MFA Talks, March 24, 2017
My History
For the last decade I have defined my practice around the facilitation of a utopic world which deals with the intrinsic connection I feels with nature and other humans. The purpose of my work is to research and put forward a vision of the world that I want to come to pass. I see a need to re-create an ethics of responsibility towards others, to abolish the ideas of binary and the Other in order to reduce conflict, and to reclaim a space in our society where there is a greater awareness of how we interact with and impact our environment.
But before I show you any of my work, I need to explain to you a little about myself. My political, spiritual and social views are the centre of my practice, and those views are based in a life and community that is alternative to the overarching culture practiced in North America. The type of life I have lived informs my work, and there are two themes in particular that I feel are very relevant.
The first one is that I grew up all over the world. Montreal is the 52nd city that I have lived in, with places that have spanned North America, Europe and Asia. I won’t get into the details of why I was shuffled around so much, but the fact is that it gave me a very unique perspective on the world.
Something that type of lifestyle gave me was a lack of attachment to a particular cultural space. Each new place gave me some new piece of identity that didn’t always link to what I had known before. The societal rituals and cultural norms changed from place to place, and I became a bit of a hodgepodge person, with a made up idea of what normal was supposed to look like. This translates directly into my work in the way that I feel an allowance to often cherry pick different types of symbology or cultural reference and make them into something new. All of the symbol and ritual I use relates to me through direct personal experience, even if it comes from different places around the globe.
That mobile lifestyle also completely affected the idea of what community means to me. I feel like a majority of people in the world have spent a number of formative years growing up and around the same people. These communities have biases and norms which the individual adopts and as they grow older they tend to seek out similar types of people who they then continue to make a life with.
I never had that type of situation. Because my location was continually changing I never had a community around me that anchored my identity. This allowed me a type of freedom of choice around the type of people I was in touch with. Rather than having to make friends with whomever was in my vicinity, I was exposed to a large number of people who I could then choose to stay in touch with. The idea of travelling or moving to engage with the humans I chose as my community became a logical part of my life.
This connected me into a community of people that I have based a large part pf my practice around, the space of transformational festivals. These spaces are full of other individuals who also lead a mobile existence and are willing to travel to find other like-minded people to connect with.
A transformational festival is a co-created counterculture festival that espouses a community-building ethic, and a value system that celebrates life, personal growth, social responsibility, healthy living, and creative expression. Transformational alludes both to personal transformation and steering the transformation of culture toward sustainability. Some transformational festivals resemble music festivals, but are distinguished by such features as seminars, classes, ceremonies, installation art or other visual art, the availability of whole food and bodywork, and sustainable environmental policy.
The space of these festival is theorized by David Bottorff in his paper “Emerging Influence of Transmodernism and Transpersonal Psychology Reflected in Rising Popularity of Transformational Festivals,” as a realization of Foucault’s idea of heterotopia. Heterotopias are physical realizations of utopian spaces that are “counter-sites” within the current culture, where culture is “simultaneously represented, contested and inverted” (Foucault). These spaces hold a mirror to culture. Largescale transformational music festivals are modern day heterotopias because they not only mirror culture, but lead to discourse that refracts culture, by changing or distorting its image through a specific medium.
This was the community that by my teens I had sought out and then came of age in. Rather than growing up in a traditional community located in my vicinity, my peers and influences were others who were focused on the creation of a new type of cultural space. Between this community interaction and my lack of attachment to culture or physical place, the world around me became one that I had the capacity to design and create through the choice of what I would engage with.
The second major influence of my life was my relation to spirituality. I grew up as a part of a fundamental Christian culture. My dad is a Baptist paster, so my upbringing was extremely focused on the way that my specific family practiced religion. When I was growing up this meant that the roles that I was allowed to have in life were extremely narrow, especially in regards to my gender as a woman. I had a set way that I was supposed to live, and any deviation from that meant that I was sinning and would possibly go to hell.
It is important to note that I am a huge advocate for religious freedom. I feel that religious spaces, even fundamental ones, are important in making up our wonderful and diverse world. I think that anyone who chooses those beliefs should be allowed to do so and practice how they need, as long as it doesn’t elicit violence on others. But for me personally, the space I grew up in was incredibly noninclusive. I took extreme personal issue with its treatment of women, the environment, and its nationalistic tendencies.
But one thing I did take away from that space was a deep connection to spirit and the great mysteries of our world. I have always felt a fluidity to my beliefs and life practices, and while the dogma of religion has never sat well with me, I have always felt that there is a deep undercurrent of magic in the world. I feel no need to explain to myself what it is, only that I see it as valuable in allowing humans to connect to each other and the world around them. This lack of definition combined with my lack of attachment to culture or place has created a practice where I feel that I can choose which rituals and symbols hold universal truth for me, while discarding religious practices I feel do not resonate.
I want to be clear that when I speak of this I am not speaking of colonialist cultural and spiritual appropriation. Unhealthy appropriation is focused on dominance and exploitation. What I speak of is instead a transculturation.
Transculturation is a term coined by Cuban anthropologist Fernando Ortiz in 1947 to describe the phenomenon of merging and converging cultures. Transculturation encompasses more than transition from one culture to another; it does not consist merely of acquiring another culture (acculturation) or of losing or uprooting a previous culture (deculturation). Rather, it merges these concepts and additionally carries the idea of the consequent creation of new cultural phenomena (neoculturation). It is the act of creating something new out of inspiration from the other, rather than of stealing what is someone else’s.
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This context of new spiritual creation underlies the entirety of my art practice. The belief that we are capable of making space sacred through our attention and presence has lived with me through all my of creations and is now the central focus. I feel that for me art and religion are synonymous. They both provide a way of understanding ourselves and comparing our experiences with others. Both focus on creating a vision and greater connection to the world in general, and it is through this connection that I hope to make a difference in the whole.
Artist as Shaman
According to Henry Weibe in his book Myth, Religion and Ritual : The Subversive Artist, the artistic practice is synonymous with a religious one. Weibe states that the creation and consumption of art is "for the soul's sake," and that art holds power because it is ubiquitous with ritual, which is one of the conditions of our humanity. (Pg 26)
If we move away from following a major religion, and instead apply our spirituality to an artistic practice, art can begin to hold a place of deep meaning and ritualized transformation. In this way art can function as a life shaping force, having to do with the way life is lived, the way morality is chosen and expressed, and the way myth is created and explored. Artists can become creators of visions, with the capacity to pattern life. By using religious space as a model for spiritual practice and transformative change, artists have the capacity to take ideas and concepts from various worldwide spiritual spaces and make something that is unique to a personal practice.
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The themes in my work often coalesce around the creation of this new type of religious space, which I feel is indicative of an upcoming generation. I see a new wave of individuals arise who are focused on the universal truths of spirituality, rather than practicing established religion. My practice is therefore interested in experimenting with taking established ritual and religion and creating new spiritual spaces. Practicing as somewhat of a religious poacher, I take ideas and concepts from various worldwide religious spaces and make something that is unique to a new generation.
Wiebe states that …poets and artists are the source, the creators of life sustaining visions. They suggest, they set forth, they pattern life, provide its meaning, its possibilities, and its imperative. They are "dream makers." He suggests, "An artist is a dreamer consenting to dream of the actual world." (Pg 13 )
Four aspects
With this in mind, there are four parts in which I could categorize my religious and artistic practice. The Ritual, the Artifact, The Temple and the Ephemeral.
Ritual
One the key aspects of spiritual practice is the capacity to change your state through two things - the repetition of action, and the creation of space sacred through our attention and presence.
Repetition reinforces the principles of practice and helps solidify it in the body of someone again and again. It is a returning to the historical knowledge of our ancestors, a carrying forward of the power by continually repeating the act and thus changing ourselves. The call to Mosque, going to church on sunday, praying before dinner, religious holidays, offerings to your ancestors, these are all things that enforce our belief and help us stay connected to the sacred.
The act of focusing our attention and presence can be brought about in many ways and helps us change our state so we can connect. The drawing of the pagan circle, stressing the body, rites of passage, traditional ritual dress, praying, all of these things are essential to the core of spiritual practice in traditional religion.
These two actions completely blanket the entirety of artistic practice. Not just in performance art ritual. Every artist has a repetitive practice in the type of materials and subject matter they use. And each art piece seeks to change the state of the viewer through focusing attention and presence.
In an effort to connect into her deeper animal essence, Marion Laval-Jeantet underwent a stressful and performative act in May the Horse Live in Me. It was a self experiment that aimed to blur the boundaries between species.
In the performance the artist enters a room with a live horse in front of an audience. Wearing black that matches the horse, she places hooves on her feet. She is then injected with horse blood plasma. Having progressively built up her tolerance to the foreign animal bodies over the several months previous, she was injected with the plasma containing the entire spectrum of foreign immunoglobulins, without the consequences of falling into anaphylactic shock.
Horse immunoglobulins by-passed the defensive mechanisms of her own human immune system, entered her blood stream to bond with the proteins of her own body and, as a result of this synthesis, had an effect on all major body functions, impacting even the nervous system.
The artist stated that, during and in the weeks after the performance, she experienced not only alterations in her physiological rhythm but also of her consciousness. “I had the feeling of being extra-human,” she explained. “I was not in my usual body. I was hyper-powerful, hyper-sensitive, hyper-nervous and very diffident. The emotionalism of an herbivore. I could not sleep. I probably felt a bit like a horse.’
My Performance
In my own performance practice repletion and change of state through physical stress have played a prominent part. Although I haven’t done a performance in a couple years, it is still a key part of my practice I’d like to discuss.
Dealing with Loss
, 2011 was a series of performance photographs that talk about the rituals we need to create for ourselves in order to properly grieve. Coming from a religious background where the rituals were already created to mourn the loss of human life, I questioned what happens when a person no longer subscribes to those specific rituals or beliefs.
Dressing in an outfit that represented my own human life and the skeletal remains that will one day be my own body, I created a succession of actions with the intention of creating a new space where loss could be acknowledged, felt, and released.
Working with my own symbol for unnecessary loss- the skull of a moose who had been shot by hunters who did not take away or use the body, I tied herself to its remains. Walking in the cold, staying with the body, tying and untying myself, I stayed, freezing and mourning, for over 6 hours. Finally, when some sort of release was felt and I was able to let go, I gave the corpse back to its natural habit, leaving it to its natural process of decaying back into the universe.
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I am animal
, was undertaken in 2012 as a continuation on themes of dissolving the stereotypical human form into something more naturalistic. In this piece I wove and sewed handmade paper onto my body to make a cocoon that would allow my to transform. The process was painstaking and difficult. The paper was thick and the needles continually pierced skin as I became more and more confined.
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Throughout the nine and a half hour performance I focused on the breaking down of self, the changing of my identity into something that is more nature based and merging into the environment. The intention was to achieve a deeper personal connection with the world around me through the loss of my own visual identity.
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The time reduced video of this performance was then projected onto the relic of the cocoon that at the end I cut off of my body, having, eventually, to return to the world of my own form.
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Nature Preserve
was a performance done in 2013 in the parking lot of a large shopping centre. In it, I created a ritual where I tried to call to the "gods of nature" to replace the trees that previously lived there.
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Although I put in hours of work, the ritual ultimately does not achieve the goal of making trees appear, and I leaves the space essentially as I arrived in it. In fact, the only thing that is changed through the course of time is my handmade paper costume, which breaks down and falls away as the ritual goes on.
The intent of the performance was to discuss how difficult it is to replace natural space after it has been removed, and how "faith" will not fix the damage done to the environment. If the damage to environmental space is to be repaired it will require a lot more effort than prayer, and if we do not take the correct actions to change the situation, the only damage done will be to ourselves.
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Which brings us to the next brakes of practice. The artifact.
The artifact is a sacred object that holds power either from contagion magic or iconic power. The law of Contagion is a folk belief that suggests that once two people or objects have been in contact, there is a magical link that persists between them. The object therefore, has the designation of "producing" the person. Because of this the art object is a powerful thing that the viewer can use to connect to the power of the artists vision even when the artist isn’t there.
Lucien Shapiro is an artist who creates ritual and then leaves the artifact to be with the viewer in a gallery space. He creates urban masks and amor behind which he can hide and protect. These masks have the power to separate and shield ourselves from reality. His
Urban Obsessions
tangibly relates the past’s and present’s ritualistic escape from stress, pain and even love.
Utilizing raw materials correlated to various forms of addiction such as drugs, violence, and collections, Shapiro’s sculptures embody the act of compulsive preoccupation. Through his own addiction to the process of painstaking repetition and meticulousness of his craft, we are presented with works that challenge preconceived notions of habits, impulses, and dependencies. Shapiro’s work, a laborious craft and meditative consumption of time, transforms forgotten objects into nostalgically interesting and beautiful relics that create a sense of the sacred.
My practice
In my own practice, my object making is made up of mixed media that references religious imagery and icons. I often incorporate real religious artifacts, biological matter and stain glass, as to me these things draw historical religious tradition into my present one.
The Family Project
The Family Project
is a discussion around what a person does when they no longer have a biological support system that they were born into. As I was born into a transient world, I encountered a societal space where the definition of family was changing.
Because family is generally biological, I asked people who I considered family to donate a biological sample of their choice as a symbol of the capacity we have to choose each other. Each one of these samples went on a microscope slide, and was placed inside the box in the succession they were donated.
My own biological sample was in the centre of the crest on the top of the box, and is seen as you look down through the box onto the samples inside. As you look down through the glass slides, all of the biology begins to merge, signifying unity, while at the same time DNA is one of the most individual things possible.
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The second part of the project is a family crest that was created by the artist. Heraldry has been used throughout the history of mankind to testify belonging with a family group, and is generally passed down from father to children. In this piece I took my own right to create my own new crest, which is etched into the glass and tattooed onto my back.
I then then invited others in my community to adopt the same crest, or to alter it in any way they so desired. These crests were then embroidered on clothing that those in my community choose to wear as a symbol of unity, but also of choice.
Through the symbolic exchange of literal biology, and the adoption and re-creation of traditional symbols, this piece discusses the choices surrounding what it means to be family, and what happens when we begin to chose our own.
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The Whore Series
is a series that questions how we define and remember the ambiguous concept of love and sexuality. "Love" is a historical and social concept that is made up of a variety of definitions and social constructs. It is one of the most common topics of our current culture, and yet no definition or way of communicating it can ever really translate the experience of individuals.
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Likewise the view of the female who opens herself up to love is something that is a highly volatile topic in current and past societies. Instead of women being seen as brave souls who forage their way into connection with others, women are degraded, demeaned and name called for their forays into open sexuality. This series explores not only what it means to love, but what it means to be a woman who loves.
Of course we can’t talk about spiritual space without the discussion of the temple. A temple is a place specifically reserved for religious activities like prayer, sacrifice or ritualistic rites. It is a space of worship and is found in almost all religions, wether it takes the form of a permanent structure, a building used occasionally or a temporary circle drawn in the sand.
Art galleries are the space or a building that is meant for the exhibition of art. They can be either private or public; and are intended to display various art forms to public. The role of galleries tends to be in the validation of the artwork, but it also creates a space for participants to come into the sacred and connect with something greater than themselves.
On the
Nasa Orbit Pavillion
Jason Klimoski created the ultimate temple in allowing participants to connect to something outside of themselves. Employing the concept of a shell held up to the ear to hear the ocean, Kilmoski created a nautilus-shaped structure that created a sound chamber to the greater universe. Within the structure the sounds and trajectories of 19 NASA satellites orbiting the Earth, could be experienced in real time as they orbited overhead. The surface perforations of the structure echo the orbital paths of the satellites orbiting the earth, and culminate around the oculus at the centre of the sound chamber.
My Practice
One of the things I have focused on the most in the last few years has been the creation of community spaces where people can engage in ritual to change something is their own lives or in the world. The pop-up temple has been a term I have used to describe the structures I erect and move around the festival circuit. In these structures I tend to have a ritual action that the audience can participate in, in order to help them shift something about their lives.
In 2016
The Chamber of Exchange
was a temple that people could enter into to practice the skill of letting go and then receiving. The idea behind this project was that every person has things in their life that they wish they could change, and this dome sought to create a ritual that could help change it.
People entered the dome and wrote down something that they wished to let go of in their lives. This piece of paper was placed in an envelope and hung. Then they wrote something they wished to receive. This was place in an envelope and put into a sculpture in the middle of the structure.
The intentional action prepared the participants to change the energy in their lives and allow them to start the process of transformation.
In 2016 the
Halcyon Temple
was created to be a bright interval of peace set in the midst of adversity. Based on the Greek myth of Ceyx and Alycyone, the dome sought to embody a place of unexpected rest from the outside world.
The temple was focused on calling in any deified being of unconditional love to protect and provide rest for the inhabitants of the temple. The imagery on the outside of the temple is made of sacred geometry focused on connection with nature and calling calming energies in. The screen prints and inner altar all focused around Greek and Egyptian gods and goddesses that embodied the imagery of laying to rest all adversity in order to be reborn and transcend.
The dome was placed in the middle of a large festival ground as a place of rest and intention as a counterpart to the intensity of the rest of the space. Unlike much of the work that I do which is focused on bringing community into a space to connect, the spirit of the Halcyon Temple desired to be something different. It chose to be quiet and safe, allowing for a space of solitude, ease and harmoniousness.
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The Prayer Flag Project
was a moving installation that is took place at 11 different festivals in North America over the course of 2015-2016. The purpose of this project was to inspire people to actively participate in creating their own spiritual space and to promote community wellness. It consisted of a movable dome and strings of prayer flags that were set up at festivals and in parks during the summer.
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Based on the idea of Tibetan prayer flags, a station was set up with empty flags where people could make their own. The flags then got hung at the end of the prayer chain. Over the course of the year the chain grew longer and longer, and the prayers traveled across communities everywhere.
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Ephemeral
One last thing that I’m interested in moving more towards in my practice is the use of the ephemeral. Because I am speaking about spiritual spaces that shift and change I want the work to be able to shift as well. The thing I am the most interested in at this time is the use of light to create work that is never stationary.
Stephen Knapp’s Light-paintings are an art form working solely with light. Dispensing with traditional media and narrative content his light-paintings are intangible, multi-dimensional compositions.
Light-paintings are created by using a special glass treated with layers of metallic coatings that act as a selective prism to separate focused light into different wavelengths of the spectrum. Knapp cuts, shapes and polishes the glass in his studio to make a palette that he can use to refract and reflect light onto a surface and the surrounding space.
Tailored to their setting, Knapp’s ligh-tpaintings embody an inherently unique and wholly original form of art that integrates sculptural, structural and purely visual elements into compositions that transform their environment and envelop the viewer in iridescence.
My Body is a Battlefield
The installation My Body is a Battlefield discusses what can happen when individuals band together to shift the overarching system of postmodernist nihilism and fear that is prominent in the world at large.
Every day we are assaulted with an unhealthy consumerist society. The current realm of power manifests in the form of large corporations and governments who are focused on a profit instead of the true wellbeing of individuals. It is a daily task to keep the negative assault of fear mongering and consumerism out of our bodies in order to concentrate on a progression towards positive change. One of the easiest ways to do this is to band together with other like minded individuals who are focused on creating solutions to make the world a better place. This installation is about the communities of people who are attempting to shift the cultural norms of systemic oppression and harmful human action.
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As you enter the gallery you are assaulted with media images of common advertising, newscasts and social media. These are prevalent and normalized reflections of violence, social unrest, white privilege, the hyper sexualized female body and corporate propaganda. These projections cycle through our vision, every once in a while coming to periods of rest that remind us the release we feel when we cut this type of media out of our routine.
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In the centre of the gallery a sculpture of transparent portraits of community activists create an enclosed space that is inserted underneath the projected image. The portraits, while housing powerful individuals who are making change in the world, are also representative of the potential for all bodies to come together in community.
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From the outside of the enclosure the projection is the most prominent aspect, but as you enter into the shelter of the community space the image shifts to one of warmth and containment.
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The appearance is changed again by a series of mirrors that reflect the image back towards the projection.
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The viewer is also implicated in the piece through their own shadow and reflection that changes the final image.
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The installation becomes about the beauty of the new and ever changing light that is created from these interventions.
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Through the action of light being projected and constantly changing, this exhibit discusses the power of the individual and community to have an impact on the greater dialogue in order to elicit change.
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My Body is a Battlefield will run in the SUB gallery in Montreal from March 21-25, 2017.
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