This work continues through the accompanying hash tags. Though there is humour in the use of appropriating text that was originally written by a certain individual in a specific context, this is a serious critical approach to (different meanings of) industry, language and physical positioning of idea in space.
We went to the coast for three days. Jen’s brother-in-law was caught in an avalanche back in Canada so we wanted to spend some time here before she left to help her family. We camped along the beach along with other travellers, many of whom were surfers from all around the world.
We woke up in our little tent on the third day with Norwalk Virus like sickness. I leaned out of my tent and threw up. Jen could barely walk through the heat to the shared bathrooms. Apparently everyone staying here at the campground for any extended time caught the same sickness.
From Feb 13, 2013 in Ajijic, Jalisco, Mexico.
This is a work I am experimenting with by presenting it as an “Online Exhibit”. Though there is nothing new or experimental by having an exhibit of digital works on the web, I wanted to show the work in many different forms (i.e. photos, slideshow, collage, movie) on many different platforms (Blog, YouTube, physical gallery space) throughout 2013.
It is important to note that this work is entirely captured, rendered and output through a mobile device and on location during one session.
For me, there are several classical and contemporary themes in the work, such as: the supernatural; a formal approach to landscape; a questioning of political / social issues involving digital topographical mapping; a spiritual journey reflecting on death. There are many other contemplations that are evoked for me when I engage the work, and hopefully there will be for the viewer as well.
I enjoy the compositions of the shadows and the rocks, as well as the idea of a digital shadow cast on real objects through a challenging process of documentation for both the tools and the artist. The stresses of this effort on the image and the human traces archived in the process are a very important part of the production philosophy for me. I welcome comments and questions in the discussion field below where this conversation can continue.
You can see the original posting with the work as a series of photos and a collage at:
Raw audio + finished video from a 20 minute interview on June 29th, 2013 of Christopher Healey. Conducted by Hamilton Artists Inc’s Curatorial Assistant Caitlin Sutherland, and Gallery Assistant Samantha Roketta, about my exhibit Mexico ii featuring paintings by my mother Beverly Healey and digital collages by me.
I’m the first artist for this video interview series for the Inc, and was glad to help out this way. I really appreciated being able to articulate more of about the show and the process, and yet still feel like I forgot to mention a couple of key points – of course. That is, essentially, my work is about death and the “thinness” of our existence – which is one of the reasons I used the sunlight and the materials I did, such as the skull and white plastic. My Mom’s oil painting portrait work is about life, and the richness of an individual’s character and immortalizing it.
One of great things I enjoy about the culture of the Inc is involvement with some young graffiti artists – one in particular has been very involved. He got very excited telling me about the impression my Mom’s work made on him during the member’s exhibit “Oh my god it was so good – no offence, but it was the best work in the gallery… it’s like a 17th century painting by on old master… no one else came close to it – no offence to your work or anything – it was totally sick. If she gave me her one of her paintings, I would walk out of the gallery and never do graffiti art again.. I’m serious!..”
This was awesome feedback for my Mom 🙂 Especially since we live in an age where street artists usually end up as the new art stars.
I’ll update this post when the video is available. In the meantime, enjoy the pictures of the exhibit below:
Christopher Healey & Beverly Healey – photo by Joanna St. Jacques