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The closing statements in the case The Prosecutor v. Al Hassan Ag Abdoul Aziz Ag Mohamed Ag Mahmoud started on 23 May 2023 in Courtroom III at the seat of the International Criminal Court (“ICC” or the “Court”) in The Hague, The Netherlands.
Policy Statements - ITU PP-18
H.E. Mr Zhaoxiong Chen, Vice Minister
Ministry of Industry and Information Technology, China
©ITU/R.Maniego
date : 1997
description : this proposal was for six glass houses to have been sited in orchard Street, Derry/Londonderry, in Northern Ireland. the site is adjacent to the city wall, on either side of the newgate bastion, and the wall at this place would have been an integral component of the artwork. each glass house would be sixteen feet long, seven feet wide, and nine feet high, and be of 13mm toughened and laminated glass construction in an anodised aluminium and irish oakwood frame. each glass house would contain soil to a depth of about two feet, with three horticultural luminaires suspended above the soil. the soil would be taken from the exact line of the political border between the Republic of Ireland and Northern Ireland, being thoroughly dried and sterilized before installation.
1997 artist's statement
intellectual context : thinking which seems to prevail in the west, in the latter half of the 20th century, has begun to question how we construct the world as such. we read that spoken language is the basis of this structure, and that our linguistic relationship to the things around us is representational. we re-present things in the physical environment by words, and by doing this we are able to fix them into a linguistic world structure, as objects standing in reserve for the use of a technological society. this is how we have capitalized on our relationship of dominance over them. that we have begun to question this dominance or ownership, has perhaps been prompted by recent events in the physical environment. much contemporary art tries to deal with the relationship of subject to object (or the denial of this relationship) and of our understanding of time on which it founds itself. this often results in works of apparent abject, naked desperation, because when social structure is placed in jeopardy, there is no world. my current thinking concerns an anomaly in this artistic setup, in that it is precisely just that. what I say is that these experiments can never be anything more than the examples of how to deconstruct, and not actual deconstructions, so long as they take place under the auspices of the construct 'Art'. what is so intriguing about this project in Derry/Londonderry, is that it will take place in a street, of a city, of land that has known abject desperation. there is no need to find it, or manipulate it into art. it is simply here in people's memories, and this could lay open the unique possibility for real development in language. i anticipate that people will write on the surface of the glass houses. in fact, spray painted 'graffiti' (slogans like 'IRA' and 'UVF') would be a catalyst for the meaning of the work. but to discourage the possibility of more vigorous inscription, and to encourage a feeling of personal and community investment in the work, we should develop a strategy aimed at creating the right atmosphere around the project, and for disseminating information about its basic elements. as part of this initiative, i would live and work on site, for the duration of the project.
concept : the glass houses pertain to their situation, and they perform as one component of a work of art that can be viewed and thought about. like any work of art, they operate at the periphery of colloquial language, in a domain of ambiguities. i can attempt to write some of these down, but the list is by no means definitive:
• with careful design and construction, the six glass houses could be seen as special places of sacred nurturing. almost like small temples. but they would also be empty of life, with dry sterile soil, almost like dust. their internal space would be quite distant; is that the distance of the spiritual or of the incarcerated?
• a warm glow from the horticultural luminaires inspects the soil for signs of life, but it also gives a dark, and distant glimpse of prison lighting.
• the soil they contain is taken from six places on the exact boundary between two political structures. it has become thoroughly mixed up in the process, and it rejects all claims to ownership. any territorial slogans spray painted onto the glass would instantly become associated with colourful flowers in a greenhouse.
• the city wall is an important part of the artwork. the impregnability of its defensive structure as such could be interrogated, when seen through the glass houses.
• territorial marking is a language composed equally from territory and marks. it is already well established in Derry/Londonderry, and is a language perhaps more symbolic and spatial than signifying and linear. because the soil within the six glass houses would reject any claim to ownership, when the first writing does take place on their surface, a new more poetic syntax would be formed. a written language that cannot be derived from dominating speech, but which can only be written as a subtle difference from the surface on which it is written.
• in effect it would reduce 'territory' to ground, and reinstate marking as arche-writing.
• a mythogrammic language such as this might have ancient associations, and to refer to Doire or Daire seems right. this is why the main stanchions and beams of the glass houses are to be made from irish oak wood. the whole space here could be an oak grove of the mind.
Vegard Kaale, Ambassador of Norway to Indonesia and Timor Leste delivery speech during 3rd Asia-Pacific Rainforest Summit in Yogyakarta on April 23, 2018 in Indonesia.
Photo by Ulet Ifansasti/CIFOR
More information on the 3rd Asia-Pacific Rainforest Summit, please visit cifor.org/aprs
If you use one of our photos, please credit it accordingly and let us know. You can reach us through our Flickr account or at: cifor-mediainfo@cgiar.org and m.edliadi@cgiar.org
The closing statements in the case The Prosecutor v. Al Hassan Ag Abdoul Aziz Ag Mohamed Ag Mahmoud started on 23 May 2023 in Courtroom III at the seat of the International Criminal Court (“ICC” or the “Court”) in The Hague, The Netherlands.
Rafael Mariano Grossi, IAEA Director General, delivers his opening statement at the 1624th Board of Governors meeting held at the Agency headquarters in Vienna, Austria. 6 June 2022
Photo Credit: Dean Calma / IAEA
Former Foreign Secretary William Hague makes a statement on Libya to the media in London, 27 July 2011.
Read more: www.fco.gov.uk/en/news/latest-news/?view=News&id=6359...
One video still from each "Life is Drag" video portrait (performance documentation).
lifeisdrag.com
ARTIST STATEMENT:
I create bodies of work that explore subjects such as gender, artifice, and spectacle. Utilizing processes ranging from directorial to curatorial to anthropological, I showcase exuberantly irrepressible personalities who revel in challenging clichés associated with constructs such "masculinity" and "femininity". A sampling of subjects include Girls Girls Girls (the world's first and only all-female Mötley Crüe tribute band), Tazzie Colomb (the world's longest competing female bodybuilder), and LACTIC Incorporated (an avant-garde clothing brand that takes the detritus of corporate life and reinterprets it into one-of-a-kind structural garments that challenge the polarization of gender).
With this current and ongoing project "Life is Drag", I am documenting the most innovative and singular performers of the currently exploding international alt-drag and neo-burlesque scenes. I am 3 years into this project, and so far have created 250+ portraits. These are created in my studio as well as during residencies - in New York City (The Cell Theater, Bushwig), Pittsburgh (The Kelly Strayhorn Theater, Blue Moon Bar, Bloomfield Garden Club), and New England (3S Artspace).
This project began in early 2019 in my studio in Brooklyn, when I collaborated with a local visual artist by the name of Untitled Queen - a deeply beloved, highly respected, and uniquely visionary performer and conduit within the NYC drag scene who uses drag as a part and extension of her artistic process. I then worked with selected performers from Ohio and Kentucky in conjunction with a mid-career retrospective in my hometown of Cincinnati in the spring of 2019, and in January and February of 2020, I worked with 20+ New England-based drag artists as part of a residency and exhibition at 3S Artspace in Portsmouth, New Hampshire.
From the autumn of 2020 until the summer of 2021, I was an artist in residence at The Cell Theatre in the Chelsea neighborhood of NYC, where I expanded the project in the midst of the pandemic to also include neo-burlesque performers and performance artists whose work deals specifically with gender performativity. Most recently was a residency in my hometown of Cincinnati, Ohio - which included creating video portraits of performers from the drag haus ODD Presents, members of the neo-burlesque troop Smoke & Queers, and other alt-drag and burlesque artists from the tri-state area. This residency also included an exhibition featuring this ever-growing archive, as well as multiple live performance events.
My long-term goal is to continue to do a series of such residencies nationally and internationally, which will allow me to create a comprehensive archive of video portraits of drag, burlesque and performance artists from a wide range of locations, backgrounds, cultures, and ages. Each portrait includes video of the artist performing (lip-synching, singing, telling stories, reciting monologues, dancing, etc.) in addition to interview documentation, and will live online as well as in galleries and unexpected places in between. "Life is Drag" has so far been exhibited at such venues as the the Carnegie Museum of Art and Bunker Projects (PA), Satellite Art Club, Bushwig and The Cell (NYC), 3S Artspace (NH), and the Weston Art Gallery (OH).
I believe this project is innovative and important in that it is treating and respecting "drag" (defined as broadly and inclusively as possible) as a proper art form – recognizing it as an extremely vital and valid style of performance art, and every bit as deserving of the deference reserved for more traditional classical art forms like painting and sculpture. Drag is painting and sculpture and performance all at once - and quite often also activism, education, protest, therapy, resistance, catharsis, comedy, tragedy, enlightenment, inspiration - or some combination of the above - to those who practice it, and also to those who experience it as an observer. This project is about celebrating this experimental and expansive form of art and its wide range of practitioners and manifestations. It is about creating a record - an archive - of these brilliant but ephemeral performances, from dive bars to art galleries, city streets to grand theater stages. It is about trying to properly document and share these wildly diverse acts and profound stories that will surely open minds and capture hearts.
IAEA Director General Yukiya Amano delivers his opening statement at the first day of the International Conference on Nuclear Security: Enhancing Global Efforts. IAEA Headquarters, Vienna, Austria. 1 July 2013
Photo Credit: Dean Calma / IAEA
File name: 08_02_005176
Box label: A.H. Folsom photographs: Public schools: D-F
Title: Frothingham School - room 16 - 4th class, 2nd division - interior
Alternative title:
Creator/Contributor: Folsom, Augustine H. (photographer)
Date issued:
Date created: 1892 - 1893 (approximate)
Physical description: 1 photographic print ; 6 3/4 x 9 1/2 in.
Genre: Photographic prints; Group portraits
Subjects: Public schools; School children; Education; Classrooms
Notes: Title and date from item, from additional material accompanying item, or from information provided by the Boston Public Library.; Additional information on item: Boston School System; Handwritten note on item: Voucher, 10
Provenance:
Statement of responsibility: A. H. Folsom, photographer. 48 Alleghany St. Boston Highlands
Location: Boston Public Library, Print Department
Rights: Rights status not evaluated.
The closing statements in the case The Prosecutor v. Al Hassan Ag Abdoul Aziz Ag Mohamed Ag Mahmoud started on 23 May 2023 in Courtroom III at the seat of the International Criminal Court (“ICC” or the “Court”) in The Hague, The Netherlands.
DSC_0971GPPcSq
I recommend clicking on the expansion arrows icon (top right corner) to go into the Lightbox for maximum effect.
Don't use or reproduce this image on Websites/Blog or any other media without my explicit permission.
© All Rights Reserved - Jim Goodyear 2014.
This template is used for creating the statements of banks. It contains "Financial Position", "Operations and Changes" and "Cash Flow" statements. SpreadsheetWEB version of the template allows to publish the statements online easily.
Statements und Podiumsdiskussion: "Aufstiegsorientierung und soziale Sicherung: Komplementäre Ansätze oder Widerspruch?"
v.l.n.r.: Prof. Jörg Althammer, Trevor Phillips, Prof. Barbara John, Armin Laschet, Ralf Fücks
Foto: CC-BY-SA Stephan Röhl / www.boell.de
Westfalia unveils new mission statement:
Our Mission... To deliver unparalleled warehousing solutions by earning the trust of our customers, understanding their business needs and honoring the commitments we make.
© Westfalia Technologies Inc. 2013
cute & little blog | petite fashion | pink accordian pleated cami, pink pleated maxi, white tote, statement necklace | beach spring summer outfit
Press Statement by Ministry of Foreign Affairs, Singapore: State Visit of the Governor-General of New Zealand Lieutenant General The Right Honourable Sir Jerry Mateparae and Lady Janine Mateparae, 6 to 8 July 2015
The Governor-General of New Zealand, Lieutenant General The Right Honourable Sir Jerry Mateparae will make a State Visit to Singapore from 6 to 8 July 2015 at the invitation of President Tony Tan Keng Yam. Governor-General Mataparae will be accompanied by his wife Lady Janine Mateparae and officials from the New Zealand Government House and the Ministry of Foreign Affairs and Trade.
An official welcome ceremony will be held for Governor-General Mateparae on 7 July, following which he will have separate meetings with President Tan and Prime Minister Lee Hsien Loong. President Tan and Mrs Tan will host a State Banquet in honour of Governor-General Mateparae and Lady Janine that evening.
During the course of Governor-General Mateparae’s visit to Singapore, he will be accompanied by Deputy Prime Minister Teo Chee Hean on a tour of the Treelodge@Punggol, HDB’s first Eco-Precinct. Deputy Prime Minister Teo will host Governor-General Mateparae to lunch after the tour. Minister for Defence Dr Ng Eng Hen will also host Governor-General Mateparae to lunch to reaffirm the close and long-standing defence ties between Singapore and New Zealand. Governor-General Mateparae will be accompanied by Minister for Health Gan Kim Yong to the KK Women’s and Children’s Hospital (KKH) to view ongoing collaboration between Singapore and New Zealand at the Neurodevelopment Research Centre under A*STAR’s Singapore Institute for Clinical Sciences.
Governor-General Mateparae and Lady Janine will attend an orchid-naming and tree-planting ceremony at the Singapore Botanic Gardens on 7 July.
Governor-General Mateparae’s visit underscores the excellent ties between Singapore and New Zealand as both countries commemorate the 50th anniversary of the establishment of diplomatic relations this year. There is close cooperation in the fields of trade and investment, defence, and the people-to-people sectors.
. . . . .
MINISTRY OF FOREIGN AFFAIRS
SINGAPORE
5 JULY 2015
Statements und Podiumsdiskussion: "Aufstiegsorientierung und soziale Sicherung: Komplementäre Ansätze oder Widerspruch"
v.l.n.r.: Prof. Jörg Althammer, Trevor Phillips, Prof. Barbara John, Armin Laschet, Ralf Fücks
Foto: CC-BY-SA Stephan Röhl / www.boell.de
Statement of intent.
The abberation project.
In my previous project I created a monster, which could be a figure in a scary movie. I really enjoy this pathway of modelmaking, for my final major project I want to create a new monster and incorporate a more professional approach. I plan on including in-depth research prior to the making process. As a final result I want to be able to present a realistic sculpture of a monster I have created.
Influences, research, sources and ideas.
At the Arts University Bournemouth’s open day, I visited the modelmaking studios and saw some of the students’ best work. An amazing clay sculpture of a man/chicken figure really inspired me and made me want to do similar work. As sources for my research I plan on using the college’s library books such as “Start sculpting” by John Plowman. Sources that will also help me in my research are documentaries, YouTube tutorials and other helpful Internet sites with instructions about modelmaking. An additional idea I have is to write a story about the character I will be creating. Once my ideas form from my research I will start writing storylines and scenes for a movie script. I think a strong back-story will help the credibility of the personage.
Techniques, processes and timetables.
When good ideas start to come to mind for characters, I will start developing the features of the monsters by drawing them. I will do a few sketches to develop the creation and make its important features stand out. I plan on starting my drawings in the Easter holiday. Once I’ve decided on my favourite character, I will use modelling clay to sculpt a small figure. If I’m not completely happy with it yet I can make a few more small figures and eventually start on a bigger model. Making casts with plaster Paris and working with liquid latex is something I want to learn. Once I have finished shaping my final figure out of clay I will use it to make a cast and a latex figure. If there is an airbrush I can use I will research into how to use an airbrush, different kinds of paint and possible ways of painting the figure.
Method of evaluation
I plan on keeping a diary about my process and thoughts throughout my project. The development of the project will be fully recorded, if I put my thoughts down on paper after every progression. I will write it on paper different from the pages in the sketchbook so it will stand out and make it easy to see the overview.
Policy Statements - ITU PP-18
H.E. Ms Yukari Sato
State Minister of Internal Affairs and Communications
Ministry of Internal Affairs and Communications, Japan
©ITU/P.Barrera
cute & little blog | petite fashion | gingham boyfriend shirt, ag distressed jeans, leopard belt, panama hat, clare v leopard sandrine satchel, black studded pumps, rocksbox statement necklace | spring casual outfit
Ricardo L. Calderon, Assistant Secretary for Staffs Bureaus on behalf of the Minister of Environment and Environment and Natural Resources of Phillipines delivery speech during 3rd Asia-Pacific Rainforest Summit in Yogyakarta on April 23, 2018 in Indonesia.
Photo by Ulet Ifansasti/CIFOR
More information on the 3rd Asia-Pacific Rainforest Summit, please visit cifor.org/aprs
If you use one of our photos, please credit it accordingly and let us know. You can reach us through our Flickr account or at: cifor-mediainfo@cgiar.org and m.edliadi@cgiar.org
The statue at left by Pablo Machioli was placed at the site of the memorial to Robert E Lee and Stonewall Jackson in Baltimore's Wyman Park as a protest statement, and subsequently suffered significant damage that the police say was the result of vandalism. I've added to this image a depiction of two Baltimore Ravens players that were kneeling during the playing of the National Anthem at last Sunday's football game. The statue of Lee and Jackson was removed from its pedestal and was put into storage by the City some weeks ago.
Image available for purchase from www.ballaratheritage.com.au
Victorian Heritage Register information
Statement of Significance
What is significant?
The Tower Hill State Game Reserve is an area of approximately 6.2 sq km, 3 km inland from the coast between Warrnambool and Port Fairy managed by Parks Victoria since 1997. The Reserve consists of a volcanic crater of nested maar type bounded by the encircling crater rim that forms a highly visible landmark in the surrounding plain. The crater, filled by a lake and series of islands, themselves volcanic cones, was formed at least 30,000 years ago when a hot rising basaltic magma came into contact with the subterranean water table. The violent explosion that followed created the funnel-shaped crater (later filled by a lake) and the islands. Artefacts found in the volcanic ash layers show that Aboriginal people were living in the area at the time of the eruption. The Warrnambool area was a rich source of foods for the Koroitgundidj people, whose descendants retain special links with this country.
The first confirmed European sighting of Tower Hill crater was by French explorers sailing with Captain Baudin aboard the Geographe in 1802 who named the crater 'Peak of Reconnaissance'. Throughout the 19th century sailors used Tower Hill as a landmark for entering the harbours of Port Fairy (Belfast) and Warrnambool. The name Tower Hill came into common usage in the 1840s. The crater formation, noted by early European settlers for the beauty of its vegetation was memorialised in the landscape painting of Eugene von Guerard in 1855.
By the late 1850s substantial amounts of forest had been cleared in and around the crater. In 1866 when the crater and inner rim were temporarily reserved for public recreation, the Acclimatisation Society of Victoria was appointed the Committee of Management (1866-1869). The Society had formed in 1861 with the aim of introducing exotic plants and animals to suitable parts of the colony and accordingly introduced goats, pheasants and rabbits to Tower Hill. In 1873 the area was permanently reserved for public purposes and in 1892 in an attempt to halt the environmental damage to the crater Tower Hill Reserve became the first National Park to be declared in Victoria. It remained under the control of Koroit Council which permitted clearing of native vegetation, grazing and the quarrying of scoria to continue. By the 1930s the landscape was bare and little wildlife remained.
In the mid-20th century lobbying by the local community concerned about environmental degradation at Tower Hill along with general recognition of the declining numbers of game birds in Victoria led to the crater being declared a State Game Reserve in 1961, one of a number established across the State at this time as wildlife refuges. The contained nature of the crater site meant it could be readily adapted to a scientifically designed habitat management program.
In 1962 Robin Boyd was commissioned to design a Natural History Centre on the main island at Tower Hill, completed in 1969. This early example of an interpretive centre was to provide the public with information about the restoration of the Tower Hill environment and the wildlife and habitats of the State's Reserves and to be a centre of study for wildlife management. Boyd, a hero of the conservation movement, designed a simple stone circular structure with sloping roof mirroring the volcanic island hilltops, sitting in harmony with the landscape. The circular glazed pavilion is a timber construction with a cill height stone skirt and wide eaves. At the centre of the open internal space is a central hollow stone column which supports the roof and is crowned by a skylight reminiscent of the core of the volcano that gave rise to the landscape. Laminated timber rafters, arranged radially, span from the hollow stone core to the outer ring of window and project to form deep eaves.
As early as 1958 local community groups established experimental plots of native trees at Tower Hill. Following designation as a State Game Reserve serious efforts began to replicate the original vegetation using von Guerard's (1855) painting as a guide to replanting using botanists to identify the plant species. By 1981 school children,, naturalists and other volunteers had planted 250 000 trees and shrubs at Tower Hill and removed non-native species and weeds and feral animals. Native animal species including koalas, wombats, emus and echidnas have also been successfully reintroduced to Tower Hill through reinstatement of habitat. The replanting program was the first of its kind in Victoria and provided a model for the national Landcare movement, established in Victoria in the 1980s.
How is it significant?
Tower Hill State Game Reserve is of aesthetic, historic, scientific, social and architectural significance to the State of Victoria
Why is it significant?
Tower Hill State Game Reserve is of aesthetic significance, being an inspirational landscape, recognised for the beauty and uniqueness of its geological form and natural vegetation from first European exploration and settlement of the region.
Tower Hill State Game Reserve is a cultural landscape of historical significance in reflecting more than a century of changing attitudes to landscape in its evolving status and the character of its environment.
Tower Hill State Game Reserve is of historical significance as an iconic and inspirational landscape, noted for its geological form and the beauty of its natural vegetation from first European exploration and settlement of the region, memorialised in Eugene von Guerard's 1855 painting of Tower Hill crater and island. It was this iconic beauty that environmentalists sought to reinstate through their replanting of native vegetation, the species having initially been identified initially from the detail of von Guerard's painting.
Tower Hill State Game Reserve is of historical significance as the earliest and an outstanding example of community programs to reinstate native vegetation and re-create native habitat on cleared and degraded land. Skills developed in the course of this work, and subsequently applied in other parts of the country include an understanding of the importance of using species indigenous to the local area, requirements for re-introduction of native fauna, and awareness of the need for re-establishment of understorey species.
Tower Hill State Game Reserve is of social significance for the ongoing role of the local community and community groups in the reinstatement of natural habitats in the Reserve.
Tower Hill State Game Reserve is of scientific (geological) significance as an example of a nested maar, a specific type of volcanic crater that formed at least 30 000 years ago when hot rising basaltic magma came into contact with the subterranean water table resulting in a series of phreatic explosions that created the funnel-shaped crater (later filled by a lake) coupled with late stage scoria cone development of the islands seen today.
Location:
GSK World Headquarters
16th and Vine Streets, Philadelphia, PA
Zenos’ statement about his vision of the sculpture
I wanted to create a sculpture almost anyone, regardless of their background, could look at and instantly recognize that it is about the idea of struggling to break free. This sculpture is about the struggle for achievement of freedom through the creative process.
Although for me, this feeling sprang from a particular personal situation, I was conscious that it was a universal desire with almost everyone; that need to escape from some situation – be it an internal struggle or an adversarial circumstance, and to be free from it.
I began this work in a very traditional sculptural manner by creating a small model in clay called a macquette. The purpose of beginning in this manner is to capture the large action and major proportions of the figure within the overall design without any details to detract from the big idea. Another reason for not having details and for working on a small model only a few inches in height is that the small armature within it, holding the clay, is more easily manipulated, allowing for much greater flexibility in developing a concept. For example, an arm, a leg or a head can be pushed around without any concern for obliterating details, such as a nose or a finger.
The macquette is the original mass of clay where a concept is born and from which it grows and develops. This was important later when I enlarged the sculpture from several inches long to 20 feet long, and I retained in the larger work a sense that all the conceptual material, its forms, focus and development sprang from this rough idea. The work metamorphosized, in the way that we do.
Although there are four figures represented, the work is really one figure moving from left to right. The composition develops from left to right beginning with a kind of mummy/death like captive figure locked into its background. In the second frame, the figure, reminiscent of Michaelangelo’s Rebellious Slave, begins to stir and struggle to escape. The figure in the third frame has torn himself from the wall that held him captive and is stepping out, reaching for freedom. In the fourth frame, the figure is entirely free, victorious, arms outstretched, completely away from the wall and from the grave space he left behind. He evokes an escape from his own mortality.
In working on the large scale sculpture, I was satisfied that those who drove by getting a quick look at it would see the big picture: that it was about escape. I was also concerned that those who worked in the building and who passed the sculpture frequently would have something more to see. There was a lot of empty space between the figures on the wall, which I saw as an opportunity to develop further ideas.
It was important to me that the sculpture have more than one theme going on at once. One of the other major ideas incorporated in the work is that the very process of creating the sculpture is clearly revealed in the work itself. The maquette is cast into the sculpture in the lower left hand corner. In the lower right corner is the cast of the sculptor’s hand holding the sculpture tool with two rolls of clay also cast in bronze. Throughout the background of the Wall, I have rolled out the clay and pressed it with my fingers so that my fingerprints are all over the sculpture. I have not hidden how I have made the piece. In fact, the whole idea of the macquette is enlarged so that all the figures in the background look like a giant macquette. And at the same time, as the figures move from left to right, I have shown how figures are developed when you are sculpting from the rough to the more finished product.
Elements of the sculpture trade beside the tools that are cast into the sculpture are calipers both for their use in measuring and their reference to Protagoras’ words “Man is the measure of all things.”
Also cast into the sculpture is an anatomical man, traditionally used as a reference by sculptors. Many of the heads and figures on the wall, some in the round and some in relief, are shown partially sculpted, revealing the process of creation.
Something else I have done with the sculpture is that I have created a one man show of my work. I have always admired Rodin’s Gates of Hell. I similarly thought I would incorporate many sculptures into the wall where it was suitable.
Like T.S. Eliot and other artists, I have put many personal elements in my work. My friend Philip, a sculptor who died of AIDS, created a work that I included in Freedom because he often expressed his wish to have it in a public space. He did not live long enough to accomplish this himself. My cat, who lived with me for 20 years, my mother, father, and my self portrait are in the work. It is obvious which face is mine because there is a ballooned phrase coming from my mouth with the word “freedom”, written backwards, making it clear that the face was sculpted in a mirror. I see the whole Wall sculpture as a kind of illusion akin to Alice’s Through the Looking Glass.
The sculpture contains an original Duane Hanson -- a bronze cast of my own hands that Duane cast for me as a gift.
Much of what I did with this sculpture has to do with taking traditional forms and combining them in non-traditional ways, forming a postmodern sensibility. For example, I dropped a wax cast of my father’s bust from two or three feet in height so that it broke into large pieces. I cast those into the wall in a fractured manner over another face, an old work I found in a vat of clay purchased from a sculptor who had long ago died.
I have hidden many things in the background for people who see the sculpture more than once to discover, such as a cast of coins – a nickel and two pennies, another nickel and two pennies, and two quarters and a penny. These represent not only the relationship between money and art, but the numerals 7-7-51, my birth date.
It is important to me that the public interact with the sculpture, not just intellectually and emotionally but physically. I have created a space in which I have written “stand here” so that people can place themselves inside the sculpture and become part of the composition.
In the end, this sculpture is a statement about the artist’s attempt to free himself from the constraints of mortality through a long lasting creative form.
631 Ioco Road, Port Moody, BC.
Statement of Significance:
Description of Historic Place:
The Pleasantside Grocery is a two-and-one-half storey wood-frame commercial structure that sits at a prominent location on the road to Ioco, the Imperial Oil company town.
Heritage Value of Historic Place
The Pleasantside Grocery is of value as a community landmark along Ioco Road, and as evidence of the early development of the community outside of Moody Centre.
Built for Leander Philip Peltier in 1928 at a time of increasing local prosperity, the location of the store reflects the continued growth of Ioco, the company town developed by Imperial Oil near its refinery on the north shore of Burrard Inlet. Ioco Road was the only road access to this remote location, and over time, new residents settled in the area adjacent to the road. This store was built to provide groceries and general merchandise to surrounding residents, but for decades was also a local gathering place and community landmark. Its location on the north side of the road allowed a south-facing exposure, and a pleasant aspect to the front verandah with views of Burrard Inlet. By 1934, the store had been acquired by Attilio Ronco (1894-1979), a Peruvian-born storekeeper of Italian extraction who owned it for a number of years. The store was purchased by the current owners in the 1960s.
The building is also valued for its rustic character and as typifying a traditional country store. Its prominence is increased by its proximity to the street, the full open front verandah, paired bay windows on the second floor and a tall front gable that faces the street.
Character-Defining Elements:
Key elements that define the heritage character of the Pleasantside Grocery include its:
- landmark location along Ioco Road
- prominent two-and one-half storey scale among smaller residential buildings
- post-and-beam interior structure
- symmetrical form and massing
- mixed-use configuration, with commercial space on lower floor and residential use above
- original storefront configuration with central inset entry, flanking display windows and offset entry to upper floor
- full open front verandah
- paired projecting bays on the second floor front facade
- original exterior features such as lapped wooden siding, cornerboards and trim
- double-hung wooden-sash 1-over-1 windows
- original interior features such as wooden wall and ceiling cladding in store
- simple landscape setting with adjacent parking and treed background, including orchard remnants
Lange ketting gemaakt van 600 knopen in zwart en wit.
Lengte 242 cm, gewicht 750 gram.
------------------------------------------------------------------------------------------------------------------------------------Long statement NECKLACE made from VINTAGE BUTTONS
I made this necklace from 600 black and white buttons and a few beads.
242 cm / 95 inches
750 gr.
One video still from each "Life is Drag" video portrait (performance documentation).
lifeisdrag.com
ARTIST STATEMENT:
I create bodies of work that explore subjects such as gender, artifice, and spectacle. Utilizing processes ranging from directorial to curatorial to anthropological, I showcase exuberantly irrepressible personalities who revel in challenging clichés associated with constructs such "masculinity" and "femininity". A sampling of subjects include Girls Girls Girls (the world's first and only all-female Mötley Crüe tribute band), Tazzie Colomb (the world's longest competing female bodybuilder), and LACTIC Incorporated (an avant-garde clothing brand that takes the detritus of corporate life and reinterprets it into one-of-a-kind structural garments that challenge the polarization of gender).
With this current and ongoing project "Life is Drag", I am documenting the most innovative and singular performers of the currently exploding international alt-drag and neo-burlesque scenes. I am 3 years into this project, and so far have created 250+ portraits. These are created in my studio as well as during residencies - in New York City (The Cell Theater, Bushwig), Pittsburgh (The Kelly Strayhorn Theater, Blue Moon Bar, Bloomfield Garden Club), and New England (3S Artspace).
This project began in early 2019 in my studio in Brooklyn, when I collaborated with a local visual artist by the name of Untitled Queen - a deeply beloved, highly respected, and uniquely visionary performer and conduit within the NYC drag scene who uses drag as a part and extension of her artistic process. I then worked with selected performers from Ohio and Kentucky in conjunction with a mid-career retrospective in my hometown of Cincinnati in the spring of 2019, and in January and February of 2020, I worked with 20+ New England-based drag artists as part of a residency and exhibition at 3S Artspace in Portsmouth, New Hampshire.
From the autumn of 2020 until the summer of 2021, I was an artist in residence at The Cell Theatre in the Chelsea neighborhood of NYC, where I expanded the project in the midst of the pandemic to also include neo-burlesque performers and performance artists whose work deals specifically with gender performativity. Most recently was a residency in my hometown of Cincinnati, Ohio - which included creating video portraits of performers from the drag haus ODD Presents, members of the neo-burlesque troop Smoke & Queers, and other alt-drag and burlesque artists from the tri-state area. This residency also included an exhibition featuring this ever-growing archive, as well as multiple live performance events.
My long-term goal is to continue to do a series of such residencies nationally and internationally, which will allow me to create a comprehensive archive of video portraits of drag, burlesque and performance artists from a wide range of locations, backgrounds, cultures, and ages. Each portrait includes video of the artist performing (lip-synching, singing, telling stories, reciting monologues, dancing, etc.) in addition to interview documentation, and will live online as well as in galleries and unexpected places in between. "Life is Drag" has so far been exhibited at such venues as the the Carnegie Museum of Art and Bunker Projects (PA), Satellite Art Club, Bushwig and The Cell (NYC), 3S Artspace (NH), and the Weston Art Gallery (OH).
I believe this project is innovative and important in that it is treating and respecting "drag" (defined as broadly and inclusively as possible) as a proper art form – recognizing it as an extremely vital and valid style of performance art, and every bit as deserving of the deference reserved for more traditional classical art forms like painting and sculpture. Drag is painting and sculpture and performance all at once - and quite often also activism, education, protest, therapy, resistance, catharsis, comedy, tragedy, enlightenment, inspiration - or some combination of the above - to those who practice it, and also to those who experience it as an observer. This project is about celebrating this experimental and expansive form of art and its wide range of practitioners and manifestations. It is about creating a record - an archive - of these brilliant but ephemeral performances, from dive bars to art galleries, city streets to grand theater stages. It is about trying to properly document and share these wildly diverse acts and profound stories that will surely open minds and capture hearts.