ECSTASIES OF INFLUENCE : matralab, Concordia University
I was just settling in to my two-month stay in my Darling Foundry studio - I hadn't yet sorted out all my materials, book, and photos. I'd just started getting things up onto the walls, and had moved in the panels for my big painting. It occured to me that I'd fallen behind in checking my emails, and that I really needed to take a little time to give that my attention.
I came across an email that brought me to full attention: a call for non-musician artists to work with musicians - an opportunity for exploration and examination of process together.
An excerpt from the call for submissions:
“Can we transfer creative strategies from other artistic domains into music creation? Can a sequence of sounds be composed the way a choreographer composes a sequence of movements in space, a poet composes an arrangement of words, a novelist follows characters through a plot? Can music be staged the same way a director stages a play or a visual artist conceives an installation? The “Ecstasies of Influence” (E°I) research-creation project explores inter-artistic ways of conceiving, creating and composing musical performances and productions, influenced by dialogues with and transfers from other artistic practices.
An inter-traditional music ensemble will engage with artists from other disciplines to understand their creative process, their aesthetic strategies and their material – and try to transfer these insights to a musical composition, through a constantly dialogical iterative process of distributed creativity. Documented by a team of artist-researchers this project could offer deep insights into where art forms are different - and where they speak to us in similar ways.”
I came across an email that brought me to full attention: a call for non-musician artists to work with musicians - an opportunity for exploration and examination of process together.
An excerpt from the call for submissions:
“Can we transfer creative strategies from other artistic domains into music creation? Can a sequence of sounds be composed the way a choreographer composes a sequence of movements in space, a poet composes an arrangement of words, a novelist follows characters through a plot? Can music be staged the same way a director stages a play or a visual artist conceives an installation? The “Ecstasies of Influence” (E°I) research-creation project explores inter-artistic ways of conceiving, creating and composing musical performances and productions, influenced by dialogues with and transfers from other artistic practices.
An inter-traditional music ensemble will engage with artists from other disciplines to understand their creative process, their aesthetic strategies and their material – and try to transfer these insights to a musical composition, through a constantly dialogical iterative process of distributed creativity. Documented by a team of artist-researchers this project could offer deep insights into where art forms are different - and where they speak to us in similar ways.”
Genetics for Cowboys : Standing Firm No.6, 2010-2012, 76.2 cm x 109.2 cm (30" x 43") , Giclée on moab300
As I read the call, what went screaming through my head is "I WANT THIS!!!! This was late on a Thursday night, and the submission was due Monday ... ACCCCKKKKK!
I called the ever-patient Sandeep Bhagwati * , composer and director of matralab, to let him know that I wanted to be part of this ... desperately.
Sandeep told me that if I was that interested, I should have my submission to him "Saturday morning. "
No problem", I said. "Who needs sleep anyway?" I thought.
Submission done, all that remained was to wait. I must say, to my credit, that I refrained from calling or sending emails regarding the status of my application. Those that are acquainted with my (ahem...) occasional single-mindedness should be suitably impressed.
I was selected to be one of the artists, along with the incomparable David Szanto (conceptual/gastronomic arts) and Angelique Willkie (body, dramaturgy).
It was an unbelievable experience to be able to work with the following musicians:
Gabriel Dharmoo, voice
Elinor Frey ,cello
Felix Del Tredici, bass trombone
Guy Pelletier, flutes, birdcalls
Marie-Annick Béliveau, voice
Terri Hron, recorder, electronics
Jessica Tsang, percussion
Do take the time to look through their links - it's well-worth the browse!
This was a research project with unexpected outcomes in terms of the luxury of being able to delve deeply into process, not just of very recent works, but of older series. The performance outcomes were a testament to the collaborative skills and talent of all concerned.
I sincerely hope to have the opportunity to work with all of them again!
*I know he's ever-patient, as he was my Master's supervisor.
