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Sampson McFerrin: The Storytelling of a Lifetime Through Art

“I guess I’m telling my story, the experiences I’ve had, the travels I’ve endured, the places I’ve been and the people I’ve met. Also hearing other stories and bringing people together.”

Sampson McFerrin is a Montreal based artist who is currently studying his third year in Print Media at Concordia University. In April, he held his first art exhibition in which he presented to the public his work, which clearly reflects his journey as an artist.

Checarré is an exhibition that reveals the trajectory of McFerrin as an artist throughout the years. He has covered over 50,000 kilometers in nearly 30 countries. He claims that this unique experience has not only influenced his art but has also shaped him into the person he is today.

“Before I was born, my parents travelled around the world for two years, and when they had me they wanted to keep that lifestyle. I was introduced to it from a really young age and it was just how it was. Now I’ve taken it as a passion of my own, it made me the person who I am.”

Being a mixed word and at the same time denoting the creativity of the artist, Checarré signals different meanings and tonalities.The first part of this word means “checking-in” since McFerrin is in his third year and has a desire to give criticism a place in his work. The second part, carré, comes from the French and literally translates to “square” since he claims that for some reason, his works continue to end up in squares, something that has worked for him. The third and last part of this word––originally suggested by his brother––also comes from the French; the expression chez moi, denoting the reason behind McFerrin’s decision to hold his exhibition in his own apartment. This makes the spectator’s experience feel much warmer and closer to the message of the works.

How unique it is to be able to encounter the mixture of one’s oldest and latest works as is the case with Checarré. McFerrin explained that he has been painting since grade four and has been more serious about it since grade ten when he started selling his work. However, for five years, he feels that in his latest work he only notices very small differences. That’s one of the reasons why he decided to switch to print media:”I was ageing for something more or just some new technical skills to learn.”

Artists have often reflected on the role failure has played into their career’s evolution. Nonetheless, it is very difficult to define the role that failure has had when this term is so subjective. Having spent much of his life painting, McFerrin has become a very open-minded person. Proof of this mindset can be observed through the response he gave to The Concordian when asked about the role of failure in his own artistic process: “I don’t think failure has ever been an option.”

Learning from mistakes, falls and success is just part of the learning process, as the artist explained “Even if I fail, it is okay. It is what you learn from that and what you have to do to make sure you pass to the next one. Failure has never been an option, make it work! If you’re biking and the bike breaks down you’ll get a tiny moment of ‘oh no!’ But then it all is about what’s next. There is always something to do. If something does not go as you wanted, make it work in the best way for you.” That is McFerrin’s message.

His flexible mentality is noticeable in his art in which he also draws the image of his passion for bicycles––Rain Pants Party is his favourite work, an acrylic-based painting. A very personal work and even an “extension of self” as he commented.

Through Checarré, he presents his most unique side, a life experience that results in a narrative of his experiences which have not only transformed him as a person but have led him to create meaningful connections with people who can see themselves represented in his work.

Through a refreshing conversation with the artist, one can not only get an insight into his career in the world of painting and printmaking, but also an admirable glimpse into a unique lifestyle that has helped him keep an open mind, a fundamental skill for life.

After observing Checarré, it is very easy to realize that, as the artist himself said, art is everywhere. This project can precisely serve as an inspiration for youth who are doubting the veracity of the path to art so that they take the leap. “Do what makes you happy, switch to what makes you happy, don’t give up on that,” McFerrin encourages. Through his work, McFerrin sees his most recent and older work living together and admits to still learning how to use print media, which he denotes through his art the importance of patience in the art world.

Visuals courtesy Sampson McFerrin

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Arts

An interview with Justine Bellefeuille

The studio arts student sat down with our assistant arts editor to discuss ceramics, working with chicken flesh, and more

Multidisciplinary artist Justine Bellefeuille is in the process of obtaining her BFA in studio arts at Concordia, where she previously completed the contemporary dance major program. Her practice revolves around the themes of feminism and violence against women, ideas she explores in both of her preferred artistic mediums. Bellefeuille is currently working on the dance piece OVERLOAD, which will be presented at Tangente from April 9 to 12. The choreographer first created this piece for five dancers in December 2019, and will now present an evolved version on stage.

Comfortably seated on a wooden stool, with her elbows resting on the marble counter top of a café, Bellefeuille shared her current passions and fascinations with The Concordian. 

The Concordian: How would you describe your artistic practice?

Justine Bellefeuille: I do dance, as a choreographer more than a performer. I am also a visual artist. I work a lot in painting, oil painting more specifically. And recently, I have started to work with ceramics. 

TC: How did you decide to develop those two artistic practices?

JB: It was really instinctive. In CEGEP, I studied visual arts. When I completed my degree, I wanted to study dance and to dive into this other medium, but visual arts was always in the back of my mind. I really liked it; I was very passionate about it. So, it is passion that led me to mix both. I think they inform each other. I don’t necessarily use visual arts objects in my dance projects, but in the movements’ aesthetic and in the costumes I create, my visual arts background appears. On the other side, movement can be very present in my paintings, and in my sculptural pieces. 

TC: Have you created projects that mix both disciplines?

JB: I think both disciplines are omnipresent in one another, but my ultimate goal would be to purposefully combine them. For instance, [for] my piece Pulpeux, which I created in March 2020, I started with painting. My goal wasn’t to work with dance, it was to create an image. Finally, after talking with a friend who is a dance performer, I realized that we could use [the painting] to create movements. Movement appeared from the shapes, the in-between spaces, the negative spaces that were created between the shapes and lines of the painting. The performer really followed those shapes to create other shapes in her body.

TC: What themes are you interested in?

JB: More and more I’m developing a feminist approach. Currently, I’m interested in violence against women, be it extreme aggressions or imperceptible daily aggressions. Recently, I also started to question myself about my own relationship with my body as a woman. I am questioning myself about if we perform our femininity, what defines this femininity, what is it exactly. Is it influenced by the pressure of men’s gaze, or is it a pressure that we constantly put on ourselves?

TC: You are currently working on the dance performance OVERLOAD. How does your feminist approach appear in this work? 

JB: For this piece, I am interested […] in the violence against women, how we experience this and how we perceive this personally. Some of the performers in the piece may have experienced such violence, others may have only witnessed it. But to be a witness is also something that is very hard to deal with. […] In the dance piece, each of the performers explores what this means to her. There is a lot of rage that comes out, there are a lot of contraction movements, spasms. During most of the piece, the performers are grouped together, which brings forward this idea of solidarity. They are a group, and they are [in] solidarity, but they also all live different things. 

TC: How would you describe your creative process for this dance piece?

JB: For OVERLOAD, the initial idea was rage. I was looking at harassment at first. With the performers of the initial piece, we worked a lot with improvisation. There were more sensorial improvisations and more formal ones related to images. We tried to represent something, harassment for instance. It slowly diverged towards something more minimalist, more abstract. That was the beginning of the process. Now at the start of every rehearsal, we sit together to chat. We share situations that we have witnessed, information we have seen, statistics related to violence against women. 

TC: Can you tell me about your recent discovery of ceramics?

JB: There is a very physical and tactile aspect to ceramics that I really like. There is also the aspect of reconnection with nature. I am currently taking a class during which we talk about the origins of clay, and where it comes from since it’s a material that comes from nature. Working with this material and knowing where it comes from creates a connection to the body, and to Earth. It’s very physical. Also, with ceramics, there are no limits. I can create what I want. It is a very fluid material. I can work however I want. And the glazes give me even more options. I am interested in the texture of chicken flesh. Therefore, I work with glossy glazes that can give a flesh-like effect. I had been looking for a long time for a material that could create this kind of effect and now that I’ve found it, I explore it. 

TC: How did you start working with chicken flesh?

JB: I have been working for a long time on this and I still question myself about it. It started with a project I did with chicken flesh in 2020. I took pictures of a raw chicken. I used these photographs to edit and cut them in Photoshop. I then recreated this new image in a painting. Since then, I [have been] fascinated with it, for its colour, for its connotation. I titled this first piece Cocotte. There was a connotation, a critique of women’s place in society. Through my current explorations, I try to understand why I’m so fascinated by chicken flesh. I think it is very, very visceral. There is something cruel, since it is raw, it is dead. I think there is something very violent also. It is sensual and delicate, but also violent. 

TC: Do you have artistic projects in mind for the future? 

JB: I want to rework Pulpeux. I would like to go back to this creation, there is really something to explore there. Also, the ceramics aspect was recently added to my explorations. I would like to combine dance and ceramics. Ceramics also have a historical aspect related to women and their work and I would like to do more research on this side and to see how it can articulate itself in a more formal manner. 

 

Photos by Catherine Reynolds

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Artist of the week: Jordan Daniele

The Concordian spoke with the multi-talented artist and Concordia student about inspiration, overcoming creative block, and more

What makes an artist? Concordia’s very own Jordan Daniele, who is a painter, creative and artist, delves into this complex idea by peeling back the layers of his own work. Largely inspired by historical artists and influenced by Jean-Michel Basquiat-style expressionism, Daniele emulates a deliberate childlike approach to painting, citing “childhood is something everyone can connect with.” He feels it is important to remain a kid at heart. 

TC: What inspired you to take up painting?

JD: I have been studying art history for four years now and I’m still studying it to this day. I’ve reached a point where I want to move on from learning about artists that already exist and become one myself. I’m still not certain I want to be an artist as a profession, but painting is something I enjoy, so I might as well explore that while I can. I think that because I’m a fairly reserved person that painting has given me an outlet to express myself in a way that comes most naturally to me. I’ve never been great at speaking up, but now, with my most recent work, it has allowed me to speak my mind on the canvas in a way that I never could with words.

TC: What would you like people to take away from your work?

JD: For me, it’s all about expression — what I’m going through, what I’m thinking. If even one person can connect and find solace in it, that’s what it’s all about. Even if my work can brighten someone’s day, add some positivity to their mood, that would be cool. When I was just starting out, I used to paint more abstract, random brush strokes, Jackson Pollock-type work. Then, my dad actually inspired me to branch out and venture into more figurative work. Before that, I had never really thought to have a message embedded in my work. My primary focus was more aesthetic-based, and finding the beauty in arbitrary brushstrokes. I wasn’t overly concerned with incorporating a definite message because it’s supposed to be subjective. I want people to connect with it the way they want. If they want it to have meaning then they can find one hidden in the brushstrokes — if they don’t, then that’s cool too. Everyone will have their own experience with it.

Facial Features by Jordan Daniele

 

TC: How often do you face creative blocks? How do you overcome them?

JD: Actually, a few months ago, when we were in lockdown, I was painting everyday. At one point I was making five paintings a week. This went on for about a month. I would often go back and paint over those paintings too, so I actually created more than what’s physically out there. So in terms of creative block, sometimes I get stuck on figuring out whatC exactly I’m trying to portray or I get stuck wondering if it should have a meaning at all. Sometimes I won’t paint for a month if I’m particularly frustrated. It can really get you questioning your abilities when you get stuck like that. I’ve caught myself thinking “Am I even good at this anymore?” But I learned that when you get in that headspace, it’s best to just take a break. Once you clear your head, you just have to paint — just go for it and trust that something special will come out of it.

TC: What themes do you find yourself drawn to?

JD: I listen to a lot of music. So, I like to incorporate lyrics into my work. Music plays a big role in my inspiration. I could do a whole painting filled with quotes from a song if it resonates with me. My work has a lot of jazz influence as well. I like to include the actual instruments in my paintings. Sometimes, something as simple as a sound or phrase that gets stuck in my head can spin off and evolve into its own theme and inspire me to explore something new. There isn’t really a single thing that I find myself drawn to, it definitely depends on my environment and what catches my attention, but music and sound are consistent themes.

TC: Can you tell me a bit about your favourite piece?

JD: It’s hard to say because I’m my toughest critic. I’m around my work so often that I’m constantly nitpicking the details of it, so it’s constantly in flux; I can love a painting while I’m creating it and a month later I’ll change my mind. Right now though, I’ve been working on this series of paintings with a bunch of flowers, and it’s my favourite because of the meaning behind it. I start off with quick brushstrokes in the shape of a flower, then I go over it with a more precise outline of it. The contrast of the neat precise outline to the quick and messy shape of the flower is representative of us: people in society. We’re just like flowers. Even when we’re feeling messy and when we’re missing petals, someone may still look at us and see beauty like we do with flowers.

 

The Dark Clouds of Reality by Jordan Daniele

TC: What does being an artist mean to you?

JD: Anyone can be an artist. Of course, it does take some degree of skill for certain types of artwork, but mostly it takes a specific mindset. You have to be ready to take the rawest emotions and thoughts you experience and translate [them] into something tangible. There are so many people who are artists and don’t even know it yet because they haven’t given it a shot. At the end of the day, you just have to be creative and express yourself to the fullest. 

For more information about Daniele or to explore his work, please visit his Instagram page @artistjordandaniele.

Visuals courtesy Jordan Daniele

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Artist of the week: Tong Zhou Annie Lafrance

Tong Zhou in their friend’s studio. Photo by Paulina Bereza

The artist’s work engages with Chinese culture and aesthetic

I first met Tong Zhou Annie Lafrance in an art history class in 2019 where we were seated beside each other by chance. I remember being fascinated by the proportion of little drawings in their notebook compared to the small quantity of notes. We ended up working together for the whole semester on a project about artist Françoise Sullivan. The project gave us the chance to discover each other’s artistic styles. Now that we have both graduated, I was interested in learning more about where their artistic practice had taken them.

Living between Montreal and Quebec City, Tong Zhou is a multidisciplinary artist. They graduated from Concordia’s Studio Arts department in 2021. As a Chinese adoptee, they now nurture the dream of pursuing their studies in China. Our discussion revolved around their desire to explore the traces left by adoption through the different projects they are involved in.

The Concordian: How would you describe your artistic practice?

Tong Zhou Annie Lafrance: I am a multidisciplinary artist. That means I really enjoy doing more than one discipline, it is stimulating for me. I’ve been doing performance, installation, drawing, and fibre arts. Currently, since I’m learning Mandarin full-time, I’m trying to put this type of learning into my visual explorations, such as how I learn the language, and then put it into codes or symbols that I can refer to in my visual language. For example, now I’m doing mostly photo weaving [relating] to Chinese culture.

TC: Why did you choose to focus your work on Chinese culture?

TZAL: I think it’s a very personal choice for me because I was adopted from China. I’ve always been fascinated by Chinese culture and its visual aesthetic. However, I think there is a cultural and linguistic boundary that is really present in how I can understand the visual language. And since I’m visibly Chinese there’s also this pressure of performing “Chineseness.” For me, that is something that is quite fascinating to explore in fine arts, to explore my identity and how it expresses itself in the space with coherence and incoherence that makes it more diverse and truer to who I am.

UP CLOSE, a work by Tong Zhou and An Laurence

TC: Can you tell me about your experience with performance art?

TZAL: I got into performance when I started university. I felt like I needed to explore something that goes beyond the visual space, the two-dimensional space. Most of my classes were painting, drawing, fibres, and textiles, but I wanted to work with the gesture. Emphasizing the gesture would emphasize my search for identity. Through the body you can really do that, and it’s clearer, it’s rawer. I got into performance because I was not satisfied with the medium I was working with. Coming from a visual arts background, that’s not something we are necessarily pushed towards.

TC: You mentioned the gestures in your performances. Do you also think about those gestures when you create? For example, when you work on photo weaving? 

TZAL: Definitely. I think photo weaving is a simple gesture, but what makes it complex is the result at the end. Sometimes, I feel like through repetition, through simplicity, we can highlight more complex results at the end. Through repetition, there is also this sense of meditation that I’m really trying to think about creating. 

TC: Can you tell me more about your photo weaving series?

TZAL: What I love about photo weaving is this idea of deconstructing an image, and then trying to redo the same image, just like a puzzle. I always really enjoyed doing puzzles, so for me it is this simple task of redoing what has been undone.    

TC: How do you choose the photos you are using?

TZAL: A lot of the pictures were taken by my mother. She was always very interested in capturing the steps of our childhood, but also the process of adoption. So for me, it’s a mix between my pictures and her pictures. I think that if I want to tell my story in the right order, I need to start with the pictures of my mother first and include mine after. My pictures are more about my own subjectivity and how I see the world, which is different from my mother, but it very much replicates some angles that she used. She was doing this more as a hobby, but for me it’s transforming this hobby into an actual arts practice. 

TC: What about the zine you have worked on recently?

TZAL: It was a really nice collaboration I did with An Laurence. There are so few artists that are interested in exploring the theme of adoption. What An Laurence and I have in common is that we want to show a different aspect, an aspect that hasn’t been told yet. That’s what we were doing in our zine. We were trying to make our two art practices collide, and see what the similarities are, what are the differences between our practices. An Laurence is a performer, she has a music and multimedia background, where I am more into visual arts, so then it was really interesting to collaborate on this little piece.  

TC: Can you describe the zine a little bit more?

TZAL : The zine is really short. It is a small booklet of around 20 pages, with […] excerpts of interviews. We did a cross-interview, so we were asking questions to each other. I chose some pictures that could fit coherently with what we talked about. So, I was responsible for the design and An Laurence was responsible for the narrative that it would have.

TC: What place would you say collaborations occupy in your practice?

TZAL: The zine highlighted the fact that I needed to collaborate more in order to understand the precise visual language I want to use to talk about adoption. Since there are so few artists that are talking about this subject, it’s really important to collaborate with other people in my community. Now, I’m more interested in seeing how my own community can express themselves. I think that one of the good things that the pandemic has done is that we are more aware of the important aspect of sharing feelings with others, of understanding ourselves through others. Right now, I am collaborating with other Chinese adoptees, and we are working on a collective of researchers and artists that are based in Quebec. This collective called “Soft Gong” will be about creating a community between Quebec, Canada and China as well as seeing how it can bloom into other collaborations. We also hope to [help improve] the post-adoption services, including learning the language, learning the culture, learning the biological background. So, it’s a mix between community, arts, and research. 

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Inside the creative mind of Aaliyah Crawford

“As I learned printmaking, it was like a language I understood. How to make prints just felt very intuitive”

Some people are simply born to create. This is certainly the case for Aaliyah Crawford, the general coordinator of the Fine Arts Student Alliance (FASA) and co-editor in chief of Yiara Magazine. Since the age of five, Crawford has been creating art. She later went on to study printmaking at John Abbott College, where her interest in the medium flourished. She is now in her final year at Concordia where she is majoring in Studio Arts. Crawford spoke with The Concordian about her passion for printmaking, her creative process, and more. 

TC: What appeals to you most about printmaking?

AC: I learned printmaking at John Abbott. At first I didn’t think I would like it. I was kind of confused by the whole thing. I was like, ‘why would you want to do something that a machine can do?’ As I learned printmaking, it was like a language I understood. How to make prints just felt very intuitive and I was really comfortable with the medium. It’s really fascinating, it’s very labour intensive. 

But as I’ve been doing print now for nine years, I don’t feel the same way about it anymore. Now I’m really into monoprinting and book arts. I’ve been really enjoying that and finding different ways of using a medium that I think can be really rigid in a more flexible kind of way.

 

TC: What themes do you like to explore in your work?

AC: It’s a lot about me, it’s kind of like a diary or like a dream journal. I kind of meditate on my own experiences. For me, when I’m working, I don’t often know what I’m making while it’s happening. And then when it’s finished, I almost look back and learn secrets about myself that even I didn’t know. It’s really fun, but also kind of terrifying.

TC: Can you briefly walk me through your artistic process? How do you bring an idea to life?

AC: Lately I’ve been making a lot of books, so when I’m doing a book project I tend to be writing all the time. I keep little notes on my phone or computer, and eventually I’ll start to notice a theme. If I keep writing about the same thing or certain key words keep coming back up, something’s happening. Usually it starts with a title. I tend to know the title of all my book pieces before I make them.

So I’ll start to think about what I’m noticing in the work. I have a little studio space [at home], and I’ll take everything out. I work with a lot of different mediums, so I’ll take some stuff out and I’ll block off like five hours to make something. I’ll do that about five times and then I’ll go through everything I made and sort of notice a theme. Then I try to tease it out. I’ll work on the same pieces again, I’ll do a lot of layering, and revisit a lot of old things I made. There’s usually a lot of writing in my work, so I’ll edit what I wrote. Then I have to make it into a book, so I have to do the layout. When I make the book I either get it printed somewhere or I do it myself, and then bind the book.

TC: You mentioned that your work often centres on you, and that it’s almost like a diary. I was wondering if there are any particular pieces you’ve created that capture your experience as a Black artist? What have these pieces taught you about yourself?

AC: With my work being so autobiographical, it inevitably captures some of the essence of my experiences as a Black person. Some of my work has brought up memories from my childhood where I experienced racism before I really understood what it was. I think it left me with a feeling of being other, growing up in a predominantly white community. It’s been interesting revisiting those memories as an adult through my work and reshaping the narrative that I had internalized about myself.

TC: How has your work evolved over time?

AC: It’s becoming more honest and less fixated on perfection. I think when I first started making art I spent a lot of time making things that I thought other people wanted me to make. I think I was just trying to figure out, in terms of getting a degree and pursuing it as a career, how I could make art that’s marketable. Now I don’t think about anything (laughs). It’s so much more fun that way. I feel like when I started studying it in CEGEP, it kind of sucked the joy out of it, because everything I made was part of my art practice and part of some overarching creative narrative of my life. I longed for when I was a kid and I would make art for hours and hours on end, and I never really thought about what I was making or what it meant, if people would like it, if I could make money off of it, or if it was important. That’s why I wanted to be an artist, because I love that process. 

For more information on Crawford and her work, please visit her website and Instagram

 

Visuals courtesy Gab Castelo and Aaliyah Crawford

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