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| Jane Tingley | |
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Jane Tingley is a Winnipeg artist living and working in Montreal. She received her MFA at Concordia University in 2006 and uses new media, sculpture, and installation to explore ideas involving identity and contemporary experience. Jane Tingley has participated in exhibitions, and festivals in Canada, Japan, and Europe - including B/R/T Le corps habité presented by Groupe Molior and Ignition at The Leonard and Bina Ellen Gallery in Montreal; Identity at Gallerie Le Deco in Shibuya (Tokyo) and Show 2000 at the Canadian Embassy in Tokyo, Japan; Festival Break 2.3 in Slovenia, and La Nuit Blanch in Montreal. She has received support from a number of funding agencies, including The Manitoba Arts Council, le Centre Interuniversitaire des Arts Médiatiques (CIAM), and the Canada Arts Council. Currently she is focusing on artistic production, as well as participating in Artist Residencies. |
| 关于此艺术家 | |
My approach to art making is sculptural in nature. I use material as syntax and am as concerned with the coherence of materiality as with the arrangement of objects in a space. Since 2003, I have moved from an interest in object as sight of contemplation, to a focus on the experience of a space and the objects within it; as a result, my practice has become more installation-based. In order to further explore this interest, I have also begun to integrate technologies such as sensors, motors/solenoids, and speakers to create new relationships that highlight the active body of the spectator within the installation space. My interest in using technologies lies not in creating highly technological environments, but rather in integrating different types of technologies – both old and new. My objects are not focused on being technologically efficient, and are connected to the hand that built them. I draw on a wide range of media, less concerned with the technological aspects of the medium than its semiotic implications. |
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Peripheral Response
2005 |
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| Peripheral Response is a responsive installation, which uses the body’s peripheral nervous system as a launching point for an exploration of seeking-to-understand. The installation posits the viewer into the mystery of the flesh and focuses on the action of how two systems negotiate each other.
Peripheral Response is comprised of elements that articulate robotically by tapping the floor. The elements in the installation are informed by medical textbook illustrations of the body’s sensory receptors, which combined create our sense of touch. Each receptor contains multiple sensing devices allowing the objects to ‘know’ the viewers location and to respond.
When the participant completes the circuit of information exchange, the installation responds creating a relationship with the viewer. The objects respond to the participant by tapping the floor individually and collectively – audibly following the viewer as they move through the room. The resulting soundscape evokes a system of communication that invites the viewers to insert themselves into a communicative model.
The resulting system of exchange is a physical encounter, where viewers’ body becomes guest. As one moves through the space, the ripple effect caused by their presence calms and the installation settles.
To see video:
http://vimeo.com/janetingley
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Peripheral Response
2005 |
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| detail -
See the link below for video of the installation. |
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Peripheral Response |
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| Detail |
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Body:thrichobotria
2005 |
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| The Body: thrichobotria, is woven in a non-linear form of weaving or lace making called bobbin weave, and refers to the flesh as a sensory organ allowing us to sense our environment. Not unlike thrichobotria, which are the hairs on a spiders leg allowing it to sense it’s web, the system of web-like nerves in the body extend into our environment through touch. The pattern was a medical image of sensory receptors in the flesh, the weave takes on a physical quality that attempts to unify the sensorial body with the incorporeal body. Through the use of the weave and its visual connectivity to the surrounding architectural space, I hope to consider a body, which is at once becoming and diminishing. |
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Body:thrichobotria |
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| Leonard and Bina Ellen Gallery, Montréal, QC. 2005 |
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Branch Prosthetic
2007 |
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| …the word stump, a word that refers to both the body that is maimed and the prosthetic that replaces it. The cut-down root of a tree is a stump, and by analogy the limb that is removed from the body is also a stump. […] the human gains a stump from the stump created in the tree. 1
This is a work in progress. The piece is a life sized branch prosthetic, which is a sketch for a larger piece. My intention is to replace the limbs on trees - branches that have been prunned off or brocken off. This branch was built as a maquette, it will be placed on a hydro pole, and documented.
1-Davis, Lennard J. “Stumped By Genes”. The Prosthetic Impulse; From a Posthuman Present To a Biocultural Future. Ed. Smith M. and Morra J. Cambridge, Massachusetts. 2006. 95. |
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Plant(ipod)Installation
2008 |
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| The “Plant Prosthetic Installation” is similar to my previous work, as it reflects my interest in exploring the active relationship between objects in the space of the gallery, and the body of the viewer. Predominantly sculptural in nature, the installation is comprised of twelve plant/prosthetic objects of various shapes and sizes, spread out in a grid like fashion throughout the gallery, and spaced about one and a half meters apart (fig 1). The organically shaped objects house embedded houseplants. They visually reference tree like forms, or, more specifically trees that have been coppiced, or pollarded, which are forms of pruning that encourage new growth. Each of the sculptural objects include a built in subwoofer with metal branches rising from it, to hold the two small speakers close to the leafy part of the plant, and function as a sound system (fig 2 - 4). Individually, the objects contain both sensors and speakers, so that the sound being played to the plants is directly affected by the viewer’s location and proximity.
The sound component of the work is also sculptural in nature, and has two modes - one for when there is a viewer and another for when there isn’t. In “rest” mode, the speakers play the sounds of many different types of breathing, as though the space is filled with many people. As the viewer moves throughout the space, coming into range of the individual plants, the sounds will transform into quiet whispering, evoking the theory that plants respond to people speaking to them, growing stronger and healthier. For the breathing sound, I have taken field recordings of mechanical noise – such as recordings of fans, the sounds of hinges, and motors. I have made sound control patches that allow me to adjust the speed, directionality, and length of the clips being played, as well as layer the sound files together. Once the files are layered, I convolve them with sound files of breathing to create a sound that is clearly breath, but with a feel that isn’t quite natural – a sound that alludes to the breath of both the plants and the technological components. The “active” mode consists of recorded stories, and cultural tales that come from a web site of folktales and stories about trees. Individually the sounds played to the plants will not be loud, but together will fill the gallery space with collective breathing. As the viewer moves through the space, the sounds of the plants that s/he is closest to will drift in and out of stories told in multiple languages. |
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Plant(ipod)Installation - detail
2008 |
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This work explores the poetics involved in creating new relationships between human and plant life, and subverts the traditional hierarchy, which positions plant life below human life. The installation will evoke the possibility of developing technologies that are nature-centric rather than human-centric – and will breath life back into the idea of the enchanted forest. The installation will invite the viewer to walk through a sensorial environment, where the movement of the body collaborates with the objects in the space, and creates new auditory experiences for both plant and viewer. |
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Tree prosthetic installed
2009 |
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| Installed in Quebec |
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Tree prosthetic
2009 |
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| Tree Prosthetic designed and built in Johnson Vermont. |
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Inbetween
2009 |
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Branch Prosthetic Installed
2009 |
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| Tree Posthetic Installed in Montreal, Quebec, Canada. The final articulation of the Branch Prosthetic project will realized in France in 2010 at the residency at CAMAC. I will build a sound system, which will respond to the viewer, and will be powered by solar panels. |
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Branch Prosthetic Installed |
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| 教育程度与个人自传 | |
| Education · Concordia University 2006 Masters of Fine Arts in Studio Arts - Sculpture · MAWA – Mentee to Diana Thorneycroft 2003 · School of the Art Institute of Chicago – MFA – 1 semester 2001 · University of Manitoba - Bachelor of Fine Arts Honours 1999 Major: Sculpture - Graduated with First Class Honours Awards/ Grants · Vermont Studio Center - Partial Fellowship from the VLC Fellowship Fund 2008 · Canada Council for the Arts – Travel Grant – Visual Arts Section 2007 · Canada Council –Production Grant – New Media Section 2006 · Centre Interuniversitaire des Arts Médiatique (CIAM) – Travel Grant 2005 · CIAM – Project funding 2005 · CIAM – Graduate Project Funding 2004 · Manitoba Arts Council - Student Bursary 2004 · Philanthropic Educational Organization (P.E.O.) – Student Award 2004 · Manitoba Arts Council - Student Bursary 2003 · Manitoba Arts Council - Visual Arts ‘C’ Grant 2002 · The Readers Digest/Lila Achenson Wallace Award 2001 · Kenneth Finkelstein Prize in Sculpture at the University of Manitoba 1999 Solo Exhibitions · NAISA – New Adventures in Sound Art Ecology; Water, Air, Sound Toronto, Ontario 2009 Work to Present: Plant(ipod)Installation. Contact - Darren Copeland. · FoFA Gallery, 1515 Ste Catherine St O Montreal, QC 2008 Installation: Plant(ipod)Installation – by selection · Bourget Gallery, Montreal, Quebec 2006 Installation: Peripheral Response Group Exhibitions · Corps habité / The Inhabited Body - presented by Group Molior 2007 661Rose-de-Lima, Montreal, QC – Three-artist exhibition. · Chantier Libre, C.A.S.H, Montréal, QC, Canada 2007 Presented: Tree Prosthetic and Plant Installation work-in-progress · Ignition 2 – Leonard and Bina Ellen Gallery, Montreal, Quebec 2005 Curated by Michèle Thériault. Installation: Body;trichobothria · Drawing Resistance - Label for Artists; Winnipeg, MB. Canada 2003 Sculpture: Gaming Arm · Identity - Gallerie Le Deco; eyesaw exhibition; Tokyo, Japan 2001 Kinetic Sculpture: Herman and Betty · Show 2000 - Canadian Embassy; Tokyo, Japan 2000 Photographs – Curated by Meridyth Bishop and Daniel E. Naumann · Thesis Show - Main Access Gallery; Winnipeg, MB., Canada 1999 Sculpture: The Venetian Blind Dress · Art for Healing - The Walker Theatre; Winnipeg, MB., Canada 1997 · Le Proche et le Lointain - International Festival of Photography - Arles, France 1996 · Le Proche et le Lointain - Canadian Cultural Centre – Paris, France 1996 Festivals · Nuit Blanche Toronto, Ontario Curated by : New Adventures in Sound Art (NAISA) 2008 Partial Installation of Peripheral Response · Toronto Art Fair Toronto, Ontario Curated by : New Adventures in Sound Art (NAISA) 2008 Partial Installation of Peripheral Response · Robo Co-op presented by ELEKTRA 2007 and Usine C- Montreal All-Nighter. Organized by Simon Laroche Partial Installation of Peripheral Response · Break 2.3 – “New Species”, 8th International Festival 2005 Ljubljana, Slovenia - Curators: Polona Tratnik - Catalogue produced Installation: Peripheral Response Residencies (Future and Past) · CAMAC – Marnay sur Seine, France 2010 Awarded a Partial Fellowship from the Fondation Ténot · Vermont Studio Centre 2009 Johnson, Vermont. USA Awarded a Partial Fellowship from the VLC Fellowship Fund · Pilotprojekt Gropiusstadt - Schumacher & Jonas 2007 Pasteurstr. 13 - D-10407 Berlin, Germany – EU 2 week residency – Developpped project proposal - Catalogue produced · CHANTIER LIBRE * FREELAND 2007 au C.A.S.H, situé au 3520 rue Saint-Jacques, Montréal, QC, Canada One-month residency. Work-in-progress exhibition. Developed current “Plant(iPod)Installation”. Publications and Web Documents · Jane Tingley’s Plant (iPod) Installation 2008 Text written by Ernestine Daubner http://fofagallery.concordia.ca/ehtml/2008/09ipodplant.htm · News From Apple, the iTree, By Stacey Ho, Things of Desire – On-line Aug 21st 2008 http://thingsofdesire.wordpress.com/2008/08/21/new-from-apple-the-itree/ · Pilotprojekt Gropiusstadt - Catelogue 2008 · BRT – Bachmann, Roussel, Tingley; Le corps habité 2007 Essay written by Jason Arsenault · Corps Habité / The Inhabited Body – Youtube – On-line Dec 10th 2007 http://www.youtube.com/watch?v=TaPUUtldO9g · Les Fleurs du Mal, Concordia University Magazine – June Issue 2007 · Break 2.3 Catalogue - 8th International Festival; Ljubljana, Slovenia 2005 · http://www.molior.ca/projets.php?section=resume&projet=25〈=0 · Show 2000 at the Canadian Embassy Gallery by Monty DiPietro 2000 http://www.assemblylanguage.com/reviews/Show.html · Admissions Handbook and video - University of Manitoba, Winnipeg, MB 1999 · Warehouse Journal - University of Manitoba, Vol. 8 1998/9 · Uptown Magazine; Cover photograph 4 1996 Winnipeg, Manitoba - Aug. 29th-Sept. 4th, Vol. 9, No. 2 |
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| 未来的展览 | |
| Scheduled Exhibitions · Around the Frayed Edges, Agnes Jamieson Gallery 2010 Minden, Ontario. Work to Present: Body; trichobothria. |
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| 网站: www.molior.ca/artistes.php?section=bio&artiste=18&lang=0 | |
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