Initially, I was attracted to the content showing bees and flowers- an easy way to pull me in! The video is only about one and a half minutes long. In Switzer’s words, the work is “… documenting the multiple alien encounters that took place in her garden throughout August 2020.” They note that the designs transformed from a 3D animation experiment into a multi-disciplinary piece. I was drawn to the narrative, and the simple forms in the context of nature. The video has meditative effects through repetitive and calming visuals and sounds. You can hear birds in the garden, and most of the footage of bees flying was slowed down.

The “visitors” are given the role of observer, each with a different “task”. The narrative became more interesting for me when I saw the forms referred to as “alien” and the video presented like nature photography/documentary. Emily Switzer has a background working in the VFX industry before deciding to learn how to be a 3D designer and artist. They currently work freelance in Toronto. After seeing this work, I can see the influence of their experience working in visual effects and their goal in this project to bring attention to nature through digital art.

Impressions of presentation:

Upon first watching the video, I had the impression of impermanence- in both content and length of the video. I am wondering if the way Switzer chose to present the “visitors” was a record of this feeling of impermanence? I am slightly removed from the knowledge and techniques of 3D art and design, so this affects my perception of the work. The design of “visitors”/ “aliens” distracted me at first but it became more intriguing once I re-watched the video. Their forms consisted of blobs, diamond-like, cellphone-shaped, and their textures ranged from soft, to reflective, opalescent and metallic.

The video was effective to me in terms of conveying “found footage”. The inclusion of the honey bees and plants in changing daylight contributed to this. I noticed the sun seemed to be at different angles in various shots. I started to have more appreciation for the control of light created on the 3D forms. The (real) bees featured as animal interaction with the 3D design aspect is effective in showing their presence attempting to “blend in”.

There was contrast in animated movement, colour, and presence of form- as well as similarity in rhythm and scale in the design. I noticed the movement of the bees’ wings synchronized with the movement of the 3D “visitor” shaped like a ring. Overall, I like how it plays with organic and inorganic materials and caused me to question what was “real” or part of the 3D design.

The introduction to "The Visitors" video, by Emily Switzer

What could be improved:

If it were made to be a slightly longer video, there could have been more narrative explored- interactions with the insects and plants, with the same or different 3D designs. And without reading the summary of the project, I would have made a more abstract assumption of what the work was saying- which is not necessarily a bad thing. The visual storytelling is made to be slow paced. I wonder if more actions were fit into the same amount of time, it would take away from Switzer’s intentions of showing the meditative effect of watching nature.

I also like the idea of watching the video as a large projection, almost cinema sized and seeing how that would change my impression instead of a small screen.

How does it relate to my project?

The main thing is the interaction of art that shows bees in their habitat. When I learned that it was filmed by a Toronto-based artist, I was thinking about how the significance of location plays into their work and mine; connection to place and the beings we co-exist with. It brought to light my own exploration considering the reasons I want my project to be installed (temporarily) on the landscape within Toronto. There is an element of reflection being asked of the viewer that I relate to, both in the process of making and thinking about work in honour of bees and their habitats we have lost and/or harmed. There is a weight of reflection from grieving changes in our environment, which invites us to envision how we can change our relationship to nature now.

Potential application to my work:

I would like to consider video as a tool to express the context of the sculptural textiles I build if I bring them into a setting like a park. For example, I like the idea of expanding on the narrative of a “visitors” but with the focus on bees and other creatures (including humans!) who may visit my objects in an installation, especially outside. It could become a series focused on different places and themes or stand alone like this work.

________

“Majesty- Illusion Between Italy and Canada”

video still from the introduction of the "Majesty" exhibit.

This exhibition was made by a group called Muse Factory Projects, consisting of designers and curators connected to the Istituto Italiano di Cultura Toronto (The Italian Cultural Institute.) They are a branch of the Italian consulate in Toronto, and both an educational and cultural venue for Italy in Canada. “Majesty” was made as a collaboration with designers Chiara Andretti and Francesco Faccin, and curators Francesca Molteni and Maria Cristina. It was originally intended for in-person viewing as an immersive installation, but the COVID-19 pandemic led to adapting it and becoming virtual.

The group was influenced by this idea of humans in "wild nature" blending with Italian design, becoming an overall dialogue between humankind and the Earth. Their written statements mention the “…symbolic territories that define Canadian culture and identity…”. The exhibit caught my attention, especially once I saw they were interpreting the meaning of nature through their designs. I was also curious because it was made by Italian designers and I have recently made more effort to connect to my Italian heritage (through my mum’s side). I had not heard of the Istituto Italiano di Cultura before finding this work.

The designers Andretti and Faccin are questioning their relationship to nature working with a variety of forms and materials like wood, ceramics, wool, and others.

video still featuring objects designed by Chiara Andretti and Francesco Faccin

The work was photographed in the Casiglio forest in the Italian Alps, near Belluno in the region of Veneto, Italy.

· “Inès Chair”- chestnut wood, braided marsh grass

· “Chamelea II” refractory ceramic

· “Fasuma” woven, undyed Himalayan wool

· “Re-fire Kit”- (like a bow-drill kit for friction fire)- materials not listed

· “Pelleossa chair”- ash wood, leather

· “Paneluce”- lasercut wood candle holder

The material and techniques used to craft each object were carefully chosen to reflect the context of the materials and where they were held in. For example, the Chamlea II ceramic vessel is shown in a short video clip. One of the designers is kneeling on rocks, holding it at a stream in the forest while letting water fill the vessel. Then they pour it slowly over their hand, back into the stream.

Impressions of presentation

My first impression was that “Majesty” was exploring that connection to nature through art/craft/design in Canada directly compared to Italy. After looking at it longer, it was less about distinguishing them and more about the designers adopting that impression of culture and identity alongside the natural world into their practice. The exhibit was shown in a “newsletter exhibition” format. I see a clear connection between the objects that were made and the land they were documented on. Each of the creations are exploring dualities of the human design and nature- like real and unreal; details and overall; reality and illusion, etc. I thought the objects had a sense of purity in both form and intention.

What could be improved:

The curators mention the paradox of presenting an exhibition electronically about “material and tangible traces”. I am glad they communicate their awareness but even so, something feels lacking in how the work is presented. It perhaps stems from the combination of language and culture being translated- some of the language felt indirect. For example, the term “wild nature” could be seen in multiple ways, depending on if you are an Italian or Canadian viewer.

When they mention Canada’s identity being associated with “the wild”, it makes me wonder why this seems to be a well-known connection since this would vary from region to region, maker to maker… Explaining the origin of the exhibition as conversations between curators and designers could be improved. They could bring the meaning behind the title “majesty” (that is mentioned further on in the order of virtual exhibition) to the foreground more, letting the display of the work have more power.

section of written statement by curator Maria Cristina

How does it relate to my current project?

“Majesty” relates to my project through the concept of humans and nature, and how this constructed separation is harmful to the land and other beings. By encouraging an approach to bring craft and design “back” to nature, there is an opportunity for healing. I was seeing a connection to the meaning of “wild” to my work when they describe seeing objects placed on a natural landscape with intention to have them “… going back to their ideal ecosystem, from which, somehow, they belong.” I believe this is achievable in a city too. The art, craft, and furniture design found in “Majesty” were all important channels to work towards the designers deepening their connection to nature. I see my project fitting within this approach to making and my values of encouraging creativity, community, and nature connection as a whole.

Potential application to my work:

The designers are clearly working with “less is more” to communicate the narrative. Currently, thinking about incorporating less material into my structures is/will help me as I continue developing and making my final objects. Throughout my capstone journey, there have often been several materials I want to use and/or ideas I want to express within a limited time. This combination of curiosity, passion for my concept and techniques, and my practice coming from less of a functional design “mindset” sometimes scatters my energy in the process. I can step back and see the objects in “Majesty” are an example of a simple yet strong approach to a body of work.

The act of bringing the work out of the studio and into the landscape is something I would like to continue considering in my work too. The use of photography to document the objects outside in this exhibition is inspiring to me. I would like to combine photography, drawing, and writing in a similar way through my process document and project overall.

Nature and Design- Design T.O. Festival Reflection

Thanks for reading!

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