Anywhere one travels in the world, artists talk about problems of availability and appropriateness of studio space. Artists living in the Kitikmeot Hamlets in Nunavut from where I just returned also struggle with lack of ventilated carving studios. They tell me carving studios are crucial to avoid respiratory illnesses related to ingestion of fine stone dust, sometimes contaminated with asbestos.
Rex Goose, Carver at Ulukhaktok Art Centre, Holman
Island, Northwest Territories works on an antler
carving of a muskox using communal tools.
Taluq Design Centre of Taloyoak/Spence Bay, Boothia
Peninsula Nunavut, Canada
An artist studio is anywhere one works and can be in or outside the home. My new project studio space is idyllically located outside but near my home, and a short scenic bike ride to my sailing club.
An inspirational setting in which to muse, my recent arctic memories intermingling with Ottawa River spring and summer seasonal fragrances. The abundance of my photography and journal research in the Inuvialuit NWT and Kitikmeot Nunavut during January/February 2013 surrounds me, now in a contrasting southern geography. This alchemy of production includes experimental techniques and medium. My studio practice is research based. As in my writing, my visual/media practice is autobiographically inspired and positioned within larger contemporary aesthetic and socio-enviromental discussion on the dynamic of memory where the present recreates the past, and implications for fluidity in identity.