Hamilton Supercrawl 2012 Report

Tons of fun was had last weekend at what may have been my last summer hurrah before a deluge of autumn work at the Hamilton Supercrawl.  I went as a special assistant to pals Becky and Kalpna whose fabulous project, the Toronto Hyperbolic Crochet Coral Reef, was (and still is) installed at indie accessory and vintage shop White Elephant for the duration of weekend.

Becky and I rolled into Hamilton late on the first night of the Supercrawl.  Armed with a mickey of bourbon, we took to the streets and spotted some great stuff, among it DIY street haircutting, ornate steel quilts, a samosa vendor that had 10+ tantalizing varieties including vegetarian South African samosas, and the above collage work by art collective Group of Seven Billion, which in many cases reminded me of the punk art of Winston Smith and Crass artist Gee Vaucher.  The next night, I came away with three fabulous pieces for a whopping $12-- thanks guys!

After a night's rest, we pitched a tent and made some impromptu hyperbolic coral models and answered questions from passersby about the installation and the fine art of hyperbolic crochet.  Visitors to the tent marveled at Kalpna (whose hands are in the foreground) and her hybrid crochet-knitting overhand swoosh technique as well as Becky (gal with yellow tights) and her anus-themed pseudosphere...!  We also answered the question of the day exactly eleven million times: "How much are you selling these afghans for?"  Answer:  "They are not for sale-- they are only for decoration. Sorry."

My Saturday was spent slowly making what ended up being a rather wimpy crocheted pseudosphere.  I also got to see the fabulous Hamilton-born and bred proto-punk band Simply Saucer on an outdoor stage.  Later that day, we took down the tent, ate dinner, drank a few pints at The Brain, and caught the end of Owen Pallett's set before hunkering down for the night.

I'm ready to move to Hamilton!

The End

I've spent the last week and a bit working hard on the following project for an upcoming show in October.  Lots more to do, but decent progress is being made, I suppose.  Above is a photo of the work in progress-- essentially a drawing of a mid-century end title card made with black and white sesame seeds.  Below is some of the source material, as well as an excerpt from my proposal for the project.

The End
Summer 2012

Last week, North America faced record-breaking high temperatures from coast to coast.  Ominous newspaper headlines marked this summer’s early heat waves, storms, wildfires and power outages to be a glimpse of “what global warming looks like.”  For me, one of the most disconcerting aspects of global warming is the effect that it will inevitably (continue to) have on food production.

In addition to my ongoing concern over global warming, I have been thinking a lot about shifts from one historical period to the next, and our collective inclination to mark epochs and define the time we live in.  If the mid 20th Century and its golden age of cinema could be considered an age of illusion and suspended belief, perhaps our current era can be characterized by a general loss of illusions.    

Simultaneously a celebration of mid-century design and a meditation on loss, The End points to our inclination to repeatedly mark historical periods as a series of ends while pondering the precariousness of our environment in the present.