Sekibutsu-gun, [detail]

Artist: Linda Covit

ID : 2011

Description: Installation at Galerie Yahouda Meir, Montréal. 35 "stones" are arranged in seven rows on a structure graduating in height. Inspired by a sekibutsu-gun (stone/Buddha/group) I had photographed in the Daitoku-ji temple in Kyoto, the "stones", made of clay, have vague images of human forms sculpted in relief, and are rubbed with grey/green powders, highlighted in gold. Placed at the end of a 25' long reflecting pool, the basin acts as a distancing mechanism between the sculpture and the viewer. The reflective quality of the water creates a continual circular image of the "stones".

The stones, structure and basin were constructed using the rules of traditional Renaissance perspective. The basin, being 10' wide at the front, diminishing to 3.5' at the back, project converging lines somewhere in the distance. Created and installed for a long, narrow gallery space, the width of the front of the basin almost reaches the gallery walls, preventing the viewer from walking around the installation.

Photo: Marc Cramer.

Des mesures : 0.1044 x 0.348 x 1.044 m

Collection:

Date de réalisation : 1987

Matériaux : unfired clay, paint powders, wood, paint, plastic, water

Collection virtuelle : Original CCCA

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Sekibutsu-gun, [detail]

Artist: Linda Covit

ID : 2010

Description: Installation at Galerie Yahouda Meir, Montréal. 35 "stones" are arranged in seven rows on a structure graduating in height. Inspired by a sekibutsu-gun (stone/Buddha/group) I had photographed in the Daitoku-ji temple in Kyoto, the "stones", made of clay, have vague images of human forms sculpted in relief, and are rubbed with grey/green powders, highlighted in gold. Placed at the end of a 25' long reflecting pool, the basin acts as a distancing mechanism between the sculpture and the viewer. The reflective quality of the water creates a continual circular image of the "stones".

The stones, structure and basin were constructed using the rules of traditional Renaissance perspective. The basin, being 10' wide at the front, diminishing to 3.5' at the back, project converging lines somewhere in the distance. Created and installed for a long, narrow gallery space, the width of the front of the basin almost reaches the gallery walls, preventing the viewer from walking around the installation.

Photo: Marc Cramer.

Des mesures : 0.1044 x 0.348 x 1.044 m

Collection:

Date de réalisation : 1987

Matériaux : unfired clay, paint powders, wood, paint, plastic, water

Collection virtuelle : Original CCCA

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Sekibutsu-gun

Artist: Linda Covit

ID : 1181

Description: Installation at Galerie Yahouda Meir, Montréal. 35 "stones" are arranged in seven rows on a structure graduating in height. Inspired by a sekibutsu-gun (stone/Buddha/group) I had photographed in the Daitoku-ji temple in Kyoto, the "stones", made of clay, have vague images of human forms sculpted in relief, and are rubbed with grey/green powders, highlighted in gold. Placed at the end of a 25' long reflecting pool, the basin acts as a distancing mechanism between the sculpture and the viewer. The reflective quality of the water creates a continual circular image of the "stones".

The stones, structure and basin were constructed using the rules of traditional Renaissance perspective. The basin, being 10' wide at the front, diminishing to 3.5' at the back, project converging lines somewhere in the distance. Created and installed for a long, narrow gallery space, the width of the front of the basin almost reaches the gallery walls, preventing the viewer from walking around the installation.

Photo: Marc Cramer.

Des mesures : 0.1044 x 0.348 x 1.044 m

Collection:

Date de réalisation : 1987

Matériaux : unfired clay, paint powders, wood, paint, plastic, water

Collection virtuelle : Original CCCA

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Caesura

Artist: Linda Covit

ID : 1183

Description: Installation at Jarry Park, Montreal. Commissioned by the City of Montreal for its anniversary, Caesura is composed of three parts: a central element traversed by an axis which links the privileged point for viewing with the vanishing point. Two large stainless steel "doors" (the central element) rise out of the ground through a granite spiral base and open onto a garden in the distance. A sarcophagus, buried underneath the spiral in the cement foundation, has been filled with 12,700 war toys given by thousands of children in the Montreal area as a collective gesture for peace. Silhouettes of some of the toys are cut out in brass plate sections inlaid in the granite spiral. Filled with earth, the cut-outs have been left to be overgrown by weeds. Thirty of the toys were cast in bronze and are scattered across the spiral and grass. (Many of these have been stolen. The first eight have been marked by stone slabs inscribed with une oeuvre pour la paix and the date of theft.) Three benches are aligned with the garden through the half-open doors, and equidistantly sited from it on the opposite side of the spiral. With a semicircular planting of bushes behind them, they provide an intimate alcove for private viewing. The olfactory and tactile at the "viewing point" (the benches) correspond to the visual in the "vanishing point" (the garden): the stone benches are of the same granite as the two large rocks at the core of the garden: corresponding foliage is planted in both isles, offering the cyclical changes of colour, form and texture related to each season. Caesura is dedicated to Aung San Suu Kyi, and to all the individuals who are engaged in the pursuit of peace.

Photo: Marc Cramer.

Des mesures : 0.5568 m x 26,910 sq. m; 0.174 m x 8.4216 sq. m.

Collection:

Date de réalisation : 1991

Matériaux : stainless steel, granite, brass, plants, grass

Collection virtuelle : Original CCCA

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Traces, [detail]

Artist: Linda Covit

ID : 2012

Description: Installation at Galerie Oboro, Montreal. A photograph of an immense hand, affixed to a steel column, sits near the end of a silent black reflecting pool. At the front of the pool a bench offers the optimum place for viewing the reflected image. Two steel panels lean against the wall facing the pool. Each holds a suspended photographic image: one, Major Mery from a Karen refugee camp in Thailand, emblem of a people rapidly facing extinction; the other, a Thai Buddhist monk. A motorized pendulum is suspended several feet in front of these images, very slowly marking time, taking 30 seconds to complete its passage.

Photo: Marc Cramer.

Des mesures : 0.348 x 0.5568 x 2.436 m

Collection:

Date de réalisation : 1991

Matériaux : steel, wood, paint, plastic, b&w and colour photos, motor

Collection virtuelle : Original CCCA

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Caesura

Artist: Linda Covit

ID : 2014

Description: Installation at Jarry Park, Montreal. Commissioned by the City of Montreal for its anniversary, Caesura is composed of three parts: a central element traversed by an axis which links the privileged point for viewing with the vanishing point. Two large stainless steel "doors" (the central element) rise out of the ground through a granite spiral base and open onto a garden in the distance. A sarcophagus, buried underneath the spiral in the cement foundation, has been filled with 12,700 war toys given by thousands of children in the Montreal area as a collective gesture for peace. Silhouettes of some of the toys are cut out in brass plate sections inlaid in the granite spiral. Filled with earth, the cut-outs have been left to be overgrown by weeds. Thirty of the toys were cast in bronze and are scattered across the spiral and grass. (Many of these have been stolen. The first eight have been marked by stone slabs inscribed with une oeuvre pour la paix and the date of theft.) Three benches are aligned with the garden through the half-open doors, and equidistantly sited from it on the opposite side of the spiral. With a semicircular planting of bushes behind them, they provide an intimate alcove for private viewing. The olfactory and tactile at the "viewing point" (the benches) correspond to the visual in the "vanishing point" (the garden): the stone benches are of the same granite as the two large rocks at the core of the garden: corresponding foliage is planted in both isles, offering the cyclical changes of colour, form and texture related to each season. Caesura is dedicated to Aung San Suu Kyi, and to all the individuals who are engaged in the pursuit of peace.

Photo: Marc Cramer.

Des mesures : 0.5568 m x 26,910 sq. m; 0.174 m x 8.4216 sq. m.

Collection:

Date de réalisation : 1991

Matériaux : stainless steel, granite, brass, plants, grass

Collection virtuelle : Original CCCA

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Caesura

Artist: Linda Covit

ID : 2015

Description: Installation at Jarry Park, Montreal. Commissioned by the City of Montreal for its anniversary, Caesura is composed of three parts: a central element traversed by an axis which links the privileged point for viewing with the vanishing point. Two large stainless steel "doors" (the central element) rise out of the ground through a granite spiral base and open onto a garden in the distance. A sarcophagus, buried underneath the spiral in the cement foundation, has been filled with 12,700 war toys given by thousands of children in the Montreal area as a collective gesture for peace. Silhouettes of some of the toys are cut out in brass plate sections inlaid in the granite spiral. Filled with earth, the cut-outs have been left to be overgrown by weeds. Thirty of the toys were cast in bronze and are scattered across the spiral and grass. (Many of these have been stolen. The first eight have been marked by stone slabs inscribed with une oeuvre pour la paix and the date of theft.) Three benches are aligned with the garden through the half-open doors, and equidistantly sited from it on the opposite side of the spiral. With a semicircular planting of bushes behind them, they provide an intimate alcove for private viewing. The olfactory and tactile at the "viewing point" (the benches) correspond to the visual in the "vanishing point" (the garden): the stone benches are of the same granite as the two large rocks at the core of the garden: corresponding foliage is planted in both isles, offering the cyclical changes of colour, form and texture related to each season. Caesura is dedicated to Aung San Suu Kyi, and to all the individuals who are engaged in the pursuit of peace.

Photo: Marc Cramer.

Des mesures : 0.5568 m x 26,910 sq. m; 0.174 m x 8.4216 sq. m.

Collection:

Date de réalisation : 1991

Matériaux : stainless steel, granite, brass, plants, grass

Collection virtuelle : Original CCCA

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Traces

Artist: Linda Covit

ID : 1182

Description: Installation at Galerie Oboro, Montreal. A photograph of an immense hand, affixed to a steel column, sits near the end of a silent black reflecting pool. At the front of the pool a bench offers the optimum place for viewing the reflected image. Two steel panels lean against the wall facing the pool. Each holds a suspended photographic image: one, Major Mery from a Karen refugee camp in Thailand, emblem of a people rapidly facing extinction; the other, a Thai Buddhist monk. A motorized pendulum is suspended several feet in front of these images, very slowly marking time, taking 30 seconds to complete its passage.

Photo: Marc Cramer.

Des mesures : 0.348 x 0.5568 x 2.436 m

Collection:

Date de réalisation : 1991

Matériaux : steel, wood, paint, plastic, b&w and colour photos, motor

Collection virtuelle : Original CCCA

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Traces, [detail]

Artist: Linda Covit

ID : 2013

Description: Installation at Galerie Oboro, Montreal. A photograph of an immense hand, affixed to a steel column, sits near the end of a silent black reflecting pool. At the front of the pool a bench offers the optimum place for viewing the reflected image. Two steel panels lean against the wall facing the pool. Each holds a suspended photographic image: one, Major Mery from a Karen refugee camp in Thailand, emblem of a people rapidly facing extinction; the other, a Thai Buddhist monk. A motorized pendulum is suspended several feet in front of these images, very slowly marking time, taking 30 seconds to complete its passage.

Photo: Marc Cramer.

Des mesures : 0.348 x 0.5568 x 2.436 m

Collection:

Date de réalisation : 1991

Matériaux : steel, wood, paint, plastic, b&w and colour photos, motor

Collection virtuelle : Original CCCA

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Theatre for Sky Blocks, [detail]

Artist: Linda Covit

ID : 2017

Description: Theatre for Sky Blocks, commissioned by the city of Lachine for its outdoor sculpture collection, was conceived for a grassy area of parkland located between a bicycle path and the waterway. A photographic image of clouds was silk-screened across three columns which are visually positioned between two land masses, the water and sky stretching behind them into infinity. A mini amphitheatre, this installation blurs the lines between the existing and the imagined.

Photo: Linda Covit.

Photo: Marc Cramer.

Des mesures : 0.348 x 0.4176 x 1.044 m

Collection: Cité de Lachine, Quebec

Date de réalisation : 1992

Matériaux : painted steel, silk-screen inks, granite bench

Collection virtuelle : Original CCCA

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Theatre for Sky Blocks

Artist: Linda Covit

ID : 1188

Description: Theatre for Sky Blocks, commissioned by the city of Lachine for its outdoor sculpture collection, was conceived for a grassy area of parkland located between a bicycle path and the waterway. A photographic image of clouds was silk-screened across three columns which are visually positioned between two land masses, the water and sky stretching behind them into infinity. A mini amphitheatre, this installation blurs the lines between the existing and the imagined.

Photo: Linda Covit.

Des mesures : 0.348 x 0.4176 x 1.044 m

Collection: Cité de Lachine, Quebec

Date de réalisation : 1992

Matériaux : painted steel, silk-screen inks, granite bench

Collection virtuelle : Original CCCA

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Nature Stations: Wrapped Rocks, [detail]

Artist: Linda Covit

ID : 2016

Description: Commissioned for a hospital, Nature Stations is a garden sculpturally interpreted by an interlinking of areas. Each station is physically delineated by its own distinctive characteristics, offering varying environments for moments of personal tranquillity. A large tree encircled by three granite benches is the symbolic and physical centre of the work. It marks the beginning of a spiral flagstone footpath which emanates outwards through the garden linking the three stations. Wrapped Rocks groups three granite stones on a rectangular pebbled bed. The wrapping of stainless steel cable on each rock, together with the graphic encrustations of coloured pebbles in the floor-bed, accentuate the singularity of each natural rock form. Two benches are placed at a distance in front of the rocks with a third positioned along one side, presenting this station to the seated observer as a tableau. Forest for Being is a rectangular planting of 46 cedar trees in seven rows. Brass bars are anchored in the ground between each row emphasizing the linearity of the arrangement; reflective of the sun, they create shining lengths of light running through the earthen base. In the centre of the forest, a small clearing contains three benches. Surrounded on all sides by trees, this seating offers an intimacy within. In Bridge for Grass, wildflowers and long grasses grow on a steel bridge poised above water, witness to the cyclic rhythms of nature. Five benches are grouped close to the edges of the water, setting up a gentle interaction with the bridge, water, grass and flowers.

Photo: Marc Cramer.

Des mesures : 0.2262 x 0.4524 x 1.1397 m

Collection: Hospital garden, Cité de la Santé, Laval, Quebec

Date de réalisation : 1992-1994

Matériaux : granite, stainless steel cables, pebbles, membrane, lights, granire benches

Collection virtuelle : Original CCCA

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Nature Stations: Bridge for Grass

Artist: Linda Covit

ID : 1187

Description: Commissioned for a hospital, Nature Stations is a garden sculpturally interpreted by an interlinking of areas. Each station is physically delineated by its own distinctive characteristics, offering varying environments for moments of personal tranquillity. A large tree encircled by three granite benches is the symbolic and physical centre of the work. It marks the beginning of a spiral flagstone footpath which emanates outwards through the garden linking the three stations. Wrapped Rocks groups three granite stones on a rectangular pebbled bed. The wrapping of stainless steel cable on each rock, together with the graphic encrustations of coloured pebbles in the floor-bed, accentuate the singularity of each natural rock form. Two benches are placed at a distance in front of the rocks with a third positioned along one side, presenting this station to the seated observer as a tableau. Forest for Being is a rectangular planting of 46 cedar trees in seven rows. Brass bars are anchored in the ground between each row emphasizing the linearity of the arrangement; reflective of the sun, they create shining lengths of light running through the earthen base. In the centre of the forest, a small clearing contains three benches. Surrounded on all sides by trees, this seating offers an intimacy within. In Bridge for Grass, wildflowers and long grasses grow on a steel bridge poised above water, witness to the cyclic rhythms of nature. Five benches are grouped close to the edges of the water, setting up a gentle interaction with the bridge, water, grass and flowers.

Photo: Marc Cramer.

Des mesures : 0.1566 x 0.34104 x 1.3224 m

Collection: Hospital garden, Cité de la Santé, Laval, Quebec

Date de réalisation : 1992-1994

Matériaux : steel, wildflowers, grass, earth, membrane, pebbles, geotextile, water, basin, lights, granite benches

Collection virtuelle : Original CCCA

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Nature Stations: Wrapped Rocks

Artist: Linda Covit

ID : 1185

Description: Commissioned for a hospital, Nature Stations is a garden sculpturally interpreted by an interlinking of areas. Each station is physically delineated by its own distinctive characteristics, offering varying environments for moments of personal tranquillity. A large tree encircled by three granite benches is the symbolic and physical centre of the work. It marks the beginning of a spiral flagstone footpath which emanates outwards through the garden linking the three stations. Wrapped Rocks groups three granite stones on a rectangular pebbled bed. The wrapping of stainless steel cable on each rock, together with the graphic encrustations of coloured pebbles in the floor-bed, accentuate the singularity of each natural rock form. Two benches are placed at a distance in front of the rocks with a third positioned along one side, presenting this station to the seated observer as a tableau. Forest for Being is a rectangular planting of 46 cedar trees in seven rows. Brass bars are anchored in the ground between each row emphasizing the linearity of the arrangement; reflective of the sun, they create shining lengths of light running through the earthen base. In the centre of the forest, a small clearing contains three benches. Surrounded on all sides by trees, this seating offers an intimacy within. In Bridge for Grass, wildflowers and long grasses grow on a steel bridge poised above water, witness to the cyclic rhythms of nature. Five benches are grouped close to the edges of the water, setting up a gentle interaction with the bridge, water, grass and flowers.

Photo: Marc Cramer.

Des mesures : 0.2262 x 0.4524 x 1.1397 m

Collection: Hospital garden, Cité de la Santé, Laval, Quebec

Date de réalisation : 1992-1994

Matériaux : granite, stainless steel cables, pebbles, membrane, lights, granire benches

Collection virtuelle : Original CCCA

Ajouter à la liste

Nature Stations: Forest for Being

Artist: Linda Covit

ID : 1186

Description: Commissioned for a hospital, Nature Stations is a garden sculpturally interpreted by an interlinking of areas. Each station is physically delineated by its own distinctive characteristics, offering varying environments for moments of personal tranquillity. A large tree encircled by three granite benches is the symbolic and physical centre of the work. It marks the beginning of a spiral flagstone footpath which emanates outwards through the garden linking the three stations. Wrapped Rocks groups three granite stones on a rectangular pebbled bed. The wrapping of stainless steel cable on each rock, together with the graphic encrustations of coloured pebbles in the floor-bed, accentuate the singularity of each natural rock form. Two benches are placed at a distance in front of the rocks with a third positioned along one side, presenting this station to the seated observer as a tableau. Forest for Being is a rectangular planting of 46 cedar trees in seven rows. Brass bars are anchored in the ground between each row emphasizing the linearity of the arrangement; reflective of the sun, they create shining lengths of light running through the earthen base. In the centre of the forest, a small clearing contains three benches. Surrounded on all sides by trees, this seating offers an intimacy within. In Bridge for Grass, wildflowers and long grasses grow on a steel bridge poised above water, witness to the cyclic rhythms of nature. Five benches are grouped close to the edges of the water, setting up a gentle interaction with the bridge, water, grass and flowers.

Photo: Marc Cramer.

Des mesures : 0.348 x 1.1397 x 1.479 m

Collection: Hospital garden, Cité de la Santé, Laval, Quebec

Date de réalisation : 1992-1994

Matériaux : cedar trees, solid brass bars, earth, cedar mulch, lights, granite benches

Collection virtuelle : Original CCCA

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Tower for Butterflies, [detail]

Artist: Linda Covit

ID : 2018

Description: Installation at Genereux Grunwald Gallery, Toronto, Ontario. A carpet of grass is planted in a black wood basin, 5" x 10' x 50' (0.1m x 3m x 15.2m). A brushed steel tower sited at one end rises out of the grass to a height of 18'(5.5m). Near its top, the upper portion of a 2' x 8'(0.6m x 2.4m) sheet of polished brass is angled out from the tower's side. The lower portion of the sheet hangs loosely, the point of attachment delineated by a stainless steel cable. The angled structure formed between the brass sheet and the steel tower is planted with flowering weeds known to attract butterflies. The delicate hovering of these insects, their ephemeral presence, determines the tower's continually changing sculptural form. A single row of "butterfly plants", an angled sheet of polished brass delineating their length, is planted several feet in front of the tower. A small black wooden bench is centred at the opposite end on the grass, offering the optimum place for viewing. Tower for Butterflies calls attention to the poetics of nature, while simultaneously reflecting the diminishing numbers of butterflies in North American cities. Offering nourishment to the indigenous population, it encourages individual solutions to specific ecological problems.

Photo: Linda Covit.

Photo: Marc Cramer.

Des mesures : 0.6264 x 0.348 x 1.74 m

Collection:

Date de réalisation : 1993

Matériaux : varnished steel & brass, stainless steel cable, painted wood, earth, membrane grass, plants

Collection virtuelle : Original CCCA

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Tower for Butterflies, [detail]

Artist: Linda Covit

ID : 2019

Description: Installation at Genereux Grunwald Gallery, Toronto, Ontario. A carpet of grass is planted in a black wood basin, 5" x 10' x 50' (0.1m x 3m x 15.2m). A brushed steel tower sited at one end rises out of the grass to a height of 18'(5.5m). Near its top, the upper portion of a 2' x 8'(0.6m x 2.4m) sheet of polished brass is angled out from the tower's side. The lower portion of the sheet hangs loosely, the point of attachment delineated by a stainless steel cable. The angled structure formed between the brass sheet and the steel tower is planted with flowering weeds known to attract butterflies. The delicate hovering of these insects, their ephemeral presence, determines the tower's continually changing sculptural form. A single row of "butterfly plants", an angled sheet of polished brass delineating their length, is planted several feet in front of the tower. A small black wooden bench is centred at the opposite end on the grass, offering the optimum place for viewing. Tower for Butterflies calls attention to the poetics of nature, while simultaneously reflecting the diminishing numbers of butterflies in North American cities. Offering nourishment to the indigenous population, it encourages individual solutions to specific ecological problems.

Photo: Linda Covit.

Photo: Marc Cramer.

Des mesures : 0.6264 x 0.348 x 1.74 m

Collection:

Date de réalisation : 1993

Matériaux : varnished steel & brass, stainless steel cable, painted wood, earth, membrane grass, plants

Collection virtuelle : Original CCCA

Ajouter à la liste

Tower for Butterflies

Artist: Linda Covit

ID : 1189

Description: Installation at Genereux Grunwald Gallery, Toronto, Ontario. A carpet of grass is planted in a black wood basin, 5" x 10' x 50' (0.1m x 3m x 15.2m). A brushed steel tower sited at one end rises out of the grass to a height of 18'(5.5m). Near its top, the upper portion of a 2' x 8'(0.6m x 2.4m) sheet of polished brass is angled out from the tower's side. The lower portion of the sheet hangs loosely, the point of attachment delineated by a stainless steel cable. The angled structure formed between the brass sheet and the steel tower is planted with flowering weeds known to attract butterflies. The delicate hovering of these insects, their ephemeral presence, determines the tower's continually changing sculptural form. A single row of "butterfly plants", an angled sheet of polished brass delineating their length, is planted several feet in front of the tower. A small black wooden bench is centred at the opposite end on the grass, offering the optimum place for viewing. Tower for Butterflies calls attention to the poetics of nature, while simultaneously reflecting the diminishing numbers of butterflies in North American cities. Offering nourishment to the indigenous population, it encourages individual solutions to specific ecological problems.

Photo: Linda Covit.

Photo: Marc Cramer.

Des mesures : 0.6264 x 0.348 x 1.74 m

Collection:

Date de réalisation : 1993

Matériaux : varnished steel & brass, stainless steel cable, painted wood, earth, membrane grass, plants

Collection virtuelle : Original CCCA

Ajouter à la liste

Thought for a Forest

Artist: Linda Covit

ID : 2021

Description: Installation at Parc Marie-Victorin, Longeuil, Quebec. Seven spiral elements each encircle a tree or a small grouping of trees in newly forested landfill. Spread throughout a defined area, the elements draw attention to their structural beauty with their dense foliage of spring and summer, the changing leaves of autumn, the bare rugged trunks in winter, as well as underlining the fragility of our coexistence with nature.

Photo: Linda Covit.

Des mesures : 0.618744 elements, each approximately 0.530352 m in diameter x 2.65176 cm high; 0.618744 éléments, chacun d'environ 16.087344 cm de diamètre par 6.717792 cm de haut

Collection:

Date de réalisation : 1995

Matériaux : varnished brass

Collection virtuelle : Original CCCA

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Thought for a Forest

Artist: Linda Covit

ID : 1190

Description: Installation at Parc Marie-Victorin, Longeuil, Quebec. Seven spiral elements each encircle a tree or a small grouping of trees in newly forested landfill. Spread throughout a defined area, the elements draw attention to their structural beauty with their dense foliage of spring and summer, the changing leaves of autumn, the bare rugged trunks in winter, as well as underlining the fragility of our coexistence with nature.

Photo: Linda Covit.

Des mesures : 0.618744 elements, each approximately 0.530352 m in diameter x 2.65176 cm high; 0.618744 éléments, chacun d'environ 16.087344 cm de diamètre par 6.717792 cm de haut

Collection:

Date de réalisation : 1995

Matériaux : varnished brass

Collection virtuelle : Original CCCA

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La cloche aphone

Artist: Linda Covit

ID : 10381

Description: Artist's statement: La cloche aphone (loosely translated as the voiceless bell) is inspired by the bronze temple bells of Japan. However, the sculpture's dimensions are determined in relation to the human body. The bell's exterior has numerous layers of oil and pigment; the hollow interior is painted matte black. The bell is suspended with a chain hoist from the wood beams, centered in the gallery space.

Photo: Marc Cramer.

Des mesures : 223.52 x 80.01 cm diameter

Collection: La Dépendance, Musée de la Ville de Lachine, Quebec

Date de réalisation : 1997

Matériaux : linden wood, wrought iron, paint, oil and pigments

Collection virtuelle : Original CCCA

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Plum Blossom and Bell

Artist: Linda Covit

ID : 10383

Description: Artist's statement: Plum Blossom and Bell, an artist's bookwork (edition of one), was produced in collaboration with Arturo Silva, an American writer living in Tokyo. A boxed series of twelve matted prints with twelve texts on interleaving tissue, it offers two parallel lines of thought on Japan. The photographs are of a century-old foundry famous for its castings of bronze temple bells, and of bound trees found in gardens in Japan.

Des mesures : 53.975 x 49.53 x 43.18 cm

Collection:

Date de réalisation : 1997

Matériaux : wood, oil and pigments, black & white matted photographs, colour photograph, interleaving papers, ribbon, text by Arturo Silva

Collection virtuelle : Original CCCA

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Plum Blossom and Bell, [detail]

Artist: Linda Covit

ID : 10386

Description: Artist's statement: Plum Blossom and Bell, an artist's bookwork (edition of one), was produced in collaboration with Arturo Silva, an American writer living in Tokyo. A boxed series of twelve matted prints with twelve texts on interleaving tissue, it offers two parallel lines of thought on Japan. The photographs are of a century-old foundry famous for its castings of bronze temple bells, and of bound trees found in gardens in Japan.

Photo: Linda Covit.

Des mesures : 53.975 x 49.53 x 43.18 cm

Collection:

Date de réalisation : 1997

Matériaux : wood, oil and pigments, black & white matted photographs, colour photograph, interleaving papers, ribbon, text by Arturo Silva

Collection virtuelle : Original CCCA

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Plum Blossom and Bell, [detail]

Artist: Linda Covit

ID : 10385

Description: Artist's statement: Plum Blossom and Bell, an artist's bookwork (edition of one), was produced in collaboration with Arturo Silva, an American writer living in Tokyo. A boxed series of twelve matted prints with twelve texts on interleaving tissue, it offers two parallel lines of thought on Japan. The photographs are of a century-old foundry famous for its castings of bronze temple bells, and of bound trees found in gardens in Japan.

Photo: Linda Covit.

Des mesures : 53.975 x 49.53 x 43.18 cm

Collection:

Date de réalisation : 1997

Matériaux : wood, oil and pigments, black & white matted photographs, colour photograph, interleaving papers, ribbon, text by Arturo Silva

Collection virtuelle : Original CCCA

Ajouter à la liste

Plum Blossom and Bell, [detail]

Artist: Linda Covit

ID : 10384

Description: Artist's statement: Plum Blossom and Bell, an artist's bookwork (edition of one), was produced in collaboration with Arturo Silva, an American writer living in Tokyo. A boxed series of twelve matted prints with twelve texts on interleaving tissue, it offers two parallel lines of thought on Japan. The photographs are of a century-old foundry famous for its castings of bronze temple bells, and of bound trees found in gardens in Japan.

Photo: Linda Covit.

Des mesures : 53.975 x 49.53 x 43.18 cm

Collection:

Date de réalisation : 1997

Matériaux : wood, oil and pigments, black & white matted photographs, colour photograph, interleaving papers, ribbon, text by Arturo Silva

Collection virtuelle : Original CCCA

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La cloche aphone, [detail]

Artist: Linda Covit

ID : 10382

Description: Artist's statement: La cloche aphone (loosely translated as the voiceless bell) is inspired by the bronze temple bells of Japan. However, the sculpture's dimensions are determined in relation to the human body. The bell's exterior has numerous layers of oil and pigment; the hollow interior is painted matte black. The bell is suspended with a chain hoist from the wood beams, centered in the gallery space.

Photo: Marc Cramer.

Des mesures : 223.52 x 80.01 cm diameter

Collection: La Dépendance, Musée de la Ville de Lachine, Quebec

Date de réalisation : 1997

Matériaux : linden wood, wrought iron, paint, oil and pigments

Collection virtuelle : Original CCCA

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untitled

Artist: Linda Covit

ID : 10379

Description: Artist's statement: This work was realized during the symposium "Ecce Homo" at Saint-Jean-Joli, QC (curator - Michel Saulnier). An image of a wrapped tree (photographed at the ruins of Sukkothai, ancient capitol of Thailand), is silk-screened on a thick plate of clear glass (the inks are weather and u.v. resistant). The glass is set into a niche sculpted in the log, held in place with stainless steel bolts and patches.

Photo: Linda Covit.

Des mesures : 274.32 x 76.2 cm diameter

Collection: Saint-Jean-Port-Jolie, Quebec

Date de réalisation : 1998

Matériaux : pine, glass, silk-screen inks, stainless steel

Collection virtuelle : Original CCCA

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untitled, [detail]

Artist: Linda Covit

ID : 10380

Description: Artist's statement: This work was realized during the symposium "Ecce Homo" at Saint-Jean-Joli, QC (curator - Michel Saulnier). An image of a wrapped tree (photographed at the ruins of Sukkothai, ancient capitol of Thailand), is silk-screened on a thick plate of clear glass (the inks are weather and u.v. resistant). The glass is set into a niche sculpted in the log, held in place with stainless steel bolts and patches.

Photo: Linda Covit.

Des mesures : 274.32 x 76.2 cm diameter

Collection: Saint-Jean-Port-Jolie, Quebec

Date de réalisation : 1998

Matériaux : pine, glass, silk-screen inks, stainless steel

Collection virtuelle : Original CCCA

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La balade des poissons et la tour-lumière, [detail]

Artist: Linda Covit

ID : 10393

Description: Artist's statement: This recent garden installation was created for a long-term care hospital. The garden is surrounded on two sides by the hospital building, with windows looking onto it from two floors. Many of the patients require wheelchairs for mobility, others are confined to their rooms. The installation was conceived in relation to the different perspectives onto the site, the physical constraints of the residents, and the long, cold winters that limit physical access to the garden. Concrete walkways define areas in the garden and offer access through it. Between the main allée and the boundary fence, a school of fish marches across the grass. Each fish is fabricated in hammered brass with a blue patina finish, and is perched atop a tripod of stainless steel legs. The heights vary, but are within eye level range of a person in a wheel chair. An illuminated stainless steel tower, sited between the two mainallées, acts as a marker for the residents and a beacon for the walking fish. Natural plantings are organized in relation to these elements.

Photo: Marc Cramer.

Des mesures : 8.132064 x 5.833872 m; 2.474976 x 1.76784 m / tower: 1.591056 m x 3.800856 x 3.800856 cm; 0.486156 x 9.634728 x 9.634728 cm / 1.679448 fish, each: 3.182112 to 6.364224 cm; 8.087868 to 16.175736 cm high by 3.182112 x 4.242816 cm; 8.087868 x 10.783824 cm

Collection: CHSLD in Brossard, Quebec (hospital garden)

Date de réalisation : 1999

Matériaux : stainless steel, aluminum, light, gravel, patina on brass, cement walkways

Collection virtuelle : Original CCCA

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La balade des poissons et la tour-lumière

Artist: Linda Covit

ID : 10392

Description: Artist's statement: This recent garden installation was created for a long-term care hospital. The garden is surrounded on two sides by the hospital building, with windows looking onto it from two floors. Many of the patients require wheelchairs for mobility, others are confined to their rooms. The installation was conceived in relation to the different perspectives onto the site, the physical constraints of the residents, and the long, cold winters that limit physical access to the garden. Concrete walkways define areas in the garden and offer access through it. Between the main allée and the boundary fence, a school of fish marches across the grass. Each fish is fabricated in hammered brass with a blue patina finish, and is perched atop a tripod of stainless steel legs. The heights vary, but are within eye level range of a person in a wheel chair. An illuminated stainless steel tower, sited between the two mainallées, acts as a marker for the residents and a beacon for the walking fish. Natural plantings are organized in relation to these elements.

Photo: Marc Cramer.

Des mesures : 8.132064 x 5.833872 m; 2.474976 x 1.76784 m / tower: 1.591056 m x 3.800856 x 3.800856 cm; 0.486156 x 9.634728 x 9.634728 cm / 1.679448 fish, each: 3.182112 to 6.364224 cm; 8.087868 to 16.175736 cm high by 3.182112 x 4.242816 cm; 8.087868 x 10.783824 cm

Collection: CHSLD in Brossard, Quebec (hospital garden)

Date de réalisation : 1999

Matériaux : stainless steel, aluminum, light, gravel, patina on brass, cement walkways

Collection virtuelle : Original CCCA

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Hearing the Forest, [detail]

Artist: Linda Covit

ID : 10389

Description: Artist's statement: The installation pivots around a large conical form inspired by the old-fashioned hearing horn. A tripod of tall thin steel legs holds this structure horizontally aloft. A set of steps under the cone's smaller extremity offers the viewer access to the "listening" tip. The silence and sounds of the room, magnified through the acoustic structure, are somewhat like the rumblings heard through a seaside conch. Across the walls, a sequence of photographic images chronicles a passage through the mountain top burial grounds of Koyasan (Japan). A vast necropolis, it holds over 200,000 tombs in a primordial forest of towering cryptomeria.

Photo: Linda Covit.

Des mesures : cone: 243.84 x 53.34 to 60.96 cm diameter; 619.76 x 137.16 to 154.94 cm diameter / steps: 45.72 x 45.72 x 76.2 cm; 116.84 x 116.84 x 193.04 cm / photos, each: 40.64 x 50.8 cm; 102.87 x 129.54 cm

Collection:

Date de réalisation : 1999

Matériaux : linden wood, paint, steel, 15 black and white photographs

Collection virtuelle : bw photos, Original CCCA

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Hearing the Forest, [detail]

Artist: Linda Covit

ID : 10388

Description: Artist's statement: The installation pivots around a large conical form inspired by the old-fashioned hearing horn. A tripod of tall thin steel legs holds this structure horizontally aloft. A set of steps under the cone's smaller extremity offers the viewer access to the "listening" tip. The silence and sounds of the room, magnified through the acoustic structure, are somewhat like the rumblings heard through a seaside conch. Across the walls, a sequence of photographic images chronicles a passage through the mountain top burial grounds of Koyasan (Japan). A vast necropolis, it holds over 200,000 tombs in a primordial forest of towering cryptomeria.

Photo: Linda Covit.

Des mesures : cone: 243.84 x 53.34 to 60.96 cm diameter; 619.76 x 137.16 to 154.94 cm diameter / steps: 45.72 x 45.72 x 76.2 cm; 116.84 x 116.84 x 193.04 cm / photos, each: 40.64 x 50.8 cm; 102.87 x 129.54 cm

Collection:

Date de réalisation : 1999

Matériaux : linden wood, paint, steel, 15 black and white photographs

Collection virtuelle : Original CCCA

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Hearing the Forest

Artist: Linda Covit

ID : 10387

Description: Artist's statement: The installation pivots around a large conical form inspired by the old-fashioned hearing horn. A tripod of tall thin steel legs holds this structure horizontally aloft. A set of steps under the cone's smaller extremity offers the viewer access to the "listening" tip. The silence and sounds of the room, magnified through the acoustic structure, are somewhat like the rumblings heard through a seaside conch. Across the walls, a sequence of photographic images chronicles a passage through the mountain top burial grounds of Koyasan (Japan). A vast necropolis, it holds over 200,000 tombs in a primordial forest of towering cryptomeria.

Des mesures : cone: 243.84 x 53.34 to 60.96 cm diameter; 619.76 x 137.16 to 154.94 cm diameter / steps: 45.72 x 45.72 x 76.2 cm; 116.84 x 116.84 x 193.04 cm / photos, each: 40.64 x 50.8 cm; 102.87 x 129.54 cm

Collection:

Date de réalisation : 1999

Matériaux : linden wood, paint, steel, 15 black and white photographs

Collection virtuelle : Original CCCA

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La balade des poissons et la tour-lumière

Artist: Linda Covit

ID : 10391

Description: Artist's statement: This recent garden installation was created for a long-term care hospital. The garden is surrounded on two sides by the hospital building, with windows looking onto it from two floors. Many of the patients require wheelchairs for mobility, others are confined to their rooms. The installation was conceived in relation to the different perspectives onto the site, the physical constraints of the residents, and the long, cold winters that limit physical access to the garden. Concrete walkways define areas in the garden and offer access through it. Between the main allée and the boundary fence, a school of fish marches across the grass. Each fish is fabricated in hammered brass with a blue patina finish, and is perched atop a tripod of stainless steel legs. The heights vary, but are within eye level range of a person in a wheel chair. An illuminated stainless steel tower, sited between the two mainallées, acts as a marker for the residents and a beacon for the walking fish. Natural plantings are organized in relation to these elements.

Photo: Marc Cramer.

Des mesures : 8.132064 x 5.833872 m; 2.474976 x 1.76784 m / tower: 1.591056 m x 3.800856 x 3.800856 cm; 0.486156 x 9.634728 x 9.634728 cm / 1.679448 fish, each: 3.182112 to 6.364224 cm; 8.087868 to 16.175736 cm high by 3.182112 x 4.242816 cm; 8.087868 x 10.783824 cm

Collection: CHSLD in Brossard, Quebec (hospital garden)

Date de réalisation : 1999

Matériaux : stainless steel, aluminum, light, gravel, patina on brass, cement walkways

Collection virtuelle : Original CCCA

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Hearing the Forest, [detail]

Artist: Linda Covit

ID : 10390

Description: Artist's statement: The installation pivots around a large conical form inspired by the old-fashioned hearing horn. A tripod of tall thin steel legs holds this structure horizontally aloft. A set of steps under the cone's smaller extremity offers the viewer access to the "listening" tip. The silence and sounds of the room, magnified through the acoustic structure, are somewhat like the rumblings heard through a seaside conch. Across the walls, a sequence of photographic images chronicles a passage through the mountain top burial grounds of Koyasan (Japan). A vast necropolis, it holds over 200,000 tombs in a primordial forest of towering cryptomeria.

Photo: Linda Covit.

Des mesures : cone: 243.84 x 53.34 to 60.96 cm diameter; 619.76 x 137.16 to 154.94 cm diameter / steps: 45.72 x 45.72 x 76.2 cm; 116.84 x 116.84 x 193.04 cm / photos, each: 40.64 x 50.8 cm; 102.87 x 129.54 cm

Collection:

Date de réalisation : 1999

Matériaux : linden wood, paint, steel, 15 black and white photographs

Collection virtuelle : Original CCCA

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72 Bowls for Fuji no. 6

Artist: Linda Covit

ID : 55025

Description: In winter 2001, I photographed a number of black ceramic bowls that I had made in the white snow of the Laurentian countryside. From this, a series of images was printed in large format for an exhibition in Japan, bringing my interventions in the Quebec winter landscape into a very hot and humid Japanese summer. A tea master, after visiting the exhibition, likened the experience of viewing these images to the practice of putting ice cubes in tea during the summer months.

Photo: Linda Covit.

Des mesures : photos : 76.2 x 127 cm

Collection:

Date de réalisation : 2001

Matériaux : black and white ink-jet prints, underglazed stoneware

Collection virtuelle : Original CCCA

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72 Bowls for Fuji no. 4

Artist: Linda Covit

ID : 55023

Description: In winter 2001, I photographed a number of black ceramic bowls that I had made in the white snow of the Laurentian countryside. From this, a series of images was printed in large format for an exhibition in Japan, bringing my interventions in the Quebec winter landscape into a very hot and humid Japanese summer. A tea master, after visiting the exhibition, likened the experience of viewing these images to the practice of putting ice cubes in tea during the summer months.

Photo: Linda Covit.

Des mesures : photos : 76.2 x 127 cm

Collection:

Date de réalisation : 2001

Matériaux : black and white ink-jet prints, underglazed stoneware

Collection virtuelle : Original CCCA

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72 Bowls for Fuji no. 5

Artist: Linda Covit

ID : 55024

Description: In winter 2001, I photographed a number of black ceramic bowls that I had made in the white snow of the Laurentian countryside. From this, a series of images was printed in large format for an exhibition in Japan, bringing my interventions in the Quebec winter landscape into a very hot and humid Japanese summer. A tea master, after visiting the exhibition, likened the experience of viewing these images to the practice of putting ice cubes in tea during the summer months.

Photo: Linda Covit.

Des mesures : photos : 76.2 x 127 cm

Collection:

Date de réalisation : 2001

Matériaux : black and white ink-jet prints, underglazed stoneware

Collection virtuelle : Original CCCA

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72 Bowls for Fuji no. 3

Artist: Linda Covit

ID : 55022

Description: In winter 2001, I photographed a number of black ceramic bowls that I had made in the white snow of the Laurentian countryside. From this, a series of images was printed in large format for an exhibition in Japan, bringing my interventions in the Quebec winter landscape into a very hot and humid Japanese summer. A tea master, after visiting the exhibition, likened the experience of viewing these images to the practice of putting ice cubes in tea during the summer months.

Photo: Linda Covit.

Des mesures : photos : 76.2 x 127 cm

Collection:

Date de réalisation : 2001

Matériaux : black and white ink-jet prints, underglazed stoneware

Collection virtuelle : Original CCCA

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Circle of Words, Garden of Thought

Artist: Linda Covit

ID : 57507

Description: This commission by the City of Toronto (Canada) is installed on the grounds of a community centre in an economically disadvantaged, multicultural neighbourhood. Among other themes developed in consultation with the community, the artwork was expected to create an outside meeting place. My installation sculpts a three-dimensional space to encourage interaction between people. The main component, a wide stone bench, traces a sixty foot long arc. The circular movement is reinforced by a stand of light columns and an arc of birch trees along the outside curve of the bench. Narrow lengths of granite, alternating with bands of river stones, form a footpath into the circle. Each granite piece is incised with a thin channel to collect rain or snow. On dry days, the shadowed dark lines evoke the ephemoral liquid lines. Small boulders engraved with words - such as heritage, trust, friendship, gathering - are scattered within this circle, and extend outwards through the adjacent wooded grounds.

Photo: Marc Cramer.

Des mesures : Bench: 1.414272 cm x 5.30352 m x 0.44196 m

Collection:

Date de réalisation : 2001-02

Matériaux : Indiana limestone, brushed aluminum, lights, boulders, granite, river stones, birch trees

Collection virtuelle : Original CCCA

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Circle of Words, Garden of Thought, [detail: bench, boulders]

Artist: Linda Covit

ID : 57509

Description: This commission by the City of Toronto (Canada) is installed on the grounds of a community centre in an economically disadvantaged, multicultural neighbourhood. Among other themes developed in consultation with the community, the artwork was expected to create an outside meeting place. My installation sculpts a three-dimensional space to encourage interaction between people. The main component, a wide stone bench, traces a sixty foot long arc. The circular movement is reinforced by a stand of light columns and an arc of birch trees along the outside curve of the bench. Narrow lengths of granite, alternating with bands of river stones, form a footpath into the circle. Each granite piece is incised with a thin channel to collect rain or snow. On dry days, the shadowed dark lines evoke the ephemoral liquid lines. Small boulders engraved with words - such as heritage, trust, friendship, gathering - are scattered within this circle, and extend outwards through the adjacent wooded grounds.

Photo: Marc Cramer.

Des mesures : Light columns: 1.060704 m x 1.32588 m x 0.795528 cm

Collection:

Date de réalisation : 2001-02

Matériaux : Indiana limestone, brushed aluminum, lights, boulders, granite, river stones, birch trees

Collection virtuelle : Original CCCA

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Circle of Words, Garden of Thought, [detail: light columns]

Artist: Linda Covit

ID : 57508

Description: This commission by the City of Toronto (Canada) is installed on the grounds of a community centre in an economically disadvantaged, multicultural neighbourhood. Among other themes developed in consultation with the community, the artwork was expected to create an outside meeting place. My installation sculpts a three-dimensional space to encourage interaction between people. The main component, a wide stone bench, traces a sixty foot long arc. The circular movement is reinforced by a stand of light columns and an arc of birch trees along the outside curve of the bench. Narrow lengths of granite, alternating with bands of river stones, form a footpath into the circle. Each granite piece is incised with a thin channel to collect rain or snow. On dry days, the shadowed dark lines evoke the ephemoral liquid lines. Small boulders engraved with words - such as heritage, trust, friendship, gathering - are scattered within this circle, and extend outwards through the adjacent wooded grounds.

Photo: Marc Cramer.

Des mesures : Bench: 1.414272 cm x 5.30352 m x 0.44196 m

Collection:

Date de réalisation : 2001-02

Matériaux : Indiana limestone, brushed aluminum, lights, boulders, granite, river stones, birch trees

Collection virtuelle : Original CCCA

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Tower of Bowls, [detail]

Artist: Linda Covit

ID : 57511

Description: Inspired by the lantern-festooned floats of Kyoto's Gion Matsuri festival, this sculpture comprises some two hundred bowls perched around an open structure. The precarious equilibrium of the bowls, merely placed on slender rods, asks us to acknowledge the nature of fragility and ultimately, our own impermanance.

Photo: Marc Cramer.

Des mesures : 0.2784 x 0.0783 x 0.0783 m

Collection:

Date de réalisation : 2002

Matériaux : Aluminium, underglazed stonewear

Collection virtuelle : 2002-montreal, Original CCCA

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Tower of Bowls

Artist: Linda Covit

ID : 57510

Description: Inspired by the lantern-festooned floats of Kyoto's Gion Matsuri festival, this sculpture comprises some two hundred bowls perched around an open structure. The precarious equilibrium of the bowls, merely placed on slender rods, asks us to acknowledge the nature of fragility and ultimately, our own impermanance.

Photo: Marc Cramer.

Des mesures : 0.2784 x 0.0783 x 0.0783 m

Collection:

Date de réalisation : 2002

Matériaux : Aluminium, underglazed stonewear

Collection virtuelle : Original CCCA

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Station des lectures, [detail: seating]

Artist: Linda Covit

ID : 57513

Description: This "reading room" is sited alongside a multi-purpose pathway (bicycling, inline skating, walking, etc.) Horizontal slabs extend through the slatted walls, providing seating on both sides. On the outside, these benches offer differing views through the forest and onto a stream. Inside they look into a garden, a circular bed of fragrant flowers attractive to butterflies.

Photo: Linda Covit.

Des mesures :

Collection:

Date de réalisation : 2003

Matériaux : Aluminium, stainless steel, St-Marc limestone, Clematis (vines), Coreopsis verticillata 'Moonbeam'

Collection virtuelle : Original CCCA

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Storehouse of Names

Artist: Linda Covit

ID : 57517

Description: In the context of the Echigo-Tsumari Art Triennial 2003, this site - the grounds of an abandoned schoolhouse - was chosen because of its location and its history. Idway between two depopulated farming communities, the empty building and its grounds are used by the residents to meet, to talk, to celebrate.

The installation's form suggests a gathering place. It references the juncture of the two small communities, and a kura - a Japanese storehouse for rice. Hundred of small ceramic bowls line the walls within the structure, their size and shape similar to a rice bowl that is cupped in one's hands. I worked with a team of volunteer students and local residents to produce the bowls, engraving each with the name of a resident or family member. The black glazed bowls are deposited inside the structure, a storehouse of names.

Photo: Linda Covit.

Des mesures : 0.2784 m x 0.6438 m diameter

Collection:

Date de réalisation : 2003

Matériaux : Cedar, cord, zinc, glazed stoneware

Collection virtuelle : Original CCCA

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Storehouse of Names, [detail]

Artist: Linda Covit

ID : 57518

Description: In the context of the Echigo-Tsumari Art Triennial 2003, this site - the grounds of an abandoned schoolhouse - was chosen because of its location and its history. Idway between two depopulated farming communities, the empty building and its grounds are used by the residents to meet, to talk, to celebrate.

The installation's form suggests a gathering place. It references the juncture of the two small communities, and a kura - a Japanese storehouse for rice. Hundred of small ceramic bowls line the walls within the structure, their size and shape similar to a rice bowl that is cupped in one's hands. I worked with a team of volunteer students and local residents to produce the bowls, engraving each with the name of a resident or family member. The black glazed bowls are deposited inside the structure, a storehouse of names.

Photo: Linda Covit.

Des mesures : 0.2784 m x 0.6438 m diameter

Collection:

Date de réalisation : 2003

Matériaux : Cedar, cord, zinc, glazed stoneware

Collection virtuelle : Original CCCA

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Storehouse of Names, [detail]

Artist: Linda Covit

ID : 57519

Description: In the context of the Echigo-Tsumari Art Triennial 2003, this site - the grounds of an abandoned schoolhouse - was chosen because of its location and its history. Idway between two depopulated farming communities, the empty building and its grounds are used by the residents to meet, to talk, to celebrate.

The installation's form suggests a gathering place. It references the juncture of the two small communities, and a kura - a Japanese storehouse for rice. Hundred of small ceramic bowls line the walls within the structure, their size and shape similar to a rice bowl that is cupped in one's hands. I worked with a team of volunteer students and local residents to produce the bowls, engraving each with the name of a resident or family member. The black glazed bowls are deposited inside the structure, a storehouse of names.

Photo: Linda Covit.

Des mesures : 0.2784 m x 0.6438 m diameter

Collection:

Date de réalisation : 2003

Matériaux : Cedar, cord, zinc, glazed stoneware

Collection virtuelle : Original CCCA

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Station des lectures

Artist: Linda Covit

ID : 57512

Description: This "reading room" is sited alongside a multi-purpose pathway (bicycling, inline skating, walking, etc.) Horizontal slabs extend through the slatted walls, providing seating on both sides. On the outside, these benches offer differing views through the forest and onto a stream. Inside they look into a garden, a circular bed of fragrant flowers attractive to butterflies.

Photo: Linda Covit.

Des mesures :

Collection:

Date de réalisation : 2003

Matériaux : Aluminium, stainless steel, St-Marc limestone, Clematis (vines), Coreopsis verticillata 'Moonbeam'

Collection virtuelle : Original CCCA

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Field of Winds, [detail: History Posts]

Artist: Linda Covit

ID : 57516

Description: A grouping of mobiles extends across the grassy area in front of the airport terminal. Each comprises two branches of leaves poised above a slender pole. The branches turn slowly with the currents of air, embodying the poetics of wind and flight.

In researching the development of this airport, I was intrigued to learn about Mary Weber. At 20 years old, she learned to fly at what was then Lexington Field, and was the fifth woman in Canada to receive a pilot's licence. This "discovery" initiated the History Posts, a series of illuminated columns along the walkway. Each is silk-screened with a photograph taken from archives, accompanied by a descriptive text. Walking through this narrative offers travellers a glimpse of some of the milestones important to the airport's growth, from its beginnings in 1929 to 2003 with the new facility, Waterloo Regional Airport gracing the end of the path.

Photo: Marc Cramer.