Wishing Whale

Description: A life-ring covered in lead and secured with tacks is suggestive of armour or the hull of a ship, yet retains its identity as a life saving device. Intravenous tubing replaces rope and is filled with salt water that slowly drips from clamped ends, creating a ring of salt crystals. A small black and white surveillance monitor accompanies the life-ring, showing underwater footage from a weighed body. Intimate contact with a body is implied, as a lead life-ring would weigh us down into the water, its intravenous tubing a means of salt water exchange.

Des mesures : 73.66 cm

Collection:

Date de réalisation : 1999

Matériaux : life ring, lead, surgical tubing, salt water, 1-channel video with black and white surveillance monitor

Collection virtuelle : Original CCCA

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Hook, line and sinker

Artist: Fae Logie

ID : 9057

Description: On the spindles of this spinning wheel, fishhooks are densely threaded. One spindle, attached to the wheel, turns in a slow methodical movement overemphasized by grinding gear motor sounds. The treadle in turn moves up and down in a wave-like motion. The title is slang, meaning 'without reservation, entirely', making references to the fishing industry where technology has far outweighed the fishing capacity.

Des mesures : 76.2 x 48.26 x 34.29 cm

Collection:

Date de réalisation : 1999

Matériaux : spinning wheel, fishhooks, fishing line, motor, lead, tape recorder

Collection virtuelle : Original CCCA

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Dredge up

Artist: Fae Logie

ID : 9054

Description:

Des mesures : 325.12 x 76.2 x 142.24 cm

Collection:

Date de réalisation : 1999

Matériaux : wood frame, steel, lead, sand, lights

Collection virtuelle : Original CCCA

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Boom, detail 1 of 3

Artist: Fae Logie

ID : 9060

Description: Boom' was initially inspired by the protesters who, in alliance with the Clayoquot Sound demonstrations, chained themselves to the crane of the 'Haida Brave', a self-propelled, self-loading log barge. From this inception, the nautical and logging references broadened. 'Boom' is a cross-section of a tree stump, debarked and painted glossy black. The top surface is stained a dark oak with a brass compass inset into its centre (rendered ineffective by magnets embedded into the ends of the oars). Derrick-like steel oarlocks suspend, balance and weigh, by brass spring scales, the seemingly identical 14-foot whale oars, one of which is hard wood, the other soft wood. By its very size, it obstructs movement and invites handling, especially to set the oars in an up and down motion. Contact microphones attached to the stump, amplify a deep, resonant sound created as the oars are moved back and forth evoking memories of old wooden ships. The image that accompanies the work is a historical photograph of slash burning. The devastation of burnt stumps is contrasted by the beginning of development, the construction of a single dwelling. Projected the image loses its sens of time and place. The oars relate to the two trees left standing in the foreground; the hooked shadows of the oarlocks become the devices of this destruction.

Des mesures : 848.36 x 81.28 x 57.15 cm

Collection:

Date de réalisation : 2000

Matériaux : tree stump, compass, oars, contact mics, projected image, magnets, steel

Collection virtuelle : Original CCCA

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Boom, detail 2 of 3

Artist: Fae Logie

ID : 9061

Description: Boom' was initially inspired by the protesters who, in alliance with the Clayoquot Sound demonstrations, chained themselves to the crane of the 'Haida Brave', a self-propelled, self-loading log barge. From this inception, the nautical and logging references broadened. 'Boom' is a cross-section of a tree stump, debarked and painted glossy black. The top surface is stained a dark oak with a brass compass inset into its centre (rendered ineffective by magnets embedded into the ends of the oars). Derrick-like steel oarlocks suspend, balance and weigh, by brass spring scales, the seemingly identical 14-foot whale oars, one of which is hard wood, the other soft wood. By its very size, it obstructs movement and invites handling, especially to set the oars in an up and down motion. Contact microphones attached to the stump, amplify a deep, resonant sound created as the oars are moved back and forth evoking memories of old wooden ships. The image that accompanies the work is a historical photograph of slash burning. The devastation of burnt stumps is contrasted by the beginning of development, the construction of a single dwelling. Projected the image loses its sens of time and place. The oars relate to the two trees left standing in the foreground; the hooked shadows of the oarlocks become the devices of this destruction.

Des mesures : 848.36 x 81.28 x 57.15 cm

Collection:

Date de réalisation : 2000

Matériaux : tree stump, compass, oars, contact mics, projected image, magnets, steel

Collection virtuelle : Original CCCA

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Boom, detail 3 of 3

Artist: Fae Logie

ID : 9062

Description: Boom' was initially inspired by the protesters who, in alliance with the Clayoquot Sound demonstrations, chained themselves to the crane of the 'Haida Brave', a self-propelled, self-loading log barge. From this inception, the nautical and logging references broadened. 'Boom' is a cross-section of a tree stump, debarked and painted glossy black. The top surface is stained a dark oak with a brass compass inset into its centre (rendered ineffective by magnets embedded into the ends of the oars). Derrick-like steel oarlocks suspend, balance and weigh, by brass spring scales, the seemingly identical 14-foot whale oars, one of which is hard wood, the other soft wood. By its very size, it obstructs movement and invites handling, especially to set the oars in an up and down motion. Contact microphones attached to the stump, amplify a deep, resonant sound created as the oars are moved back and forth evoking memories of old wooden ships. The image that accompanies the work is a historical photograph of slash burning. The devastation of burnt stumps is contrasted by the beginning of development, the construction of a single dwelling. Projected the image loses its sens of time and place. The oars relate to the two trees left standing in the foreground; the hooked shadows of the oarlocks become the devices of this destruction.

Des mesures : 8.89 x 12.7 cm

Collection:

Date de réalisation : 2000

Matériaux : sepia-toned fibre-based print

Collection virtuelle : Original CCCA

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Boom

Artist: Fae Logie

ID : 9059

Description: Boom' was initially inspired by the protesters who, in alliance with the Clayoquot Sound demonstrations, chained themselves to the crane of the 'Haida Brave', a self-propelled, self-loading log barge. From this inception, the nautical and logging references broadened. 'Boom' is a cross-section of a tree stump, debarked and painted glossy black. The top surface is stained a dark oak with a brass compass inset into its centre (rendered ineffective by magnets embedded into the ends of the oars). Derrick-like steel oarlocks suspend, balance and weigh, by brass spring scales, the seemingly identical 14-foot whale oars, one of which is hard wood, the other soft wood. By its very size, it obstructs movement and invites handling, especially to set the oars in an up and down motion. Contact microphones attached to the stump, amplify a deep, resonant sound created as the oars are moved back and forth evoking memories of old wooden ships. The image that accompanies the work is a historical photograph of slash burning. The devastation of burnt stumps is contrasted by the beginning of development, the construction of a single dwelling. Projected the image loses its sens of time and place. The oars relate to the two trees left standing in the foreground; the hooked shadows of the oarlocks become the devices of this destruction.

Des mesures : 848.36 x 81.28 x 57.15 cm

Collection:

Date de réalisation : 2000

Matériaux : tree stump, compass, oars, contact mics, projected image, magnets, steel

Collection virtuelle : Original CCCA

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Artist: Fae Logie

ID : 19031

Description: The title of this video sculpture, 'Wishing Whale,' is a simple word play emphasizing how easily we anthropomorphize, especially with an animal as revered as the killer whale. This 'wishing well' is a fantastical pool, minimalist in form, such as one might find as a display in an aquarium or museum. A round acqua-blue pool slowly rotates, the inside of which becomes a screen for a projected video of the ocean surface. The viewer is generally unaware of the pool until they are standing over the work, which often causes a slight dizzy feeling. The pool is mounted over an acqua-blue conical shaped structure (housing three black and white video monitors) with blue tinted plexiglass windows to allow viewing of the whale 'in the confines of the tank.' The video was taken at the Vancouver Aquarium and edited to adhere closely to the original footage, emphasizing the constant circular swimming pattern of the whale; the camera following the whale as if under constant surveillance.

Des mesures : 129.54 x 142.24 x 142.24 cm

Collection:

Date de réalisation : 2001

Matériaux : fiberglass pool, wood, plaster, 1-channel video, video projector, fan, motor

Collection virtuelle : Original CCCA

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The Distance of Plankton from the Moon

Artist: Fae Logie

ID : 19027

Description: The cabinet is part of an antique desk into which are placed (on end) two amber monitors masked by an opaque glass top, such that only two elliptical shaped 'openings' allow for viewing the screens. Two billowing plankton nets are mounted on turned circular frames enhanced with brass rings and concave lenses to reference both telescopes and microscopes. The minotrs display images of the moon and plankton, inquiring into their interrelationship as well as the position of the viewer, in-between. As the light illuminating the sculpture dims rhythmically, reflections of the images appear in the centres of each concave lens as circular floating bodies, a moon or organism suspended in space or water.

Des mesures : 279.4 x 111.76 x 46.99 cm

Collection:

Date de réalisation : 2001

Matériaux : cabinet, 1-channel video, plankton nets, turned frames, lenses, brass rings, glass

Collection virtuelle : Original CCCA

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The Distance of Plankton from the Moon

Artist: Fae Logie

ID : 19028

Description: The cabinet is part of an antique desk into which are placed (on end) two amber monitors masked by an opaque glass top, such that only two elliptical shaped 'openings' allow for viewing the screens. Two billowing plankton nets are mounted on turned circular frames enhanced with brass rings and concave lenses to reference both telescopes and microscopes. The minotrs display images of the moon and plankton, inquiring into their interrelationship as well as the position of the viewer, in-between. As the light illuminating the sculpture dims rhythmically, reflections of the images appear in the centres of each concave lens as circular floating bodies, a moon or organism suspended in space or water.

Des mesures : 279.4 x 111.76 x 46.99 cm

Collection:

Date de réalisation : 2001

Matériaux : cabinet, 1-channel video, plankton nets, turned frames, lenses, brass rings, glass

Collection virtuelle : Original CCCA

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Wishing Whale

Artist: Fae Logie

ID : 19029

Description: The title of this video sculpture, 'Wishing Whale,' is a simple word play emphasizing how easily we anthropomorphize, especially with an animal as revered as the killer whale. This 'wishing well' is a fantastical pool, minimalist in form, such as one might find as a display in an aquarium or museum. A round acqua-blue pool slowly rotates, the inside of which becomes a screen for a projected video of the ocean surface. The viewer is generally unaware of the pool until they are standing over the work, which often causes a slight dizzy feeling. The pool is mounted over an acqua-blue conical shaped structure (housing three black and white video monitors) with blue tinted plexiglass windows to allow viewing of the whale 'in the confines of the tank.' The video was taken at the Vancouver Aquarium and edited to adhere closely to the original footage, emphasizing the constant circular swimming pattern of the whale; the camera following the whale as if under constant surveillance.

Des mesures : 129.54 x 142.24 x 142.24 cm

Collection:

Date de réalisation : 2001

Matériaux : fiberglass pool, wood, plaster, 1-channel video, video projector, fan, motor

Collection virtuelle : Original CCCA

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The Distance of Plankton from the Moon

Artist: Fae Logie

ID : 19026

Description: The cabinet is part of an antique desk into which are placed (on end) two amber monitors masked by an opaque glass top, such that only two elliptical shaped 'openings' allow for viewing the screens. Two billowing plankton nets are mounted on turned circular frames enhanced with brass rings and concave lenses to reference both telescopes and microscopes. The minotrs display images of the moon and plankton, inquiring into their interrelationship as well as the position of the viewer, in-between. As the light illuminating the sculpture dims rhythmically, reflections of the images appear in the centres of each concave lens as circular floating bodies, a moon or organism suspended in space or water.

Des mesures : 279.4 x 111.76 x 46.99 cm

Collection:

Date de réalisation : 2001

Matériaux : cabinet, 1-channel video, plankton nets, turned frames, lenses, brass rings, glass

Collection virtuelle : Original CCCA

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Wishing Whale

Artist: Fae Logie

ID : 19030

Description: The title of this video sculpture, 'Wishing Whale,' is a simple word play emphasizing how easily we anthropomorphize, especially with an animal as revered as the killer whale. This 'wishing well' is a fantastical pool, minimalist in form, such as one might find as a display in an aquarium or museum. A round acqua-blue pool slowly rotates, the inside of which becomes a screen for a projected video of the ocean surface. The viewer is generally unaware of the pool until they are standing over the work, which often causes a slight dizzy feeling. The pool is mounted over an acqua-blue conical shaped structure (housing three black and white video monitors) with blue tinted plexiglass windows to allow viewing of the whale 'in the confines of the tank.' The video was taken at the Vancouver Aquarium and edited to adhere closely to the original footage, emphasizing the constant circular swimming pattern of the whale; the camera following the whale as if under constant surveillance.

Des mesures : 129.54 x 142.24 x 142.24 cm

Collection:

Date de réalisation : 2001

Matériaux : fiberglass pool, wood, plaster, 1-channel video, video projector, fan, motor

Collection virtuelle : Original CCCA

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Fisheye, [video still]

Artist: Fae Logie

ID : 53818

Description: A small fishing rod case is positioned along the central axis of a worn steamer trunk which, in turn, is supported by a wooden cabinet. The rod case contains a row of lenses or eyepieces with a goggle-eyed appearance inviting the viewer to peer inside. Thousands of greenish yellow fish/snake-like organisms school past endlessly. A separate hole (like an air hole) reveals a pair of unsympathetic defiant eyes staring upwards through water into a sweeping beam of light. In this work I am reexploring the myths of Athena and Medusa, myths of an oceanic school of monsters whose tales merge with my own.

Des mesures : 88 x 114 x 36 cm

Collection:

Date de réalisation : 2002

Matériaux : steamer trunk, cabinet, 2-channel video, fishing rod case, microscope, 5X eyepieces

Collection virtuelle : Original CCCA

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Fisheye, [video still]

Artist: Fae Logie

ID : 53817

Description: A small fishing rod case is positioned along the central axis of a worn steamer trunk which, in turn, is supported by a wooden cabinet. The rod case contains a row of lenses or eyepieces with a goggle-eyed appearance inviting the viewer to peer inside. Thousands of greenish yellow fish/snake-like organisms school past endlessly. A separate hole (like an air hole) reveals a pair of unsympathetic defiant eyes staring upwards through water into a sweeping beam of light. In this work I am reexploring the myths of Athena and Medusa, myths of an oceanic school of monsters whose tales merge with my own.

Des mesures : 88 x 114 x 36 cm

Collection:

Date de réalisation : 2002

Matériaux : steamer trunk, cabinet, 2-channel video, fishing rod case, microscope, 5X eyepieces

Collection virtuelle : Original CCCA

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Fisheye

Artist: Fae Logie

ID : 53816

Description: A small fishing rod case is positioned along the central axis of a worn steamer trunk which, in turn, is supported by a wooden cabinet. The rod case contains a row of lenses or eyepieces with a goggle-eyed appearance inviting the viewer to peer inside. Thousands of greenish yellow fish/snake-like organisms school past endlessly. A separate hole (like an air hole) reveals a pair of unsympathetic defiant eyes staring upwards through water into a sweeping beam of light. In this work I am reexploring the myths of Athena and Medusa, myths of an oceanic school of monsters whose tales merge with my own.

Des mesures : 88 x 114 x 36 cm

Collection:

Date de réalisation : 2002

Matériaux : steamer trunk, cabinet, 2-channel video, fishing rod case, microscope, 5X eyepieces

Collection virtuelle : Original CCCA

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Sea of Tears, [video still]

Artist: Fae Logie

ID : 53822

Description: Sea of Tears is a gigantic 'dining room' table with stained wood and turned legs, but by its very scale and the use, in part, of industrial materials, the structure also takes on an architecutral reading, a wharf or bridge, under which becomes a submerged watery environment. Video images, projected onto the rusty perforated steel surface, filter through to the floor beneath and appear as a moving woven carpet. The video focuses on the arrangement of a tea set by a huge disembodied hand within a changing shoreline environment. The dialogue and sounds reflect this watery setting as well as the imagination of children hiding under the dining room table, making reference to child's play and stories, the family and the power of the unconscious in gender identity. Excerpts from 'Alice in Wonderland', read by an adult female voice, question Alice's identity in relation to the architectural spaces she enters and emerges and her changing size.

Des mesures : 145 x 312 x 51 cm

Collection:

Date de réalisation : 2003

Matériaux : oak spindles, 2 x 6 planking, perforated steel, 1-channel video, projector, speakers, amplifier

Collection virtuelle : Original CCCA

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Sea of Tears

Artist: Fae Logie

ID : 53819

Description: Sea of Tears is a gigantic 'dining room' table with stained wood and turned legs, but by its very scale and the use, in part, of industrial materials, the structure also takes on an architecutral reading, a wharf or bridge, under which becomes a submerged watery environment. Video images, projected onto the rusty perforated steel surface, filter through to the floor beneath and appear as a moving woven carpet. The video focuses on the arrangement of a tea set by a huge disembodied hand within a changing shoreline environment. The dialogue and sounds reflect this watery setting as well as the imagination of children hiding under the dining room table, making reference to child's play and stories, the family and the power of the unconscious in gender identity. Excerpts from 'Alice in Wonderland', read by an adult female voice, question Alice's identity in relation to the architectural spaces she enters and emerges and her changing size.

Des mesures : 145 x 312 x 51 cm

Collection:

Date de réalisation : 2003

Matériaux : oak spindles, 2 x 6 planking, perforated steel, 1-channel video, projector, speakers, amplifier

Collection virtuelle : Original CCCA

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Surface Tensions, [video still]

Artist: Fae Logie

ID : 53825

Description: Surface Tensions is a plain upright wooden cabinet which allows for viewing through a rectangular opening (30 x 8 cm) in its top surface. Inside a 4-sided kaleidoscope structure tapers towards the bottom, coming in contact with a small monitor. The reflection creates a spherical shape that references both a single drop of water or the earth itself. The video, using a hand held camera, follows a precarious journey across leaves suspended on a water surface such that vibration reverberates through the entire micro-system. Patterns of the leaves and the water adhering to them, are mirrored across the surface of the sphere. The title is plural, implying as well an emotional conflict, an uneasy balance between opposing forces.

Des mesures : 100 x 46 x 46 cm

Collection:

Date de réalisation : 2003

Matériaux : cabinet, 1-channel video, monitor, kaleidoscope with plexiglass and wood

Collection virtuelle : Original CCCA

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Surface Tensions, [video still]

Artist: Fae Logie

ID : 53826

Description: Surface Tensions is a plain upright wooden cabinet which allows for viewing through a rectangular opening (30 x 8 cm) in its top surface. Inside a 4-sided kaleidoscope structure tapers towards the bottom, coming in contact with a small monitor. The reflection creates a spherical shape that references both a single drop of water or the earth itself. The video, using a hand held camera, follows a precarious journey across leaves suspended on a water surface such that vibration reverberates through the entire micro-system. Patterns of the leaves and the water adhering to them, are mirrored across the surface of the sphere. The title is plural, implying as well an emotional conflict, an uneasy balance between opposing forces.

Des mesures : 100 x 46 x 46 cm

Collection:

Date de réalisation : 2003

Matériaux : cabinet, 1-channel video, monitor, kaleidoscope with plexiglass and wood

Collection virtuelle : Original CCCA

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Sea of Tears

Artist: Fae Logie

ID : 53820

Description: Sea of Tears is a gigantic 'dining room' table with stained wood and turned legs, but by its very scale and the use, in part, of industrial materials, the structure also takes on an architecutral reading, a wharf or bridge, under which becomes a submerged watery environment. Video images, projected onto the rusty perforated steel surface, filter through to the floor beneath and appear as a moving woven carpet. The video focuses on the arrangement of a tea set by a huge disembodied hand within a changing shoreline environment. The dialogue and sounds reflect this watery setting as well as the imagination of children hiding under the dining room table, making reference to child's play and stories, the family and the power of the unconscious in gender identity. Excerpts from 'Alice in Wonderland', read by an adult female voice, question Alice's identity in relation to the architectural spaces she enters and emerges and her changing size.

Des mesures : 145 x 312 x 51 cm

Collection:

Date de réalisation : 2003

Matériaux : oak spindles, 2 x 6 planking, perforated steel, 1-channel video, projector, speakers, amplifier

Collection virtuelle : Original CCCA

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Surface Tensions

Artist: Fae Logie

ID : 53824

Description: Surface Tensions is a plain upright wooden cabinet which allows for viewing through a rectangular opening (30 x 8 cm) in its top surface. Inside a 4-sided kaleidoscope structure tapers towards the bottom, coming in contact with a small monitor. The reflection creates a spherical shape that references both a single drop of water or the earth itself. The video, using a hand held camera, follows a precarious journey across leaves suspended on a water surface such that vibration reverberates through the entire micro-system. Patterns of the leaves and the water adhering to them, are mirrored across the surface of the sphere. The title is plural, implying as well an emotional conflict, an uneasy balance between opposing forces.

Des mesures : 100 x 46 x 46 cm

Collection:

Date de réalisation : 2003

Matériaux : cabinet, 1-channel video, monitor, kaleidoscope with plexiglass and wood

Collection virtuelle : Original CCCA

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Sea of Tears, [video still]

Artist: Fae Logie

ID : 53821

Description: Sea of Tears is a gigantic 'dining room' table with stained wood and turned legs, but by its very scale and the use, in part, of industrial materials, the structure also takes on an architecutral reading, a wharf or bridge, under which becomes a submerged watery environment. Video images, projected onto the rusty perforated steel surface, filter through to the floor beneath and appear as a moving woven carpet. The video focuses on the arrangement of a tea set by a huge disembodied hand within a changing shoreline environment. The dialogue and sounds reflect this watery setting as well as the imagination of children hiding under the dining room table, making reference to child's play and stories, the family and the power of the unconscious in gender identity. Excerpts from 'Alice in Wonderland', read by an adult female voice, question Alice's identity in relation to the architectural spaces she enters and emerges and her changing size.

Des mesures : 145 x 312 x 51 cm

Collection:

Date de réalisation : 2003

Matériaux : oak spindles, 2 x 6 planking, perforated steel, 1-channel video, projector, speakers, amplifier

Collection virtuelle : Original CCCA

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Surface Tensions

Artist: Fae Logie

ID : 53823

Description: Surface Tensions is a plain upright wooden cabinet which allows for viewing through a rectangular opening (30 x 8 cm) in its top surface. Inside a 4-sided kaleidoscope structure tapers towards the bottom, coming in contact with a small monitor. The reflection creates a spherical shape that references both a single drop of water or the earth itself. The video, using a hand held camera, follows a precarious journey across leaves suspended on a water surface such that vibration reverberates through the entire micro-system. Patterns of the leaves and the water adhering to them, are mirrored across the surface of the sphere. The title is plural, implying as well an emotional conflict, an uneasy balance between opposing forces.

Des mesures : 100 x 46 x 46 cm

Collection:

Date de réalisation : 2003

Matériaux : cabinet, 1-channel video, monitor, kaleidoscope with plexiglass and wood

Collection virtuelle : Original CCCA

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Boom, [video still]

Artist: Fae Logie

ID : 53832

Description: The sculptural element of Boom is a self-propelled log barge rendered ineffective by its construction. It is the cross-section of a tree stump, debarked and painted glossy black except for the top surface, which is stained a dark oak with a brass compass inset into its centre (rendered ineffective by magnets embedded into the ends of the oars). Derrick-like steel oarlocks suspend and balance two 14 foot whale oars which, by their very size, obstruct movement, a silent protest until handled. Moving the oars creates deep, resonant sounds, amplified by a contact microphone attached to the stump. A historical photograph of slash burning depicts the devastation of burnt stumps interrupted only by the construction of a single dwelling. Video, projected onto a pull-down screen, relates two intertwined tales of destruction and endurance, the loss of two tall trees and the severence of a pair of hands. Both tales relay journeys leading to the initiation into an underground forest; to new growth and reclam

Des mesures : dimension variable

Collection:

Date de réalisation : 2004

Matériaux : stump, compass, oars, contact mic, 1-channel video, projector, screen, photo, magnets, steel

Collection virtuelle : Original CCCA

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Boom

Artist: Fae Logie

ID : 53830

Description: The sculptural element of Boom is a self-propelled log barge rendered ineffective by its construction. It is the cross-section of a tree stump, debarked and painted glossy black except for the top surface, which is stained a dark oak with a brass compass inset into its centre (rendered ineffective by magnets embedded into the ends of the oars). Derrick-like steel oarlocks suspend and balance two 14 foot whale oars which, by their very size, obstruct movement, a silent protest until handled. Moving the oars creates deep, resonant sounds, amplified by a contact microphone attached to the stump. A historical photograph of slash burning depicts the devastation of burnt stumps interrupted only by the construction of a single dwelling. Video, projected onto a pull-down screen, relates two intertwined tales of destruction and endurance, the loss of two tall trees and the severence of a pair of hands. Both tales relay journeys leading to the initiation into an underground forest; to new growth and reclam

Des mesures : dimension variable

Collection:

Date de réalisation : 2004

Matériaux : stump, compass, oars, contact mic, 1-channel video, projector, screen, photo, magnets, steel

Collection virtuelle : Original CCCA

Ajouter à la liste

Boom

Artist: Fae Logie

ID : 53831

Description: The sculptural element of Boom is a self-propelled log barge rendered ineffective by its construction. It is the cross-section of a tree stump, debarked and painted glossy black except for the top surface, which is stained a dark oak with a brass compass inset into its centre (rendered ineffective by magnets embedded into the ends of the oars). Derrick-like steel oarlocks suspend and balance two 14 foot whale oars which, by their very size, obstruct movement, a silent protest until handled. Moving the oars creates deep, resonant sounds, amplified by a contact microphone attached to the stump. A historical photograph of slash burning depicts the devastation of burnt stumps interrupted only by the construction of a single dwelling. Video, projected onto a pull-down screen, relates two intertwined tales of destruction and endurance, the loss of two tall trees and the severence of a pair of hands. Both tales relay journeys leading to the initiation into an underground forest; to new growth and reclam

Des mesures : dimension variable

Collection:

Date de réalisation : 2004

Matériaux : stump, compass, oars, contact mic, 1-channel video, projector, screen, photo, magnets, steel

Collection virtuelle : Original CCCA

Ajouter à la liste

Boom

Artist: Fae Logie

ID : 53829

Description: The sculptural element of Boom is a self-propelled log barge rendered ineffective by its construction. It is the cross-section of a tree stump, debarked and painted glossy black except for the top surface, which is stained a dark oak with a brass compass inset into its centre (rendered ineffective by magnets embedded into the ends of the oars). Derrick-like steel oarlocks suspend and balance two 14 foot whale oars which, by their very size, obstruct movement, a silent protest until handled. Moving the oars creates deep, resonant sounds, amplified by a contact microphone attached to the stump. A historical photograph of slash burning depicts the devastation of burnt stumps interrupted only by the construction of a single dwelling. Video, projected onto a pull-down screen, relates two intertwined tales of destruction and endurance, the loss of two tall trees and the severence of a pair of hands. Both tales relay journeys leading to the initiation into an underground forest; to new growth and reclam

Des mesures : dimension variable

Collection:

Date de réalisation : 2004

Matériaux : stump, compass, oars, contact mic, 1-channel video, projector, screen, photo, magnets, steel

Collection virtuelle : Original CCCA

Ajouter à la liste

Boom

Artist: Fae Logie

ID : 53828

Description: The sculptural element of Boom is a self-propelled log barge rendered ineffective by its construction. It is the cross-section of a tree stump, debarked and painted glossy black except for the top surface, which is stained a dark oak with a brass compass inset into its centre (rendered ineffective by magnets embedded into the ends of the oars). Derrick-like steel oarlocks suspend and balance two 14 foot whale oars which, by their very size, obstruct movement, a silent protest until handled. Moving the oars creates deep, resonant sounds, amplified by a contact microphone attached to the stump. A historical photograph of slash burning depicts the devastation of burnt stumps interrupted only by the construction of a single dwelling. Video, projected onto a pull-down screen, relates two intertwined tales of destruction and endurance, the loss of two tall trees and the severence of a pair of hands. Both tales relay journeys leading to the initiation into an underground forest; to new growth and reclam

Des mesures : dimension variable

Collection:

Date de réalisation : 2004

Matériaux : stump, compass, oars, contact mic, 1-channel video, projector, screen, photo, magnets, steel

Collection virtuelle : Original CCCA

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Boom

Artist: Fae Logie

ID : 53827

Description: The sculptural element of Boom is a self-propelled log barge rendered ineffective by its construction. It is the cross-section of a tree stump, debarked and painted glossy black except for the top surface, which is stained a dark oak with a brass compass inset into its centre (rendered ineffective by magnets embedded into the ends of the oars). Derrick-like steel oarlocks suspend and balance two 14 foot whale oars which, by their very size, obstruct movement, a silent protest until handled. Moving the oars creates deep, resonant sounds, amplified by a contact microphone attached to the stump. A historical photograph of slash burning depicts the devastation of burnt stumps interrupted only by the construction of a single dwelling. Video, projected onto a pull-down screen, relates two intertwined tales of destruction and endurance, the loss of two tall trees and the severence of a pair of hands. Both tales relay journeys leading to the initiation into an underground forest; to new growth and reclam

Des mesures : dimension variable

Collection:

Date de réalisation : 2004

Matériaux : stump, compass, oars, contact mic, 1-channel video, projector, screen, photo, magnets, steel

Collection virtuelle : Original CCCA

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Boom, [video still]

Artist: Fae Logie

ID : 53834

Description: The sculptural element of Boom is a self-propelled log barge rendered ineffective by its construction. It is the cross-section of a tree stump, debarked and painted glossy black except for the top surface, which is stained a dark oak with a brass compass inset into its centre (rendered ineffective by magnets embedded into the ends of the oars). Derrick-like steel oarlocks suspend and balance two 14 foot whale oars which, by their very size, obstruct movement, a silent protest until handled. Moving the oars creates deep, resonant sounds, amplified by a contact microphone attached to the stump. A historical photograph of slash burning depicts the devastation of burnt stumps interrupted only by the construction of a single dwelling. Video, projected onto a pull-down screen, relates two intertwined tales of destruction and endurance, the loss of two tall trees and the severence of a pair of hands. Both tales relay journeys leading to the initiation into an underground forest; to new growth and reclam

Des mesures : dimension variable

Collection:

Date de réalisation : 2004

Matériaux : stump, compass, oars, contact mic, 1-channel video, projector, screen, photo, magnets, steel

Collection virtuelle : Original CCCA

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Boom, [video still]

Artist: Fae Logie

ID : 53833

Description: The sculptural element of Boom is a self-propelled log barge rendered ineffective by its construction. It is the cross-section of a tree stump, debarked and painted glossy black except for the top surface, which is stained a dark oak with a brass compass inset into its centre (rendered ineffective by magnets embedded into the ends of the oars). Derrick-like steel oarlocks suspend and balance two 14 foot whale oars which, by their very size, obstruct movement, a silent protest until handled. Moving the oars creates deep, resonant sounds, amplified by a contact microphone attached to the stump. A historical photograph of slash burning depicts the devastation of burnt stumps interrupted only by the construction of a single dwelling. Video, projected onto a pull-down screen, relates two intertwined tales of destruction and endurance, the loss of two tall trees and the severence of a pair of hands. Both tales relay journeys leading to the initiation into an underground forest; to new growth and reclam

Des mesures : dimension variable

Collection:

Date de réalisation : 2004

Matériaux : stump, compass, oars, contact mic, 1-channel video, projector, screen, photo, magnets, steel

Collection virtuelle : Original CCCA

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Bridge

Artist: Fae Logie

ID : 69865

Description: Two tiny chairs, inextricably bound to massive trunks or pillars of nature, look to each other across a tenuous bridge that does not offer escape. Bridge was a temporary installation spanning 20 feet between two Douglas-fir trees, one of which had been toped illegally, leaving only a 30-foot stump. The chairs express a silent protest, but also nostalgia for childhood, of places of origin, and for loss of kinship between animate and inanimate. Fairy tales told of abandonment within the forest enclosure render the familiar world uncanny. The stump and trees, still possessing a formidable presence as symbolic forests, observe, guardians of our origins and ancient correspondence, however lost or forgotten.

Des mesures : variable

Collection:

Date de réalisation : 2005

Matériaux : wood, sisal rope and twine, two chiild chairs, trees

Collection virtuelle : Original CCCA

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stitch in time

Artist: Fae Logie

ID : 69868

Description: The opening lines of W.S. Merwin's prose poem, Unchopping a tree, prescribes how to begin the arduous task of putting a tree back together. 'Stitch in time' was part of a group installation titled Track, where 13 artists each had 22 feet of a back alley in Vancouver located near the original site of Hastings Mill along the waterfront. This work is both a patchwork quilt and a boom of logs, assembled from the trunk of a Western hemlock that grew in my yard. To patch one tree back together is to speak of irrevocable loss; sewing through the rings of a tree is to stitch through time itself, the tree's memory.

Des mesures : 671 x 155 x 30 cm

Collection:

Date de réalisation : 2005

Matériaux : half rounds of hemlock stump section, sisal twine

Collection virtuelle : Original CCCA

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Causeway

Artist: Fae Logie

ID : 69873

Description: Causeway juxtaposes Stanley Park in Vancouver, Canada and Trounson Park campground in Northland, New Zealand. Framed postcards depict the entrance or causeway to Stanley Park over a century of change, including an early depiction of loggers with their tent dwarfed by giant Western red cedars. The placement and scale of the tent and trees in the corresponding installation, mirrors the early postcard and speaks of the loss of forested habitat in both colonized countries. Emanating from the tent is the distinctive call of kiwis. Peering through the eyelet at the front of the tent, one enters a dreamlike journey through tropical flora along a wooden causeway (the modern face of conservation). Tourists in New Zealand can camp to witness the kiwi through the night; this national bird now threatened by invasive species and loss of habitat.

Des mesures : tent: 366 x 130 x 130 cm

Collection:

Date de réalisation : 2005

Matériaux : black synthetic tent, postcards, totara seedlings, kauri poles, rock, 1-channel video

Collection virtuelle : Original CCCA

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Bridge

Artist: Fae Logie

ID : 69866

Description: Two tiny chairs, inextricably bound to massive trunks or pillars of nature, look to each other across a tenuous bridge that does not offer escape. Bridge was a temporary installation spanning 20 feet between two Douglas-fir trees, one of which had been toped illegally, leaving only a 30-foot stump. The chairs express a silent protest, but also nostalgia for childhood, of places of origin, and for loss of kinship between animate and inanimate. Fairy tales told of abandonment within the forest enclosure render the familiar world uncanny. The stump and trees, still possessing a formidable presence as symbolic forests, observe, guardians of our origins and ancient correspondence, however lost or forgotten.

Des mesures : variable

Collection:

Date de réalisation : 2005

Matériaux : wood, sisal rope and twine, two chiild chairs, trees

Collection virtuelle : Original CCCA

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Aerial Rug and Aerial Matt

Artist: Fae Logie

ID : 69875

Description: Aerial Rug et Aerial Matt are sewn lengths of black and white photographic murals that together are the enlargement of the bark of a Douglas-fir and the New Zealand kauri tree trunks respectively, made into a fringed rugs. Looking down, they appear as land surveys through aerial photography, referencing forested lands as commodities (booms of logs being one of the products), as well the purchase of land for inhabiting.

Des mesures : 225 x 110 cm & 85 x 65 cm

Collection:

Date de réalisation : 2005

Matériaux : silver gelatin prints, acrylic yarn and trim

Collection virtuelle : Original CCCA

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Causeway

Artist: Fae Logie

ID : 69871

Description: Causeway juxtaposes Stanley Park in Vancouver, Canada and Trounson Park campground in Northland, New Zealand. Framed postcards depict the entrance or causeway to Stanley Park over a century of change, including an early depiction of loggers with their tent dwarfed by giant Western red cedars. The placement and scale of the tent and trees in the corresponding installation, mirrors the early postcard and speaks of the loss of forested habitat in both colonized countries. Emanating from the tent is the distinctive call of kiwis. Peering through the eyelet at the front of the tent, one enters a dreamlike journey through tropical flora along a wooden causeway (the modern face of conservation). Tourists in New Zealand can camp to witness the kiwi through the night; this national bird now threatened by invasive species and loss of habitat.

Des mesures : tent: 366 x 130 x 130 cm

Collection:

Date de réalisation : 2005

Matériaux : black synthetic tent, postcards, totara seedlings, kauri poles, rock, 1-channel video

Collection virtuelle : Original CCCA

Ajouter à la liste

Aerial Rug and Aerial Matt

Artist: Fae Logie

ID : 69877

Description: Aerial Rug et Aerial Matt are sewn lengths of black and white photographic murals that together are the enlargement of the bark of a Douglas-fir and the New Zealand kauri tree trunks respectively, made into a fringed rugs. Looking down, they appear as land surveys through aerial photography, referencing forested lands as commodities (booms of logs being one of the products), as well the purchase of land for inhabiting.

Des mesures : 225 x 110 cm & 85 x 65 cm

Collection:

Date de réalisation : 2005

Matériaux : silver gelatin prints, acrylic yarn and trim

Collection virtuelle : Original CCCA

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Ubiquitous Forest

Artist: Fae Logie

ID : 69869

Description: A rope ladder is suspended between two parallel mirrors, one on the floor and the other hung from the ceiling. Imitation trees hang down from the upper mirror being reflected below as standing upwards, whereas the ladder is reflected in both mirrors as going on into infinity. Ubiquitous Forest makes specific reference to the loss of diversity in forested lands in both temperate rainforests in the Northern hemisphere and tropical rainforests in the Southern. The mass removal of trees by logging or fire and the replacement of indigenous species with exotics or invasive species has modified these respective environments probably more than any other single human activity. Through such factors as multinational interests and genetic engineering, the idea of local forest ecosystems are at risk as we define our place of dwelling in global terms.

Des mesures : rope ladder: 335 x 25 cm

Collection:

Date de réalisation : 2005

Matériaux : mirror plexiglass, rope, wood, artificial trees

Collection virtuelle : Original CCCA

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stitch in time

Artist: Fae Logie

ID : 69867

Description: The opening lines of W.S. Merwin's prose poem, Unchopping a tree, prescribes how to begin the arduous task of putting a tree back together. 'Stitch in time' was part of a group installation titled Track, where 13 artists each had 22 feet of a back alley in Vancouver located near the original site of Hastings Mill along the waterfront. This work is both a patchwork quilt and a boom of logs, assembled from the trunk of a Western hemlock that grew in my yard. To patch one tree back together is to speak of irrevocable loss; sewing through the rings of a tree is to stitch through time itself, the tree's memory.

Des mesures : 671 x 155 x 30 cm

Collection:

Date de réalisation : 2005

Matériaux : half rounds of hemlock stump section, sisal twine

Collection virtuelle : Original CCCA

Ajouter à la liste

Aerial Rug and Aerial Matt

Artist: Fae Logie

ID : 69876

Description: Aerial Rug et Aerial Matt are sewn lengths of black and white photographic murals that together are the enlargement of the bark of a Douglas-fir and the New Zealand kauri tree trunks respectively, made into a fringed rugs. Looking down, they appear as land surveys through aerial photography, referencing forested lands as commodities (booms of logs being one of the products), as well the purchase of land for inhabiting.

Des mesures : 225 x 110 cm & 85 x 65 cm

Collection:

Date de réalisation : 2005

Matériaux : silver gelatin prints, acrylic yarn and trim

Collection virtuelle : Original CCCA

Ajouter à la liste

Bridge

Artist: Fae Logie

ID : 69863

Description: Two tiny chairs, inextricably bound to massive trunks or pillars of nature, look to each other across a tenuous bridge that does not offer escape. Bridge was a temporary installation spanning 20 feet between two Douglas-fir trees, one of which had been toped illegally, leaving only a 30-foot stump. The chairs express a silent protest, but also nostalgia for childhood, of places of origin, and for loss of kinship between animate and inanimate. Fairy tales told of abandonment within the forest enclosure render the familiar world uncanny. The stump and trees, still possessing a formidable presence as symbolic forests, observe, guardians of our origins and ancient correspondence, however lost or forgotten.

Des mesures : variable

Collection:

Date de réalisation : 2005

Matériaux : wood, sisal rope and twine, two chiild chairs, trees

Collection virtuelle : Original CCCA

Ajouter à la liste

Bridge

Artist: Fae Logie

ID : 69864

Description: Two tiny chairs, inextricably bound to massive trunks or pillars of nature, look to each other across a tenuous bridge that does not offer escape. Bridge was a temporary installation spanning 20 feet between two Douglas-fir trees, one of which had been toped illegally, leaving only a 30-foot stump. The chairs express a silent protest, but also nostalgia for childhood, of places of origin, and for loss of kinship between animate and inanimate. Fairy tales told of abandonment within the forest enclosure render the familiar world uncanny. The stump and trees, still possessing a formidable presence as symbolic forests, observe, guardians of our origins and ancient correspondence, however lost or forgotten.

Des mesures : variable

Collection:

Date de réalisation : 2005

Matériaux : wood, sisal rope and twine, two chiild chairs, trees

Collection virtuelle : Original CCCA

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Ubiquitous Forest

Artist: Fae Logie

ID : 69870

Description: A rope ladder is suspended between two parallel mirrors, one on the floor and the other hung from the ceiling. Imitation trees hang down from the upper mirror being reflected below as standing upwards, whereas the ladder is reflected in both mirrors as going on into infinity. Ubiquitous Forest makes specific reference to the loss of diversity in forested lands in both temperate rainforests in the Northern hemisphere and tropical rainforests in the Southern. The mass removal of trees by logging or fire and the replacement of indigenous species with exotics or invasive species has modified these respective environments probably more than any other single human activity. Through such factors as multinational interests and genetic engineering, the idea of local forest ecosystems are at risk as we define our place of dwelling in global terms.

Des mesures : rope ladder: 335 x 25 cm

Collection:

Date de réalisation : 2005

Matériaux : mirror plexiglass, rope, wood, artificial trees

Collection virtuelle : Original CCCA

Ajouter à la liste

Causeway

Artist: Fae Logie

ID : 69874

Description: Causeway juxtaposes Stanley Park in Vancouver, Canada and Trounson Park campground in Northland, New Zealand. Framed postcards depict the entrance or causeway to Stanley Park over a century of change, including an early depiction of loggers with their tent dwarfed by giant Western red cedars. The placement and scale of the tent and trees in the corresponding installation, mirrors the early postcard and speaks of the loss of forested habitat in both colonized countries. Emanating from the tent is the distinctive call of kiwis. Peering through the eyelet at the front of the tent, one enters a dreamlike journey through tropical flora along a wooden causeway (the modern face of conservation). Tourists in New Zealand can camp to witness the kiwi through the night; this national bird now threatened by invasive species and loss of habitat.

Des mesures : tent: 366 x 130 x 130 cm

Collection:

Date de réalisation : 2005

Matériaux : black synthetic tent, postcards, totara seedlings, kauri poles, rock, 1-channel video

Collection virtuelle : Original CCCA

Ajouter à la liste

Causeway

Artist: Fae Logie

ID : 69872

Description: Causeway juxtaposes Stanley Park in Vancouver, Canada and Trounson Park campground in Northland, New Zealand. Framed postcards depict the entrance or causeway to Stanley Park over a century of change, including an early depiction of loggers with their tent dwarfed by giant Western red cedars. The placement and scale of the tent and trees in the corresponding installation, mirrors the early postcard and speaks of the loss of forested habitat in both colonized countries. Emanating from the tent is the distinctive call of kiwis. Peering through the eyelet at the front of the tent, one enters a dreamlike journey through tropical flora along a wooden causeway (the modern face of conservation). Tourists in New Zealand can camp to witness the kiwi through the night; this national bird now threatened by invasive species and loss of habitat.

Des mesures : tent: 366 x 130 x 130 cm

Collection:

Date de réalisation : 2005

Matériaux : black synthetic tent, postcards, totara seedlings, kauri poles, rock, 1-channel video

Collection virtuelle : Original CCCA

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Sea Harrow

Artist: Fae Logie

ID : 69887

Description: Sea Harrow is a rake-like object composed of resin bones cast from a single whale vertebrae, strung together along a 3/4" stainless steel rod to resemble a long spinal column. The video associated with this sculpture is of beluga whales passing at intervals as overexposed bluish white masses, a fin or belly or back. There is a constant up and down movement to the footage, a feeling of being suspended, of drifting with the current somewhere between the self and other.

Des mesures : 280 x 120 x 31 cm

Collection:

Date de réalisation : 2006

Matériaux : resin bones, stainless steel rod, hot rolled steel, neoprene, steel pins

Collection virtuelle : Original CCCA

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Breathing Water

Artist: Fae Logie

ID : 69885

Description: A thick worn eyelet of rope, lost from a freighter, has been unraveled to about four feet of the total eleven-foot length resulting in a billowing mass of yellowish fibres. The remaining braided rope is partially wrapped in a fine net fabric with tiny ruffles resembling barnacle clusters. A girdle-like structure houses a buoy-like lung structure that proposes to lift the artefact from its watery depth.

Des mesures : 330 x 95 x 36 cm

Collection:

Date de réalisation : 2006

Matériaux : synthetic rope, acrylic net fabric, plastic

Collection virtuelle : Original CCCA

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Breathing Water

Artist: Fae Logie

ID : 69886

Description: A thick worn eyelet of rope, lost from a freighter, has been unraveled to about four feet of the total eleven-foot length resulting in a billowing mass of yellowish fibres. The remaining braided rope is partially wrapped in a fine net fabric with tiny ruffles resembling barnacle clusters. A girdle-like structure houses a buoy-like lung structure that proposes to lift the artefact from its watery depth.

Des mesures : 330 x 95 x 36 cm

Collection:

Date de réalisation : 2006

Matériaux : synthetic rope, acrylic net fabric, plastic

Collection virtuelle : Original CCCA

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Breathing Water

Artist: Fae Logie

ID : 69884

Description: A thick worn eyelet of rope, lost from a freighter, has been unraveled to about four feet of the total eleven-foot length resulting in a billowing mass of yellowish fibres. The remaining braided rope is partially wrapped in a fine net fabric with tiny ruffles resembling barnacle clusters. A girdle-like structure houses a buoy-like lung structure that proposes to lift the artefact from its watery depth.

Des mesures : 330 x 95 x 36 cm

Collection:

Date de réalisation : 2006

Matériaux : synthetic rope, acrylic net fabric, plastic

Collection virtuelle : Original CCCA

Ajouter à la liste

Sea Harrow

Artist: Fae Logie

ID : 69889

Description: Sea Harrow is a rake-like object composed of resin bones cast from a single whale vertebrae, strung together along a 3/4" stainless steel rod to resemble a long spinal column. The video associated with this sculpture is of beluga whales passing at intervals as overexposed bluish white masses, a fin or belly or back. There is a constant up and down movement to the footage, a feeling of being suspended, of drifting with the current somewhere between the self and other.

Des mesures : 280 x 120 x 31 cm

Collection:

Date de réalisation : 2006

Matériaux : resin bones, stainless steel rod, hot rolled steel, neoprene, steel pins

Collection virtuelle : Original CCCA

Ajouter à la liste

Sea Harrow

Artist: Fae Logie

ID : 69888

Description: Sea Harrow is a rake-like object composed of resin bones cast from a single whale vertebrae, strung together along a 3/4" stainless steel rod to resemble a long spinal column. The video associated with this sculpture is of beluga whales passing at intervals as overexposed bluish white masses, a fin or belly or back. There is a constant up and down movement to the footage, a feeling of being suspended, of drifting with the current somewhere between the self and other.

Des mesures : 280 x 120 x 31 cm

Collection:

Date de réalisation : 2006

Matériaux : resin bones, stainless steel rod, hot rolled steel, neoprene, steel pins

Collection virtuelle : Original CCCA

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Scale 1:10,000

Artist: Fae Logie

ID : 69879

Description: Captain George Vancouver was convinced that the only way to make the required scientific survey of all the inlets and islands of the northwest coast of North America, was to trace every foot of the continental foreshore. To this end, his 'People' set out in open longboats to literally row most of the more than 10,000 miles covered during the three year survey between 1792 and 1974. It is in this act of rowing, both as a physical act and in its implications as a means of mapping, claiming and renaming the land, that `Scale 1:10,000 investigates. The concept of rowing the coastline is utilized to examine cultural differences in naming and ownership. The video element of this work shows the artist rowing a costal inlet, now called Indian Arm, the traditional territory of the Tsleil¬Waututh, "People of the Inlet". From the boat, a mile of orange surveying tape is released, which is labeled with the hundreds of surviving place names bestowed on this coast by Vancouver. This renaming of landmarks was often as bids of posterity and proof of ownership, as a desire to familiarize a harsh and unknown landscape. Throughout the length of the video, place names of the Tsleil-Waututh People are superimposed with their translations. These traditional names reflect resources and the use of the land in relation to the people and to stewardship. In the installation, the mile of surveying tape is wound into a large roll and displayed on an 18th Century wooden table with the video screen behind. Postcards depicting the inlet were given out as souvenirs.

Des mesures : variable

Collection:

Date de réalisation : 2007

Matériaux : 1 mile 3" fluorescent surveying tape, 1-charlaelyid-eo, vintage wooden table, 1,000 postcards

Collection virtuelle : Original CCCA

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Scale 1:10,000

Artist: Fae Logie

ID : 69880

Description: Captain George Vancouver was convinced that the only way to make the required scientific survey of all the inlets and islands of the northwest coast of North America, was to trace every foot of the continental foreshore. To this end, his 'People' set out in open longboats to literally row most of the more than 10,000 miles covered during the three year survey between 1792 and 1974. It is in this act of rowing, both as a physical act and in its implications as a means of mapping, claiming and renaming the land, that `Scale 1:10,000 investigates. The concept of rowing the coastline is utilized to examine cultural differences in naming and ownership. The video element of this work shows the artist rowing a costal inlet, now called Indian Arm, the traditional territory of the Tsleil¬Waututh, "People of the Inlet". From the boat, a mile of orange surveying tape is released, which is labeled with the hundreds of surviving place names bestowed on this coast by Vancouver. This renaming of landmarks was often as bids of posterity and proof of ownership, as a desire to familiarize a harsh and unknown landscape. Throughout the length of the video, place names of the Tsleil-Waututh People are superimposed with their translations. These traditional names reflect resources and the use of the land in relation to the people and to stewardship. In the installation, the mile of surveying tape is wound into a large roll and displayed on an 18th Century wooden table with the video screen behind. Postcards depicting the inlet were given out as souvenirs.

Des mesures : variable

Collection:

Date de réalisation : 2007

Matériaux : 1 mile 3" fluorescent surveying tape, 1-charlaelyid-eo, vintage wooden table, 1,000 postcards

Collection virtuelle : Original CCCA

Ajouter à la liste

Scale 1:10,000

Artist: Fae Logie

ID : 69881

Description: Captain George Vancouver was convinced that the only way to make the required scientific survey of all the inlets and islands of the northwest coast of North America, was to trace every foot of the continental foreshore. To this end, his 'People' set out in open longboats to literally row most of the more than 10,000 miles covered during the three year survey between 1792 and 1974. It is in this act of rowing, both as a physical act and in its implications as a means of mapping, claiming and renaming the land, that `Scale 1:10,000 investigates. The concept of rowing the coastline is utilized to examine cultural differences in naming and ownership. The video element of this work shows the artist rowing a costal inlet, now called Indian Arm, the traditional territory of the Tsleil¬Waututh, "People of the Inlet". From the boat, a mile of orange surveying tape is released, which is labeled with the hundreds of surviving place names bestowed on this coast by Vancouver. This renaming of landmarks was often as bids of posterity and proof of ownership, as a desire to familiarize a harsh and unknown landscape. Throughout the length of the video, place names of the Tsleil-Waututh People are superimposed with their translations. These traditional names reflect resources and the use of the land in relation to the people and to stewardship. In the installation, the mile of surveying tape is wound into a large roll and displayed on an 18th Century wooden table with the video screen behind. Postcards depicting the inlet were given out as souvenirs.

Des mesures : variable

Collection:

Date de réalisation : 2007

Matériaux : 1 mile 3

Collection virtuelle : Original CCCA

Ajouter à la liste

Scale 1:10,000

Artist: Fae Logie

ID : 69883

Description: Captain George Vancouver was convinced that the only way to make the required scientific survey of all the inlets and islands of the northwest coast of North America, was to trace every foot of the continental foreshore. To this end, his 'People' set out in open longboats to literally row most of the more than 10,000 miles covered during the three year survey between 1792 and 1974. It is in this act of rowing, both as a physical act and in its implications as a means of mapping, claiming and renaming the land, that `Scale 1:10,000 investigates. The concept of rowing the coastline is utilized to examine cultural differences in naming and ownership. The video element of this work shows the artist rowing a costal inlet, now called Indian Arm, the traditional territory of the Tsleil¬Waututh, "People of the Inlet". From the boat, a mile of orange surveying tape is released, which is labeled with the hundreds of surviving place names bestowed on this coast by Vancouver. This renaming of landmarks was often as bids of posterity and proof of ownership, as a desire to familiarize a harsh and unknown landscape. Throughout the length of the video, place names of the Tsleil-Waututh People are superimposed with their translations. These traditional names reflect resources and the use of the land in relation to the people and to stewardship. In the installation, the mile of surveying tape is wound into a large roll and displayed on an 18th Century wooden table with the video screen behind. Postcards depicting the inlet were given out as souvenirs.

Des mesures : variable

Collection:

Date de réalisation : 2007

Matériaux : 1 mile 3" fluorescent surveying tape, 1-charlaelyid-eo, vintage wooden table, 1,000 postcards

Collection virtuelle : Original CCCA

Ajouter à la liste

Scale 1:10,000

Artist: Fae Logie

ID : 69882

Description: Captain George Vancouver was convinced that the only way to make the required scientific survey of all the inlets and islands of the northwest coast of North America, was to trace every foot of the continental foreshore. To this end, his 'People' set out in open longboats to literally row most of the more than 10,000 miles covered during the three year survey between 1792 and 1974. It is in this act of rowing, both as a physical act and in its implications as a means of mapping, claiming and renaming the land, that `Scale 1:10,000 investigates. The concept of rowing the coastline is utilized to examine cultural differences in naming and ownership. The video element of this work shows the artist rowing a costal inlet, now called Indian Arm, the traditional territory of the Tsleil¬Waututh, "People of the Inlet". From the boat, a mile of orange surveying tape is released, which is labeled with the hundreds of surviving place names bestowed on this coast by Vancouver. This renaming of landmarks was often as bids of posterity and proof of ownership, as a desire to familiarize a harsh and unknown landscape. Throughout the length of the video, place names of the Tsleil-Waututh People are superimposed with their translations. These traditional names reflect resources and the use of the land in relation to the people and to stewardship. In the installation, the mile of surveying tape is wound into a large roll and displayed on an 18th Century wooden table with the video screen behind. Postcards depicting the inlet were given out as souvenirs.

Des mesures : variable

Collection:

Date de réalisation : 2007

Matériaux : 1 mile 3" fluorescent surveying tape, 1-charlaelyid-eo, vintage wooden table, 1,000 postcards

Collection virtuelle : Original CCCA

Ajouter à la liste

Scale 1:10,000

Artist: Fae Logie

ID : 69878

Description: Captain George Vancouver was convinced that the only way to make the required scientific survey of all the inlets and islands of the northwest coast of North America, was to trace every foot of the continental foreshore. To this end, his 'People' set out in open longboats to literally row most of the more than 10,000 miles covered during the three year survey between 1792 and 1974. It is in this act of rowing, both as a physical act and in its implications as a means of mapping, claiming and renaming the land, that `Scale 1:10,000 investigates. The concept of rowing the coastline is utilized to examine cultural differences in naming and ownership. The video element of this work shows the artist rowing a costal inlet, now called Indian Arm, the traditional territory of the Tsleil¬Waututh, "People of the Inlet". From the boat, a mile of orange surveying tape is released, which is labeled with the hundreds of surviving place names bestowed on this coast by Vancouver. This renaming of landmarks was often as bids of posterity and proof of ownership, as a desire to familiarize a harsh and unknown landscape. Throughout the length of the video, place names of the Tsleil-Waututh People are superimposed with their translations. These traditional names reflect resources and the use of the land in relation to the people and to stewardship. In the installation, the mile of surveying tape is wound into a large roll and displayed on an 18th Century wooden table with the video screen behind. Postcards depicting the inlet were given out as souvenirs.

Des mesures : variable

Collection:

Date de réalisation : 2007

Matériaux : 1 mile 3" fluorescent surveying tape, 1-charlaelyid-eo, vintage wooden table, 1,000 postcards

Collection virtuelle : Original CCCA

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Island

Artist: Fae Logie

ID : 83459

Description: The looped wharf delineates a shape on the foreshore, an island if you like, defining a space distinct from its surroundings. With the incoming tide, a voyage comes into place; the vessel, as the island, is different from its surroundings again.

Working in the liminal zone between the forest and the intertidal of Port Moody, a looped wharf defines a space on the beach. An island. Separate. With the incoming tide, a voyage comes into play, an exodus, and a returning.

Des mesures :

Collection:

Date de réalisation : 2009

Matériaux : 1x2 cedar, sisal rope, hardware

Collection virtuelle : Original CCCA

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At a Distance: Dawn Chorus

Artist: Fae Logie

ID : 83456

Description: In collaboration with Anne Eggebert, UK.

Audio recordings of the forest birds of Port Moody and Chingford played to each others forests via laptop computers displaying the distant forest. At a Distance has, “to a large extent involved the exchange of e-mail conversations relating our sensory experiences of moving through our respective forests and the memories and anecdotes that assign meaning to the idea of forest. Looking for the familiar in elsewhere and the unknown in the local, a key aspect of ‘At a Distance’ has been to invert the ‘here’ and ‘there’.” Anne Eggebert

Des mesures :

Collection:

Date de réalisation : 2009

Matériaux :

Collection virtuelle : Original CCCA

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At a Distance: Dawn Chorus

Artist: Fae Logie

ID : 83457

Description: In collaboration with Anne Eggebert, UK.

Audio recordings of the forest birds of Port Moody and Chingford played to each others forests via laptop computers displaying the distant forest. At a Distance has, “to a large extent involved the exchange of e-mail conversations relating our sensory experiences of moving through our respective forests and the memories and anecdotes that assign meaning to the idea of forest. Looking for the familiar in elsewhere and the unknown in the local, a key aspect of ‘At a Distance’ has been to invert the ‘here’ and ‘there’.” Anne Eggebert

Des mesures :

Collection:

Date de réalisation : 2009

Matériaux :

Collection virtuelle : Original CCCA

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Decoy

Artist: Fae Logie

ID : 83463

Description: As a forest intervention, Decoy is composed of the altered triangular front of a pale green tent, suspended through grommets and monofilament. In the centre of the mesh door a nest-like weaving of local mosses, lichens and algae frame an opening. It appears as a blind or decoy, containing or dividing a space, disrupting the distinction of inside and outside, alluding to refuge, it is not a dwelling but a non-dwelling.

Des mesures :

Collection:

Date de réalisation : 2009

Matériaux : synthetic tent front, monofilament, hardware, native mosses and twigs

Collection virtuelle : Original CCCA

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Island

Artist: Fae Logie

ID : 83458

Description: The looped wharf delineates a shape on the foreshore, an island if you like, defining a space distinct from its surroundings. With the incoming tide, a voyage comes into place; the vessel, as the island, is different from its surroundings again.

Working in the liminal zone between the forest and the intertidal of Port Moody, a looped wharf defines a space on the beach. An island. Separate. With the incoming tide, a voyage comes into play, an exodus, and a returning.

Des mesures :

Collection:

Date de réalisation : 2009

Matériaux : 1x2 cedar, sisal rope, hardware

Collection virtuelle : Original CCCA

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Island

Artist: Fae Logie

ID : 83460

Description: The looped wharf delineates a shape on the foreshore, an island if you like, defining a space distinct from its surroundings. With the incoming tide, a voyage comes into place; the vessel, as the island, is different from its surroundings again.

Working in the liminal zone between the forest and the intertidal of Port Moody, a looped wharf defines a space on the beach. An island. Separate. With the incoming tide, a voyage comes into play, an exodus, and a returning.

Des mesures :

Collection:

Date de réalisation : 2009

Matériaux : 1x2 cedar, sisal rope, hardware

Collection virtuelle : Original CCCA

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Decoy

Artist: Fae Logie

ID : 83462

Description: As a forest intervention, Decoy is composed of the altered triangular front of a pale green tent, suspended through grommets and monofilament. In the centre of the mesh door a nest-like weaving of local mosses, lichens and algae frame an opening. It appears as a blind or decoy, containing or dividing a space, disrupting the distinction of inside and outside, alluding to refuge, it is not a dwelling but a non-dwelling.

Des mesures :

Collection:

Date de réalisation : 2009

Matériaux : synthetic tent front, monofilament, hardware, native mosses and twigs

Collection virtuelle : Original CCCA

Ajouter à la liste

Decoy

Artist: Fae Logie

ID : 83461

Description: As a forest intervention, Decoy is composed of the altered triangular front of a pale green tent, suspended through grommets and monofilament. In the centre of the mesh door a nest-like weaving of local mosses, lichens and algae frame an opening. It appears as a blind or decoy, containing or dividing a space, disrupting the distinction of inside and outside, alluding to refuge, it is not a dwelling but a non-dwelling.

Des mesures :

Collection:

Date de réalisation : 2009

Matériaux : synthetic tent front, monofilament, hardware, native mosses and twigs

Collection virtuelle : Original CCCA

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Flotsam and Jetsam

Artist: Fae Logie

ID : 83465

Description: Titled as the wreckage or cargo from a sunken ship these two round ‘wharfs’ provide an antidote to contemporary life. Within an antithesis of speed, they flow in contrast to most other forms of modern locomotion on land or water. Each wharf, built from discarded construction scrap, equipped with cable and rope, floats or rolls independently, then touch gently, like gears in an ephemeral machine. Placed in watery environments of commerce and trade, Logie and Mulvhill maneuver and navigate two distinct journeys amidst harbours. Clad in gumboots or hard hats, they emulate the essence of day-to-day work along the waterfront, contrasting insignificant human scale with the grand impact of industry and urban intervention.

Des mesures : diameter of circles - 3 m each

Collection:

Date de réalisation : 2010

Matériaux : reclaimed wood, steel cable, hardware, rope, 2-channnel video

Collection virtuelle : Original CCCA

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Flotsam and Jetsam

Artist: Fae Logie

ID : 83464

Description: Titled as the wreckage or cargo from a sunken ship these two round ‘wharfs’ provide an antidote to contemporary life. Within an antithesis of speed, they flow in contrast to most other forms of modern locomotion on land or water. Each wharf, built from discarded construction scrap, equipped with cable and rope, floats or rolls independently, then touch gently, like gears in an ephemeral machine. Placed in watery environments of commerce and trade, Logie and Mulvhill maneuver and navigate two distinct journeys amidst harbours. Clad in gumboots or hard hats, they emulate the essence of day-to-day work along the waterfront, contrasting insignificant human scale with the grand impact of industry and urban intervention.

Des mesures : diameter of circles - 3 m each

Collection:

Date de réalisation : 2010

Matériaux : reclaimed wood, steel cable, hardware, rope, 2-channnel video

Collection virtuelle : Original CCCA

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Flotsam and Jetsam

Artist: Fae Logie

ID : 83466

Description: Titled as the wreckage or cargo from a sunken ship these two round ‘wharfs’ provide an antidote to contemporary life. Within an antithesis of speed, they flow in contrast to most other forms of modern locomotion on land or water. Each wharf, built from discarded construction scrap, equipped with cable and rope, floats or rolls independently, then touch gently, like gears in an ephemeral machine. Placed in watery environments of commerce and trade, Logie and Mulvhill maneuver and navigate two distinct journeys amidst harbours. Clad in gumboots or hard hats, they emulate the essence of day-to-day work along the waterfront, contrasting insignificant human scale with the grand impact of industry and urban intervention.

Des mesures : diameter of circles - 3 m each

Collection:

Date de réalisation : 2010

Matériaux : reclaimed wood, steel cable, hardware, rope, 2-channnel video

Collection virtuelle : Original CCCA

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Journey

Artist: Fae Logie

ID : 83468

Description: In collaboration with Rainer Daniels.

A bridge enables passage. Spanning Noons Creek, aspects of the bridge railings become the body and exposed ribs of two long canoes; their paddle blades cut with patterns referencing natural and man-made elements nearby (water, foliage, drains and signage). Light cast through the blades mirrors these patterns back into the natural surroundings. The canoe is a potent symbol. It speaks of both European explorers and settlers to this area, and of the local First Nations People. As well, it has become a symbol of escape as urban adventurers strap canoes and kayaks to the roofs of their cars to seek an experience of nature.

Des mesures : paddles: 366 cm in height, 2” pipe / canoe tips: 74 x 35 x 10 cm

Collection:

Date de réalisation : 2011

Matériaux : galvanized and powder coated steel, hardware

Collection virtuelle : Original CCCA

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Nurse Cabinet

Artist: Fae Logie

ID : 83481

Description: Referencing nurse logs or stumps, ‘Nurse Cabinet’ is an old wooden display cabinet placed in my yard as a sort of cabinet of curiosity or terrarium laboratory housing living specimens of native seedlings. The cabinet will gradually decay as the trees mature, nursed by soil augmented with yard composting leaves, the action of insects, fungi and bacteria. The cabinet is modified to capture rainwater through glass funnels penetrating the top boards; its interior providing a sheltered environment simulating the conditions of the forest floor. Two holes drilled into the sideboards will access enclosed shelves for nesting birds. ‘Nurse Cabinet’ looks at notions of scientific collections and impermanence. When I moved from the house, the cabinet was dismantled with only the ‘tomb’ of the earth remaining.

Des mesures : 176 x 92 x 38 cm

Collection:

Date de réalisation : 2011

Matériaux : wood cabinet, soil, native plantings

Collection virtuelle : Original CCCA

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Circumnavigator

Artist: Fae Logie

ID : 83473

Description: In collaboration with Tiki Mulvihill.

Modeled on the ubiquitous structure of a wooden palette multiplied twice to human scale and rounded, Circumnavigator situates as both a survival raft and a raft of commerce, a container for the uncontainable. Modified for water travel, this unusual raft supports a dome shaped one-person tent-form made from worn cargo netting and discarded marine and camping gear is a decisively unpractical fashion. As a concentration in roundness, it provides a simple means of nonsensical transportation; carving an indirect journey with no beginning or end, no true source or destination, no rhyme nor reason.

Des mesures : diameter 2.5 m x 120 cm in height

Collection:

Date de réalisation : 2011

Matériaux : wood, netting, life preserver, hardware, rope

Collection virtuelle : Original CCCA

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Journey

Artist: Fae Logie

ID : 83467

Description: In collaboration with Rainer Daniels.

A bridge enables passage. Spanning Noons Creek, aspects of the bridge railings become the body and exposed ribs of two long canoes; their paddle blades cut with patterns referencing natural and man-made elements nearby (water, foliage, drains and signage). Light cast through the blades mirrors these patterns back into the natural surroundings. The canoe is a potent symbol. It speaks of both European explorers and settlers to this area, and of the local First Nations People. As well, it has become a symbol of escape as urban adventurers strap canoes and kayaks to the roofs of their cars to seek an experience of nature.

Des mesures :

Collection:

Date de réalisation : 2011

Matériaux :

Collection virtuelle : Original CCCA

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Clam Line

Artist: Fae Logie

ID : 83471

Description: Sourcing natural accumulations of shells in Burrard Inlet, the clamshells are filled with concrete and joined by fluorescent twine to a length of 1000 feet. Clam Line references ideas of fishing, of weighted lines, carrying the analogy through to the catch, the clams as product, collected, processed, counted, traded, and sold. I am interested in examining the natural manipulated, as in aquaculture where nature is managed towards efficiency of harvest, regardless of impact to habitat. Appearing to delineate the circumference of Granville Island, Clam Line also acts as a marker – fluorescent twine being used as a tool by surveyors and builders to indicate land claimed for alternate purposes.

Des mesures : 305 m

Collection:

Date de réalisation : 2011

Matériaux : bivalves, concrete, fluorescent twine

Collection virtuelle : Original CCCA

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Clam Line

Artist: Fae Logie

ID : 83472

Description: Sourcing natural accumulations of shells in Burrard Inlet, the clamshells are filled with concrete and joined by fluorescent twine to a length of 1000 feet. Clam Line references ideas of fishing, of weighted lines, carrying the analogy through to the catch, the clams as product, collected, processed, counted, traded, and sold. I am interested in examining the natural manipulated, as in aquaculture where nature is managed towards efficiency of harvest, regardless of impact to habitat. Appearing to delineate the circumference of Granville Island, Clam Line also acts as a marker – fluorescent twine being used as a tool by surveyors and builders to indicate land claimed for alternate purposes.

Des mesures : 305 m

Collection:

Date de réalisation : 2011

Matériaux : bivalves, concrete, fluorescent twine

Collection virtuelle : Original CCCA

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Timber

Artist: Fae Logie

ID : 83477

Description: Timber is an installation with groupings of tree-like columns composed of rolls of toilet paper stacked one on top of the other. Each roll is printed with brown water-based pigment in the pattern of wood grain. The title and materials reference the construct of our forests simply as a resource for economic gain, the ubiquitous use of paper products in our day-to-day lives. The rolls appear as a child’s game of stacking blocks, the shout of “Timber” when everything falls down.

Des mesures :

Collection:

Date de réalisation : 2011

Matériaux : toilet paper, water-based pigment

Collection virtuelle : Original CCCA

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Nurse Cabinet

Artist: Fae Logie

ID : 83478

Description: Referencing nurse logs or stumps, ‘Nurse Cabinet’ is an old wooden display cabinet placed in my yard as a sort of cabinet of curiosity or terrarium laboratory housing living specimens of native seedlings. The cabinet will gradually decay as the trees mature, nursed by soil augmented with yard composting leaves, the action of insects, fungi and bacteria. The cabinet is modified to capture rainwater through glass funnels penetrating the top boards; its interior providing a sheltered environment simulating the conditions of the forest floor. Two holes drilled into the sideboards will access enclosed shelves for nesting birds. ‘Nurse Cabinet’ looks at notions of scientific collections and impermanence. When I moved from the house, the cabinet was dismantled with only the ‘tomb’ of the earth remaining.

Des mesures : 176 x 92 x 38 cm

Collection:

Date de réalisation : 2011

Matériaux : wood cabinet, soil, native plantings

Collection virtuelle : Original CCCA

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Clam Line

Artist: Fae Logie

ID : 83469

Description: Sourcing natural accumulations of shells in Burrard Inlet, the clamshells are filled with concrete and joined by fluorescent twine to a length of 1000 feet. Clam Line references ideas of fishing, of weighted lines, carrying the analogy through to the catch, the clams as product, collected, processed, counted, traded, and sold. I am interested in examining the natural manipulated, as in aquaculture where nature is managed towards efficiency of harvest, regardless of impact to habitat. Appearing to delineate the circumference of Granville Island, Clam Line also acts as a marker – fluorescent twine being used as a tool by surveyors and builders to indicate land claimed for alternate purposes.

Des mesures : 305 m

Collection:

Date de réalisation : 2011

Matériaux : bivalves, concrete, fluorescent twine

Collection virtuelle : Original CCCA

Ajouter à la liste

Timber

Artist: Fae Logie

ID : 83476

Description: Timber is an installation with groupings of tree-like columns composed of rolls of toilet paper stacked one on top of the other. Each roll is printed with brown water-based pigment in the pattern of wood grain. The title and materials reference the construct of our forests simply as a resource for economic gain, the ubiquitous use of paper products in our day-to-day lives. The rolls appear as a child’s game of stacking blocks, the shout of “Timber” when everything falls down.

Des mesures :

Collection:

Date de réalisation : 2011

Matériaux : toilet paper, water-based pigment

Collection virtuelle : Original CCCA

Ajouter à la liste

Nurse Cabinet

Artist: Fae Logie

ID : 83480

Description: Referencing nurse logs or stumps, ‘Nurse Cabinet’ is an old wooden display cabinet placed in my yard as a sort of cabinet of curiosity or terrarium laboratory housing living specimens of native seedlings. The cabinet will gradually decay as the trees mature, nursed by soil augmented with yard composting leaves, the action of insects, fungi and bacteria. The cabinet is modified to capture rainwater through glass funnels penetrating the top boards; its interior providing a sheltered environment simulating the conditions of the forest floor. Two holes drilled into the sideboards will access enclosed shelves for nesting birds. ‘Nurse Cabinet’ looks at notions of scientific collections and impermanence. When I moved from the house, the cabinet was dismantled with only the ‘tomb’ of the earth remaining.

Des mesures : 176 x 92 x 38 cm

Collection:

Date de réalisation : 2011

Matériaux : wood cabinet, soil, native plantings

Collection virtuelle : Original CCCA

Ajouter à la liste

Nurse Cabinet

Artist: Fae Logie

ID : 83479

Description: Referencing nurse logs or stumps, ‘Nurse Cabinet’ is an old wooden display cabinet placed in my yard as a sort of cabinet of curiosity or terrarium laboratory housing living specimens of native seedlings. The cabinet will gradually decay as the trees mature, nursed by soil augmented with yard composting leaves, the action of insects, fungi and bacteria. The cabinet is modified to capture rainwater through glass funnels penetrating the top boards; its interior providing a sheltered environment simulating the conditions of the forest floor. Two holes drilled into the sideboards will access enclosed shelves for nesting birds. ‘Nurse Cabinet’ looks at notions of scientific collections and impermanence. When I moved from the house, the cabinet was dismantled with only the ‘tomb’ of the earth remaining.

Des mesures : 176 x 92 x 38 cm

Collection:

Date de réalisation : 2011

Matériaux : wood cabinet, soil, native plantings

Collection virtuelle : Original CCCA

Ajouter à la liste

Circumnavigator

Artist: Fae Logie

ID : 83475

Description: In collaboration with Tiki Mulvihill.

Modeled on the ubiquitous structure of a wooden palette multiplied twice to human scale and rounded, Circumnavigator situates as both a survival raft and a raft of commerce, a container for the uncontainable. Modified for water travel, this unusual raft supports a dome shaped one-person tent-form made from worn cargo netting and discarded marine and camping gear is a decisively unpractical fashion. As a concentration in roundness, it provides a simple means of nonsensical transportation; carving an indirect journey with no beginning or end, no true source or destination, no rhyme nor reason.

Des mesures : diameter 2.5 m x 120 cm in height

Collection:

Date de réalisation : 2011

Matériaux : wood, netting, life preserver, hardware, rope

Collection virtuelle : Original CCCA

Ajouter à la liste

Circumnavigator

Artist: Fae Logie

ID : 83474

Description: In collaboration with Tiki Mulvihill.

Modeled on the ubiquitous structure of a wooden palette multiplied twice to human scale and rounded, Circumnavigator situates as both a survival raft and a raft of commerce, a container for the uncontainable. Modified for water travel, this unusual raft supports a dome shaped one-person tent-form made from worn cargo netting and discarded marine and camping gear is a decisively unpractical fashion. As a concentration in roundness, it provides a simple means of nonsensical transportation; carving an indirect journey with no beginning or end, no true source or destination, no rhyme nor reason.

Des mesures : diameter 2.5 m x 120 cm in height

Collection:

Date de réalisation : 2011

Matériaux : wood, netting, life preserver, hardware, rope

Collection virtuelle : Original CCCA

Ajouter à la liste

Nurse Cabinet

Artist: Fae Logie

ID : 83482

Description: Referencing nurse logs or stumps, ‘Nurse Cabinet’ is an old wooden display cabinet placed in my yard as a sort of cabinet of curiosity or terrarium laboratory housing living specimens of native seedlings. The cabinet will gradually decay as the trees mature, nursed by soil augmented with yard composting leaves, the action of insects, fungi and bacteria. The cabinet is modified to capture rainwater through glass funnels penetrating the top boards; its interior providing a sheltered environment simulating the conditions of the forest floor. Two holes drilled into the sideboards will access enclosed shelves for nesting birds. ‘Nurse Cabinet’ looks at notions of scientific collections and impermanence. When I moved from the house, the cabinet was dismantled with only the ‘tomb’ of the earth remaining.

Des mesures : 176 x 92 x 38 cm

Collection:

Date de réalisation : 2011

Matériaux : wood cabinet, soil, native plantings

Collection virtuelle : Original CCCA

Ajouter à la liste

Clam Line

Artist: Fae Logie

ID : 83470

Description: Sourcing natural accumulations of shells in Burrard Inlet, the clamshells are filled with concrete and joined by fluorescent twine to a length of 1000 feet. Clam Line references ideas of fishing, of weighted lines, carrying the analogy through to the catch, the clams as product, collected, processed, counted, traded, and sold. I am interested in examining the natural manipulated, as in aquaculture where nature is managed towards efficiency of harvest, regardless of impact to habitat. Appearing to delineate the circumference of Granville Island, Clam Line also acts as a marker – fluorescent twine being used as a tool by surveyors and builders to indicate land claimed for alternate purposes.

Des mesures : 305 m

Collection:

Date de réalisation : 2011

Matériaux : bivalves, concrete, fluorescent twine

Collection virtuelle : Original CCCA

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Inventory – Iceland

Artist: Fae Logie

ID : 83487

Description: ‘Inventory’ looks at the need to estimate woody biomass even in the scant forest of Iceland, where afforestation activities affect the ecosystem carbon balance. Sticks of charcoal are labeled with the terminologies of climate change in respect to local and global forest concerns.

Des mesures : 36 x 30 cm

Collection:

Date de réalisation : 2012

Matériaux : glass vials, willow charcoal, copper tags

Collection virtuelle : Original CCCA

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Ballast

Artist: Fae Logie

ID : 83483

Description: Car weighted down, submerged. The bricks damp from being outside cause the windows to fog up as if breathing, last breath, my car no longer a vehicle of the road. It was a free car 15 years ago with some issues, having traveled to Anchorage and back twice before coming my way. Total mileage, 278,593 km.

Des mesures : variable

Collection:

Date de réalisation : 2012

Matériaux : bricks, wood, car

Collection virtuelle : Original CCCA

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Bark Drawing l Douglas fir

Artist: Fae Logie

ID : 83491

Description: The flesh of my palm presses firmly against a tree’s bark sensing the ridges pushing back. My 6B pencil traces this memory of touch, marking time – time innate to the growth of trees as water and nutrients travel through its trunk’s vascular system, tree rings a visual of its growth. The Bark Drawings are a series of mural-sized works depicting major species of coniferous trees within our Coastal temperate rainforest – Douglas fir, Western hemlock, Sitka spruce, Western red cedar. As when experiencing individual tall conifers in close proximity, these drawings relate to a bodily awareness, to one’s own as well as to the other. Texture and pattern is abstracted and in subtle ways repeats itself, retaining the unique markings of a hand or of nature.

Des mesures : 206 x 127 cm

Collection:

Date de réalisation : 2012

Matériaux : archival paper, charcoal

Collection virtuelle : drawn, Original CCCA

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Natural Selection – Iceland

Artist: Fae Logie

ID : 83490

Description: In Iceland there is conflict between the planting of trees and the grazing of sheep. In ‘Natural Selection’, small sample bags full of Icelandic sheep’s wool are labeled with the scientific, Icelandic and common English names for native plant species. Sheep grazing has devastated the landscape, destabilizing soil then vulnerable to wind and rain. The sheep have priority over everything, an old custom in Iceland. It will take a very long epoch to change.

Des mesures : 68 x 32 x 4 cm

Collection:

Date de réalisation : 2012

Matériaux : wooden drawer, specimen bags, sheep wool

Collection virtuelle : Original CCCA

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Ballast

Artist: Fae Logie

ID : 83484

Description: Car weighted down, submerged. The bricks damp from being outside cause the windows to fog up as if breathing, last breath, my car no longer a vehicle of the road. It was a free car 15 years ago with some issues, having traveled to Anchorage and back twice before coming my way. Total mileage, 278,593 km.

Des mesures : variable

Collection:

Date de réalisation : 2012

Matériaux : bricks, wood, car

Collection virtuelle : Original CCCA

Ajouter à la liste

Natural Selection – Iceland

Artist: Fae Logie

ID : 83489

Description: In Iceland there is conflict between the planting of trees and the grazing of sheep. In ‘Natural Selection’, small sample bags full of Icelandic sheep’s wool are labeled with the scientific, Icelandic and common English names for native plant species. Sheep grazing has devastated the landscape, destabilizing soil then vulnerable to wind and rain. The sheep have priority over everything, an old custom in Iceland. It will take a very long epoch to change.

Des mesures : 68

Collection:

Date de réalisation : 2012

Matériaux : wooden drawer, specimen bags, sheep wool

Collection virtuelle : Original CCCA

Ajouter à la liste

Inventory – Iceland

Artist: Fae Logie

ID : 83485

Description: ‘Inventory’ looks at the need to estimate woody biomass even in the scant forest of Iceland, where afforestation activities affect the ecosystem carbon balance. Sticks of charcoal are labeled with the terminologies of climate change in respect to local and global forest concerns.

Des mesures : 36 x 30 cm

Collection:

Date de réalisation : 2012

Matériaux : glass vials, willow charcoal, copper tags

Collection virtuelle : Original CCCA

Ajouter à la liste

Bark Drawing l Douglas fir

Artist: Fae Logie

ID : 83492

Description: The flesh of my palm presses firmly against a tree’s bark sensing the ridges pushing back. My 6B pencil traces this memory of touch, marking time – time innate to the growth of trees as water and nutrients travel through its trunk’s vascular system, tree rings a visual of its growth. The Bark Drawings are a series of mural-sized works depicting major species of coniferous trees within our Coastal temperate rainforest – Douglas fir, Western hemlock, Sitka spruce, Western red cedar. As when experiencing individual tall conifers in close proximity, these drawings relate to a bodily awareness, to one’s own as well as to the other. Texture and pattern is abstracted and in subtle ways repeats itself, retaining the unique markings of a hand or of nature.

Des mesures : 206 x 127 cm

Collection:

Date de réalisation : 2012

Matériaux : archival paper, charcoal

Collection virtuelle : Original CCCA

Ajouter à la liste

Inventory – Iceland

Artist: Fae Logie

ID : 83486

Description: ‘Inventory’ looks at the need to estimate woody biomass even in the scant forest of Iceland, where afforestation activities affect the ecosystem carbon balance. Sticks of charcoal are labeled with the terminologies of climate change in respect to local and global forest concerns.

Des mesures : 36 x 30 cm

Collection:

Date de réalisation : 2012

Matériaux : glass vials, willow charcoal, copper tags

Collection virtuelle : Original CCCA

Ajouter à la liste

Natural Selection – Iceland

Artist: Fae Logie

ID : 83488

Description: In Iceland there is conflict between the planting of trees and the grazing of sheep. In ‘Natural Selection’, small sample bags full of Icelandic sheep’s wool are labeled with the scientific, Icelandic and common English names for native plant species. Sheep grazing has devastated the landscape, destabilizing soil then vulnerable to wind and rain. The sheep have priority over everything, an old custom in Iceland. It will take a very long epoch to change.

Des mesures : 68 x 32 x 4 cm

Collection:

Date de réalisation : 2012

Matériaux : wooden drawer, specimen bags, sheep wool

Collection virtuelle : Original CCCA

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SS Aimless

Artist: Fae Logie

ID : 83501

Description: In collaboration with Tiki Mulvihill.

Referencing early nautical means of locomotion: steam ships, galleys, paddle wheelers and rowboats with a definite non-functional twist. SS Aimless implies simple transport in the form of a time traveling hybrid. It is powered to go nowhere in an era that consumes copious amounts of resources but fails to further us ahead. SS Aimless serves as a metaphor for the conflicting notions of our time. Built of re-purposed shipyard scrap, it remains caught in the ebb and flow of the tide, anchored in contemporary times, yet moored to the traditional, obsolete transport systems of our past.

Des mesures : 305 x 340 x 320 cm

Collection:

Date de réalisation : 2013

Matériaux : scrap wood, repurposed plastic, hardware, cable

Collection virtuelle : Original CCCA

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Reflection

Artist: Fae Logie

ID : 83499

Description: Two suspended sparkly decorative trees are affixed end-to-end appearing as if one is the reflection of the other in a watery setting. Reflection is a playful statement on traditional landscape painting.

Des mesures : 122 x 23 x 23 cm

Collection:

Date de réalisation : 2013

Matériaux : fake trees, hardware, monofilament

Collection virtuelle : Original CCCA

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Blind

Artist: Fae Logie

ID : 83493

Description: ‘Blind’ references both a shelter and a disguise to observe nature. Vision is limited to two tiny eyeholes behind dark glasses, mimicking the use of technology to isolate a fragment of the natural world for study. I skulk through the trees.

Des mesures : 54 x 20 x 12 cm

Collection:

Date de réalisation : 2013

Matériaux : Mixed media (Western hemlock bark, antique welding goggles, felt, acrylic medium)

Collection virtuelle : Original CCCA

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Ghost Rings (cross-sections) – Iceland

Artist: Fae Logie

ID : 83498

Description: There is a saying in Iceland, “the people survived but the forest died”. Fine tree-like rings, almost invisible, skim the surface of Petri dishes making reference to the lost birch forests, cross sections of the lost tree remnants preserved in bogs. At latitudes where trees are not thought to thrive, the landscape of Iceland was at least a third forested at the time of settlement.

Des mesures : 44 x 44 cm

Collection:

Date de réalisation : 2013

Matériaux : plastic Petri-dishes, medium, labels, wood

Collection virtuelle : Original CCCA

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Reflection

Artist: Fae Logie

ID : 83500

Description: Two suspended sparkly decorative trees are affixed end-to-end appearing as if one is the reflection of the other in a watery setting. Reflection is a playful statement on traditional landscape painting.

Des mesures : 122 x 23 x 23 cm

Collection:

Date de réalisation : 2013

Matériaux : fake trees, hardware, monofilament

Collection virtuelle : Original CCCA

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Blind

Artist: Fae Logie

ID : 83494

Description: ‘Blind’ references both a shelter and a disguise to observe nature. Vision is limited to two tiny eyeholes behind dark glasses, mimicking the use of technology to isolate a fragment of the natural world for study. I skulk through the trees.

Des mesures : 54 x 20 x 12 cm

Collection:

Date de réalisation : 2013

Matériaux : Mixed media (Western hemlock bark, antique welding goggles, felt, acrylic medium)

Collection virtuelle : Original CCCA

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Ghost Rings (cross-sections) – Iceland

Artist: Fae Logie

ID : 83497

Description: There is a saying in Iceland, “the people survived but the forest died”. Fine tree-like rings, almost invisible, skim the surface of Petri dishes making reference to the lost birch forests, cross sections of the lost tree remnants preserved in bogs. At latitudes where trees are not thought to thrive, the landscape of Iceland was at least a third forested at the time of settlement.

Des mesures : 44 x 44 cm

Collection:

Date de réalisation : 2013

Matériaux : plastic Petri-dishes, medium, labels, wood

Collection virtuelle : Original CCCA

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SS Aimless

Artist: Fae Logie

ID : 83503

Description: In collaboration with Tiki Mulvihill.

Referencing early nautical means of locomotion: steam ships, galleys, paddle wheelers and rowboats with a definite non-functional twist. SS Aimless implies simple transport in the form of a time traveling hybrid. It is powered to go nowhere in an era that consumes copious amounts of resources but fails to further us ahead. SS Aimless serves as a metaphor for the conflicting notions of our time. Built of re-purposed shipyard scrap, it remains caught in the ebb and flow of the tide, anchored in contemporary times, yet moored to the traditional, obsolete transport systems of our past.

Des mesures : 305 x 340 x 320 cm

Collection:

Date de réalisation : 2013

Matériaux : scrap wood, repurposed plastic, hardware, cable

Collection virtuelle : Original CCCA

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Ghost Rings (cross-sections) – Iceland

Artist: Fae Logie

ID : 83496

Description: There is a saying in Iceland, “the people survived but the forest died”. Fine tree-like rings, almost invisible, skim the surface of Petri dishes making reference to the lost birch forests, cross sections of the lost tree remnants preserved in bogs. At latitudes where trees are not thought to thrive, the landscape of Iceland was at least a third forested at the time of settlement.

Des mesures : 44 x 44 cm

Collection:

Date de réalisation : 2013

Matériaux : plastic Petri-dishes, medium, labels, wood

Collection virtuelle : Original CCCA

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SS Aimless

Artist: Fae Logie

ID : 83502

Description: In collaboration with Tiki Mulvihill.

Referencing early nautical means of locomotion: steam ships, galleys, paddle wheelers and rowboats with a definite non-functional twist. SS Aimless implies simple transport in the form of a time traveling hybrid. It is powered to go nowhere in an era that consumes copious amounts of resources but fails to further us ahead. SS Aimless serves as a metaphor for the conflicting notions of our time. Built of re-purposed shipyard scrap, it remains caught in the ebb and flow of the tide, anchored in contemporary times, yet moored to the traditional, obsolete transport systems of our past.

Des mesures : 305 x 340 x 320 cm

Collection:

Date de réalisation : 2013

Matériaux : scrap wood, repurposed plastic, hardware, cable

Collection virtuelle : Original CCCA

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Blind

Artist: Fae Logie

ID : 83495

Description: ‘Blind’ references both a shelter and a disguise to observe nature. Vision is limited to two tiny eyeholes behind dark glasses, mimicking the use of technology to isolate a fragment of the natural world for study. I skulk through the trees.

Des mesures : 54 x 20 x 12 cm

Collection:

Date de réalisation : 2013

Matériaux : Mixed media (Western hemlock bark, antique welding goggles, felt, acrylic medium)

Collection virtuelle : Original CCCA

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SS Aimless

Artist: Fae Logie

ID : 83504

Description: In collaboration with Tiki Mulvihill.

Referencing early nautical means of locomotion: steam ships, galleys, paddle wheelers and rowboats with a definite non-functional twist. SS Aimless implies simple transport in the form of a time traveling hybrid. It is powered to go nowhere in an era that consumes copious amounts of resources but fails to further us ahead. SS Aimless serves as a metaphor for the conflicting notions of our time. Built of re-purposed shipyard scrap, it remains caught in the ebb and flow of the tide, anchored in contemporary times, yet moored to the traditional, obsolete transport systems of our past.

Des mesures : 305

Collection:

Date de réalisation : 2013

Matériaux : scrap wood, repurposed plastic, hardware, cable

Collection virtuelle : Original CCCA

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3 Points of Perspective

Artist: Fae Logie

ID : 83507

Description: In collaboration with Tiki Mulvihill.

This whimsical and participatory temporary public art installation was part of a local festival of arts. Hidden viewpoints allow young visitors to discover the landscape through different lenses, angles and points of view.

Des mesures : variable

Collection:

Date de réalisation : 2014

Matériaux : re-purposed wood and plastic tubing, wood, hardware, optical lenses

Collection virtuelle : Original CCCA

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Intravascular

Artist: Fae Logie

ID : 83509

Description: IntraVascular makes reference to intravenous therapy, the infusion of liquid substances into a closed system of a single body. Here the catheters and drips, attached to a Yukon white birch, suggest the conduction of unknown wonder chemicals into the trees vascular tissues. Labels on the plastic IV bags - ‘Root Boost’, ‘Branch Enhance’ or ‘Bark Start’ – profess amazing enhancement to plant growth. What are the consequences? IntraVascular questions are seemingly unstoppable drive to modify nature, to alter, to control.

Des mesures : variable

Collection:

Date de réalisation : 2014

Matériaux : plastic IV-bags, text, water

Collection virtuelle : Original CCCA

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3 Points of Perspective

Artist: Fae Logie

ID : 83505

Description: In collaboration with Tiki Mulvihill.

This whimsical and participatory temporary public art installation was part of a local festival of arts. Hidden viewpoints allow young visitors to discover the landscape through different lenses, angles and points of view.

Des mesures : variable

Collection:

Date de réalisation : 2014

Matériaux : re-purposed wood and plastic tubing, wood, hardware, optical lenses

Collection virtuelle : Original CCCA

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Intravascular

Artist: Fae Logie

ID : 83508

Description: IntraVascular makes reference to intravenous therapy, the infusion of liquid substances into a closed system of a single body. Here the catheters and drips, attached to a Yukon white birch, suggest the conduction of unknown wonder chemicals into the trees vascular tissues. Labels on the plastic IV bags - ‘Root Boost’, ‘Branch Enhance’ or ‘Bark Start’ – profess amazing enhancement to plant growth. What are the consequences? IntraVascular questions are seemingly unstoppable drive to modify nature, to alter, to control.

Des mesures :

Collection:

Date de réalisation : 2014

Matériaux : plastic IV-bags, text, water

Collection virtuelle : Original CCCA

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Intravascular

Artist: Fae Logie

ID : 83510

Description: IntraVascular makes reference to intravenous therapy, the infusion of liquid substances into a closed system of a single body. Here the catheters and drips, attached to a Yukon white birch, suggest the conduction of unknown wonder chemicals into the trees vascular tissues. Labels on the plastic IV bags - ‘Root Boost’, ‘Branch Enhance’ or ‘Bark Start’ – profess amazing enhancement to plant growth. What are the consequences? IntraVascular questions are seemingly unstoppable drive to modify nature, to alter, to control.

Des mesures : variable

Collection:

Date de réalisation : 2014

Matériaux : plastic IV-bags, text, water

Collection virtuelle : Original CCCA

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R24

Artist: Fae Logie

ID : 83512

Description: In collaboration with Tiki Mulvihill

Appearing suspended as in a watery depth, R24 is a site responsive work of fiction and fact. Referencing local folklore of the costal community of Telegraph Cove whose legends, economy and purpose resides around the annual appearance of the killer whales. A weathered sea anchor held in tandem with nets for collecting plankton, rope and antique wooden objects becomes an apparatus for the narrative. Emitting chirps and high-pitched squeals of the recorded R pod, R24 has an eerie presence of unresolved emotion.

Des mesures : variable, 200 cm in height

Collection:

Date de réalisation : 2014

Matériaux : re-purposed objects and movement-activated sound

Collection virtuelle : Original CCCA

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R24

Artist: Fae Logie

ID : 83511

Description: In collaboration with Tiki Mulvihill

Appearing suspended as in a watery depth, R24 is a site responsive work of fiction and fact. Referencing local folklore of the costal community of Telegraph Cove whose legends, economy and purpose resides around the annual appearance of the killer whales. A weathered sea anchor held in tandem with nets for collecting plankton, rope and antique wooden objects becomes an apparatus for the narrative. Emitting chirps and high-pitched squeals of the recorded R pod, R24 has an eerie presence of unresolved emotion.

Des mesures : variable, 200 cm in height

Collection:

Date de réalisation : 2014

Matériaux : re-purposed objects and movement-activated sound

Collection virtuelle : Original CCCA

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Bark Drawing II Western Hemlock

Artist: Fae Logie

ID : 83513

Description: The flesh of my palm presses firmly against a tree’s bark sensing the ridges pushing back. My 6B pencil traces this memory of touch, marking time – time innate to the growth of trees as water and nutrients travel through its trunk’s vascular system, tree rings a visual of its growth. The Bark Drawings are a series of mural-sized works depicting major species of coniferous trees within our Coastal temperate rainforest – Douglas fir, Western hemlock, Sitka spruce, Western red cedar. As when experiencing individual tall conifers in close proximity, these drawings relate to a bodily awareness, to one’s own as well as to the other. Texture and pattern is abstracted and in subtle ways repeats itself, retaining the unique markings of a hand or of nature.

Des mesures : 125 x 94 cm

Collection:

Date de réalisation : 2014

Matériaux : archival paper, graphite

Collection virtuelle : Original CCCA

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Bark Drawing II Western Hemlock

Artist: Fae Logie

ID : 83514

Description: The flesh of my palm presses firmly against a tree’s bark sensing the ridges pushing back. My 6B pencil traces this memory of touch, marking time – time innate to the growth of trees as water and nutrients travel through its trunk’s vascular system, tree rings a visual of its growth. The Bark Drawings are a series of mural-sized works depicting major species of coniferous trees within our Coastal temperate rainforest – Douglas fir, Western hemlock, Sitka spruce, Western red cedar. As when experiencing individual tall conifers in close proximity, these drawings relate to a bodily awareness, to one’s own as well as to the other. Texture and pattern is abstracted and in subtle ways repeats itself, retaining the unique markings of a hand or of nature.

Des mesures : 125 x 94 cm

Collection:

Date de réalisation : 2014

Matériaux : archival paper, graphite

Collection virtuelle : Original CCCA

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3 Points of Perspective

Artist: Fae Logie

ID : 83506

Description: In collaboration with Tiki Mulvihill.

This whimsical and participatory temporary public art installation was part of a local festival of arts. Hidden viewpoints allow young visitors to discover the landscape through different lenses, angles and points of view.

Des mesures : variable

Collection:

Date de réalisation : 2014

Matériaux : re-purposed wood and plastic tubing, wood, hardware, optical lenses

Collection virtuelle : Original CCCA

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Tree Aprons/Tree Line

Artist: Fae Logie

ID : 83534

Description: The installation ‘Tree Line’ is part of a series relating my impressions of the urban boreal forests of high latitudes. In the fall, hunters dressed in camouflage infiltrate the forest surrounding Dawson City, Yukon. Chainsaws of woodcutters can be heard penetrating the scraggy bush of spruce and pine, birch and aspen. Snow creeps down past the tree line. I wrap trees in camouflage aprons to conceal, possibly protect, measuring the fabric to the dimensions of the trunks, small, medium and large. As both a reference to hunting and to war, camouflage resembles the coarse scales of spruce bark, mimicking patterns found in nature. This adopted characteristic for the spruce trees provides a disguise, an adaptation to the changing environment they inhabit, improving their chances of survival.

Des mesures : 190 x 145 x 5 cm

Collection:

Date de réalisation : 2014-2017

Matériaux : fabric, sisal rope, paper labels, twine, C-prints

Collection virtuelle : Original CCCA

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Tree Aprons/Tree Line

Artist: Fae Logie

ID : 83532

Description: The installation ‘Tree Line’ is part of a series relating my impressions of the urban boreal forests of high latitudes. In the fall, hunters dressed in camouflage infiltrate the forest surrounding Dawson City, Yukon. Chainsaws of woodcutters can be heard penetrating the scraggy bush of spruce and pine, birch and aspen. Snow creeps down past the tree line. I wrap trees in camouflage aprons to conceal, possibly protect, measuring the fabric to the dimensions of the trunks, small, medium and large. As both a reference to hunting and to war, camouflage resembles the coarse scales of spruce bark, mimicking patterns found in nature. This adopted characteristic for the spruce trees provides a disguise, an adaptation to the changing environment they inhabit, improving their chances of survival.

Des mesures : 190 x 145 x 5 cm

Collection:

Date de réalisation : 2014-2017

Matériaux : fabric, sisal rope, paper labels, twine, C-prints

Collection virtuelle : Original CCCA

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Tree Aprons/Tree Line

Artist: Fae Logie

ID : 83529

Description: The installation ‘Tree Line’ is part of a series relating my impressions of the urban boreal forests of high latitudes. In the fall, hunters dressed in camouflage infiltrate the forest surrounding Dawson City, Yukon. Chainsaws of woodcutters can be heard penetrating the scraggy bush of spruce and pine, birch and aspen. Snow creeps down past the tree line. I wrap trees in camouflage aprons to conceal, possibly protect, measuring the fabric to the dimensions of the trunks, small, medium and large. As both a reference to hunting and to war, camouflage resembles the coarse scales of spruce bark, mimicking patterns found in nature. This adopted characteristic for the spruce trees provides a disguise, an adaptation to the changing environment they inhabit, improving their chances of survival.

Des mesures : 190 x 145 x 5 cm

Collection:

Date de réalisation : 2014-2017

Matériaux : fabric, sisal rope, paper labels, twine, C-prints

Collection virtuelle : Original CCCA

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Tree Aprons/Tree Line

Artist: Fae Logie

ID : 83533

Description: The installation ‘Tree Line’ is part of a series relating my impressions of the urban boreal forests of high latitudes. In the fall, hunters dressed in camouflage infiltrate the forest surrounding Dawson City, Yukon. Chainsaws of woodcutters can be heard penetrating the scraggy bush of spruce and pine, birch and aspen. Snow creeps down past the tree line. I wrap trees in camouflage aprons to conceal, possibly protect, measuring the fabric to the dimensions of the trunks, small, medium and large. As both a reference to hunting and to war, camouflage resembles the coarse scales of spruce bark, mimicking patterns found in nature. This adopted characteristic for the spruce trees provides a disguise, an adaptation to the changing environment they inhabit, improving their chances of survival.

Des mesures : 190 x 145 x 5 cm

Collection:

Date de réalisation : 2014-2017

Matériaux : fabric, sisal rope, paper labels, twine, C-prints

Collection virtuelle : Original CCCA

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Tree Aprons/Tree Line

Artist: Fae Logie

ID : 83530

Description: The installation ‘Tree Line’ is part of a series relating my impressions of the urban boreal forests of high latitudes. In the fall, hunters dressed in camouflage infiltrate the forest surrounding Dawson City, Yukon. Chainsaws of woodcutters can be heard penetrating the scraggy bush of spruce and pine, birch and aspen. Snow creeps down past the tree line. I wrap trees in camouflage aprons to conceal, possibly protect, measuring the fabric to the dimensions of the trunks, small, medium and large. As both a reference to hunting and to war, camouflage resembles the coarse scales of spruce bark, mimicking patterns found in nature. This adopted characteristic for the spruce trees provides a disguise, an adaptation to the changing environment they inhabit, improving their chances of survival.

Des mesures : 190 x 145 x 5 cm

Collection:

Date de réalisation : 2014-2017

Matériaux : fabric, sisal rope, paper labels, twine, C-prints

Collection virtuelle : Original CCCA

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Tree Aprons/Tree Line

Artist: Fae Logie

ID : 83531

Description: The installation ‘Tree Line’ is part of a series relating my impressions of the urban boreal forests of high latitudes. In the fall, hunters dressed in camouflage infiltrate the forest surrounding Dawson City, Yukon. Chainsaws of woodcutters can be heard penetrating the scraggy bush of spruce and pine, birch and aspen. Snow creeps down past the tree line. I wrap trees in camouflage aprons to conceal, possibly protect, measuring the fabric to the dimensions of the trunks, small, medium and large. As both a reference to hunting and to war, camouflage resembles the coarse scales of spruce bark, mimicking patterns found in nature. This adopted characteristic for the spruce trees provides a disguise, an adaptation to the changing environment they inhabit, improving their chances of survival.

Des mesures : 190 x 145 x 5 cm

Collection:

Date de réalisation : 2014-2017

Matériaux : fabric, sisal rope, paper labels, twine, C-prints

Collection virtuelle : Original CCCA

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Bark Drawing III Sitka Spruce

Artist: Fae Logie

ID : 83515

Description: The flesh of my palm presses firmly against a tree’s bark sensing the ridges pushing back. My 6B pencil traces this memory of touch, marking time – time innate to the growth of trees as water and nutrients travel through its trunk’s vascular system, tree rings a visual of its growth. The Bark Drawings are a series of mural-sized works depicting major species of coniferous trees within our Coastal temperate rainforest – Douglas fir, Western hemlock, Sitka spruce, Western red cedar. As when experiencing individual tall conifers in close proximity, these drawings relate to a bodily awareness, to one’s own as well as to the other. Texture and pattern is abstracted and in subtle ways repeats itself, retaining the unique markings of a hand or of nature.

Des mesures : 125 x 94 cm

Collection:

Date de réalisation : 2016

Matériaux : archival paper, graphite

Collection virtuelle : Original CCCA

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Bark Drawing III Sitka Spruce

Artist: Fae Logie

ID : 83516

Description: The flesh of my palm presses firmly against a tree’s bark sensing the ridges pushing back. My 6B pencil traces this memory of touch, marking time – time innate to the growth of trees as water and nutrients travel through its trunk’s vascular system, tree rings a visual of its growth. The Bark Drawings are a series of mural-sized works depicting major species of coniferous trees within our Coastal temperate rainforest – Douglas fir, Western hemlock, Sitka spruce, Western red cedar. As when experiencing individual tall conifers in close proximity, these drawings relate to a bodily awareness, to one’s own as well as to the other. Texture and pattern is abstracted and in subtle ways repeats itself, retaining the unique markings of a hand or of nature.

Des mesures : 125 x 94 cm

Collection:

Date de réalisation : 2016

Matériaux : archival paper, graphite

Collection virtuelle : Original CCCA

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Camp

Artist: Fae Logie

ID : 83522

Description: A woman’s fake fur coat takes form, concealing or protecting a body hidden beneath the suggestion of a bear skin rug, the sleeves constricted by the thin steel line of a snare trap. Another noose-like trap dangles from a stick supported in a cuff. Concealed in the collar, the label is reflected in a compact mirror revealing the word Prey in blood red lettering. The mirror appears as a lure or an object of enticement. Fake snakeskin heels stand guard. ‘Camp’ speaks of the hunter and the hunted, the predator and the prey.

Des mesures : 133 x 96 x 14 cm

Collection:

Date de réalisation : 2017

Matériaux : fake fur coat, felt, found shoes, snare traps, convex mirror, embroidery on fabric, hardware cloth, polyester batting, wire, wood

Collection virtuelle : Original CCCA

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Limb

Artist: Fae Logie

ID : 83527

Description: Paint flowing into the demarcated tracks of wood boring beetles is like tattoos written on a body, calligraphy of a journey from larval to adult. ‘Limb’ references W.S. Merwin’s prose poem ‘Unchopping a Tree’, prescribing how to begin the arduous task of putting a tree back together. “Start with the leaves, the small twigs, and the nests that have been shaken, ripped, or broke off by the fall; these must be gathered and attached once again to their respective places.” ‘Limb’ mirrors these tasks. Reassembling this vine maple that grew in the yard of my family home speaks of irrevocable loss. Sewing through the rings of a tree is to sew through time itself, the tree’s memory.

Des mesures : 4.5 x 2 m

Collection:

Date de réalisation : 2017

Matériaux : vine maple wood, twine, acrylic paint, hardware

Collection virtuelle : Original CCCA

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Trap Line

Artist: Fae Logie

ID : 83535

Description: Installed in a dense northern latitude forest, small-mirrored trap-like devices are set for capturing. Propped open to reveal an alluring red interior with words such as ‘PREY’ or ‘SEX’ or ‘MATE’ embroidered on fabric, these objects of enticement mimic pheromone insect traps. In scientific applications, pheromone traps use highly species-specific sex pheromones to lure insects, whether for population counts or to detect and trap invading or exotic species. Changes in thermal patterns are affecting the geographic distribution of host trees and their associated insects and pathogens. Trap Line references methods of mitigating the impacts of pest management by innovative non-destructive means that look at the interdependence of forest ecosystems.

Des mesures : variable

Collection:

Date de réalisation : 2017

Matériaux : metal compacts with mirrors, embroidered fabric, natural materials, C-prints

Collection virtuelle : Original CCCA

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Security

Artist: Fae Logie

ID : 83518

Description: The backpack has a ubiquitous presence, yet also elicits suspicion, baggage left unattended, and suicide bombers entering crowds. Children carry backpacks as an element of their dress, to be accepted, to be like big kids. The baby harness, now considered an unnecessary restraint to toddlers, may be essential to negotiate a busy airport security. Ideas of lost children, children being lost in a public place or in a world of recruiting child soldiers. Susceptible to hate manipulation, minors carry guns and explosive devices. Security is freedom from fear, bandages for healing wounds after generations of conflict.

Des mesures : 45 x 26 x 15 cm

Collection:

Date de réalisation : 2017

Matériaux : child harness, cotton gauze, wire, hanger, elastic

Collection virtuelle : Original CCCA

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Camp

Artist: Fae Logie

ID : 83521

Description: A woman’s fake fur coat takes form, concealing or protecting a body hidden beneath the suggestion of a bear skin rug, the sleeves constricted by the thin steel line of a snare trap. Another noose-like trap dangles from a stick supported in a cuff. Concealed in the collar, the label is reflected in a compact mirror revealing the word Prey in blood red lettering. The mirror appears as a lure or an object of enticement. Fake snakeskin heels stand guard. ‘Camp’ speaks of the hunter and the hunted, the predator and the prey.

Des mesures : 133 x 96 x 14 cm

Collection:

Date de réalisation : 2017

Matériaux : fake fur coat, felt, found shoes, snare traps, convex mirror, embroidery on fabric, hardware cloth, polyester batting, wire, wood

Collection virtuelle : Original CCCA

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Security

Artist: Fae Logie

ID : 83517

Description: The backpack has a ubiquitous presence, yet also elicits suspicion, baggage left unattended, and suicide bombers entering crowds. Children carry backpacks as an element of their dress, to be accepted, to be like big kids. The baby harness, now considered an unnecessary restraint to toddlers, may be essential to negotiate a busy airport security. Ideas of lost children, children being lost in a public place or in a world of recruiting child soldiers. Susceptible to hate manipulation, minors carry guns and explosive devices. Security is freedom from fear, bandages for healing wounds after generations of conflict.

Des mesures : 45 x 26 x 15 cm

Collection:

Date de réalisation : 2017

Matériaux : child harness, cotton gauze, wire, hanger, elastic

Collection virtuelle : Original CCCA

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Camp

Artist: Fae Logie

ID : 83520

Description: A woman’s fake fur coat takes form, concealing or protecting a body hidden beneath the suggestion of a bear skin rug, the sleeves constricted by the thin steel line of a snare trap. Another noose-like trap dangles from a stick supported in a cuff. Concealed in the collar, the label is reflected in a compact mirror revealing the word Prey in blood red lettering. The mirror appears as a lure or an object of enticement. Fake snakeskin heels stand guard. ‘Camp’ speaks of the hunter and the hunted, the predator and the prey.

Des mesures : 133 x 96 x 14 cm

Collection:

Date de réalisation : 2017

Matériaux : fake fur coat, felt, found shoes, snare traps, convex mirror, embroidery on fabric, hardware cloth, polyester batting, wire, wood

Collection virtuelle : Original CCCA

Ajouter à la liste

Limb

Artist: Fae Logie

ID : 83525

Description: Paint flowing into the demarcated tracks of wood boring beetles is like tattoos written on a body, calligraphy of a journey from larval to adult. ‘Limb’ references W.S. Merwin’s prose poem ‘Unchopping a Tree’, prescribing how to begin the arduous task of putting a tree back together. “Start with the leaves, the small twigs, and the nests that have been shaken, ripped, or broke off by the fall; these must be gathered and attached once again to their respective places.” ‘Limb’ mirrors these tasks. Reassembling this vine maple that grew in the yard of my family home speaks of irrevocable loss. Sewing through the rings of a tree is to sew through time itself, the tree’s memory.

Des mesures : 4.5 x 2 m

Collection:

Date de réalisation : 2017

Matériaux : vine maple wood, twine, acrylic paint, hardware

Collection virtuelle : Original CCCA

Ajouter à la liste

Trap Line

Artist: Fae Logie

ID : 83536

Description: Installed in a dense northern latitude forest, small-mirrored trap-like devices are set for capturing. Propped open to reveal an alluring red interior with words such as ‘PREY’ or ‘SEX’ or ‘MATE’ embroidered on fabric, these objects of enticement mimic pheromone insect traps. In scientific applications, pheromone traps use highly species-specific sex pheromones to lure insects, whether for population counts or to detect and trap invading or exotic species. Changes in thermal patterns are affecting the geographic distribution of host trees and their associated insects and pathogens. Trap Line references methods of mitigating the impacts of pest management by innovative non-destructive means that look at the interdependence of forest ecosystems.

Des mesures : variable

Collection:

Date de réalisation : 2017

Matériaux : metal compacts with mirrors, embroidered fabric, natural materials, C-prints

Collection virtuelle : Original CCCA

Ajouter à la liste

Limb

Artist: Fae Logie

ID : 83524

Description: Paint flowing into the demarcated tracks of wood boring beetles is like tattoos written on a body, calligraphy of a journey from larval to adult. ‘Limb’ references W.S. Merwin’s prose poem ‘Unchopping a Tree’, prescribing how to begin the arduous task of putting a tree back together. “Start with the leaves, the small twigs, and the nests that have been shaken, ripped, or broke off by the fall; these must be gathered and attached once again to their respective places.” ‘Limb’ mirrors these tasks. Reassembling this vine maple that grew in the yard of my family home speaks of irrevocable loss. Sewing through the rings of a tree is to sew through time itself, the tree’s memory.

Des mesures : 4.5 x 2 m

Collection:

Date de réalisation : 2017

Matériaux : vine maple wood, twine, acrylic paint, hardware

Collection virtuelle : Original CCCA

Ajouter à la liste

Limb

Artist: Fae Logie

ID : 83523

Description: Paint flowing into the demarcated tracks of wood boring beetles is like tattoos written on a body, calligraphy of a journey from larval to adult. ‘Limb’ references W.S. Merwin’s prose poem ‘Unchopping a Tree’, prescribing how to begin the arduous task of putting a tree back together. “Start with the leaves, the small twigs, and the nests that have been shaken, ripped, or broke off by the fall; these must be gathered and attached once again to their respective places.” ‘Limb’ mirrors these tasks. Reassembling this vine maple that grew in the yard of my family home speaks of irrevocable loss. Sewing through the rings of a tree is to sew through time itself, the tree’s memory.

Des mesures : 4.5 x 2 m

Collection:

Date de réalisation : 2017

Matériaux : vine maple wood, twine, acrylic paint, hardware

Collection virtuelle : Original CCCA

Ajouter à la liste

Limb

Artist: Fae Logie

ID : 83526

Description: Paint flowing into the demarcated tracks of wood boring beetles is like tattoos written on a body, calligraphy of a journey from larval to adult. ‘Limb’ references W.S. Merwin’s prose poem ‘Unchopping a Tree’, prescribing how to begin the arduous task of putting a tree back together. “Start with the leaves, the small twigs, and the nests that have been shaken, ripped, or broke off by the fall; these must be gathered and attached once again to their respective places.” ‘Limb’ mirrors these tasks. Reassembling this vine maple that grew in the yard of my family home speaks of irrevocable loss. Sewing through the rings of a tree is to sew through time itself, the tree’s memory.

Des mesures : 4.5 x 2 m

Collection:

Date de réalisation : 2017

Matériaux : vine maple wood, twine, acrylic paint, hardware

Collection virtuelle : Original CCCA

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Security

Artist: Fae Logie

ID : 83519

Description: The backpack has a ubiquitous presence, yet also elicits suspicion, baggage left unattended, and suicide bombers entering crowds. Children carry backpacks as an element of their dress, to be accepted, to be like big kids. The baby harness, now considered an unnecessary restraint to toddlers, may be essential to negotiate a busy airport security. Ideas of lost children, children being lost in a public place or in a world of recruiting child soldiers. Susceptible to hate manipulation, minors carry guns and explosive devices. Security is freedom from fear, bandages for healing wounds after generations of conflict.

Des mesures : 45 x 26 x 15 cm

Collection:

Date de réalisation : 2017

Matériaux : child harness, cotton gauze, wire, hanger, elastic

Collection virtuelle : Original CCCA

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Limb

Artist: Fae Logie

ID : 83528

Description: Paint flowing into the demarcated tracks of wood boring beetles is like tattoos written on a body, calligraphy of a journey from larval to adult. ‘Limb’ references W.S. Merwin’s prose poem ‘Unchopping a Tree’, prescribing how to begin the arduous task of putting a tree back together. “Start with the leaves, the small twigs, and the nests that have been shaken, ripped, or broke off by the fall; these must be gathered and attached once again to their respective places.” ‘Limb’ mirrors these tasks. Reassembling this vine maple that grew in the yard of my family home speaks of irrevocable loss. Sewing through the rings of a tree is to sew through time itself, the tree’s memory.

Des mesures : 4.5 x 2 m

Collection:

Date de réalisation : 2017

Matériaux : vine maple wood, twine, acrylic paint, hardware

Collection virtuelle : Original CCCA

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F I C T I O N

Artist: Fae Logie

ID : 83539

Description: Collaborative project with members of Art Is Land Network

The title for our installation describes a narrative of the land, the impact of human activity on the earth and subsequently, on our climate. In our process, we have adopted the term Anthropocene, which describes this time of mass extinction of plant and animals species, pollution and atmospheric change. Through the juxtaposition of ideas, F I C T I O N expresses concerns for these impacts. Using aspects of the materiality of language, cultural mark making, text, object manipulation and layering, we trigger meanings and references. Curving the shapes of the background panels, they resemble old maps or stretched hides. Cutting into their surfaces, making additions, taking away, working with pattern and repetition, narratives evolve. Animal or plant forms morph into abstract shapes, architectural details become geometric relief, or vice versa. Mimicking the adaptive strategies of life forms, our collective story involves improvisation.

Des mesures : variable – height of each panel 90 cm

Collection:

Date de réalisation : 2018

Matériaux : hardware cloth, cheesecloth, acrylic paint, wood, metal, fabric, found objects, natural materials

Collection virtuelle : Original CCCA

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F I C T I O N

Artist: Fae Logie

ID : 83542

Description: Collaborative project with members of Art Is Land Network

The title for our installation describes a narrative of the land, the impact of human activity on the earth and subsequently, on our climate. In our process, we have adopted the term Anthropocene, which describes this time of mass extinction of plant and animals species, pollution and atmospheric change. Through the juxtaposition of ideas, F I C T I O N expresses concerns for these impacts. Using aspects of the materiality of language, cultural mark making, text, object manipulation and layering, we trigger meanings and references. Curving the shapes of the background panels, they resemble old maps or stretched hides. Cutting into their surfaces, making additions, taking away, working with pattern and repetition, narratives evolve. Animal or plant forms morph into abstract shapes, architectural details become geometric relief, or vice versa. Mimicking the adaptive strategies of life forms, our collective story involves improvisation.

Des mesures : variable – height of each panel 90 cm

Collection:

Date de réalisation : 2018

Matériaux : hardware cloth, cheesecloth, acrylic paint, wood, metal, fabric, found objects, natural materials

Collection virtuelle : Original CCCA

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F I C T I O N

Artist: Fae Logie

ID : 83543

Description: Collaborative project with members of Art Is Land Network

The title for our installation describes a narrative of the land, the impact of human activity on the earth and subsequently, on our climate. In our process, we have adopted the term Anthropocene, which describes this time of mass extinction of plant and animals species, pollution and atmospheric change. Through the juxtaposition of ideas, F I C T I O N expresses concerns for these impacts. Using aspects of the materiality of language, cultural mark making, text, object manipulation and layering, we trigger meanings and references. Curving the shapes of the background panels, they resemble old maps or stretched hides. Cutting into their surfaces, making additions, taking away, working with pattern and repetition, narratives evolve. Animal or plant forms morph into abstract shapes, architectural details become geometric relief, or vice versa. Mimicking the adaptive strategies of life forms, our collective story involves improvisation.

Des mesures : variable – height of each panel 90 cm

Collection:

Date de réalisation : 2018

Matériaux : hardware cloth, cheesecloth, acrylic paint, wood, metal, fabric, found objects, natural materials

Collection virtuelle : Original CCCA

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F I C T I O N

Artist: Fae Logie

ID : 83537

Description: Collaborative project with members of Art Is Land Network.

The title for our installation describes a narrative of the land, the impact of human activity on the earth and subsequently, on our climate. In our process, we have adopted the term Anthropocene, which describes this time of mass extinction of plant and animals species, pollution and atmospheric change. Through the juxtaposition of ideas, F I C T I O N expresses concerns for these impacts. Using aspects of the materiality of language, cultural mark making, text, object manipulation and layering, we trigger meanings and references. Curving the shapes of the background panels, they resemble old maps or stretched hides. Cutting into their surfaces, making additions, taking away, working with pattern and repetition, narratives evolve. Animal or plant forms morph into abstract shapes, architectural details become geometric relief, or vice versa. Mimicking the adaptive strategies of life forms, our collective story involves improvisation.

Des mesures : variable – height of each panel 90 cm

Collection:

Date de réalisation : 2018

Matériaux : hardware cloth, cheesecloth, acrylic paint, wood, metal, fabric, found objects, natural materials

Collection virtuelle : Original CCCA

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F I C T I O N

Artist: Fae Logie

ID : 83541

Description: Collaborative project with members of Art Is Land Network

The title for our installation describes a narrative of the land, the impact of human activity on the earth and subsequently, on our climate. In our process, we have adopted the term Anthropocene, which describes this time of mass extinction of plant and animals species, pollution and atmospheric change. Through the juxtaposition of ideas, F I C T I O N expresses concerns for these impacts. Using aspects of the materiality of language, cultural mark making, text, object manipulation and layering, we trigger meanings and references. Curving the shapes of the background panels, they resemble old maps or stretched hides. Cutting into their surfaces, making additions, taking away, working with pattern and repetition, narratives evolve. Animal or plant forms morph into abstract shapes, architectural details become geometric relief, or vice versa. Mimicking the adaptive strategies of life forms, our collective story involves improvisation.

Des mesures : variable – height of each panel 90 cm

Collection:

Date de réalisation : 2018

Matériaux : hardware cloth, cheesecloth, acrylic paint, wood, metal, fabric, found objects, natural materials

Collection virtuelle : Original CCCA

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F I C T I O N

Artist: Fae Logie

ID : 83540

Description: Collaborative project with members of Art Is Land Network

The title for our installation describes a narrative of the land, the impact of human activity on the earth and subsequently, on our climate. In our process, we have adopted the term Anthropocene, which describes this time of mass extinction of plant and animals species, pollution and atmospheric change. Through the juxtaposition of ideas, F I C T I O N expresses concerns for these impacts. Using aspects of the materiality of language, cultural mark making, text, object manipulation and layering, we trigger meanings and references. Curving the shapes of the background panels, they resemble old maps or stretched hides. Cutting into their surfaces, making additions, taking away, working with pattern and repetition, narratives evolve. Animal or plant forms morph into abstract shapes, architectural details become geometric relief, or vice versa. Mimicking the adaptive strategies of life forms, our collective story involves improvisation.

Des mesures : variable – height of each panel 90 cm

Collection:

Date de réalisation : 2018

Matériaux : hardware cloth, cheesecloth, acrylic paint, wood, metal, fabric, found objects, natural materials

Collection virtuelle : Original CCCA

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F I C T I O N

Artist: Fae Logie

ID : 83544

Description: Collaborative project with members of Art Is Land Network

The title for our installation describes a narrative of the land, the impact of human activity on the earth and subsequently, on our climate. In our process, we have adopted the term Anthropocene, which describes this time of mass extinction of plant and animals species, pollution and atmospheric change. Through the juxtaposition of ideas, F I C T I O N expresses concerns for these impacts. Using aspects of the materiality of language, cultural mark making, text, object manipulation and layering, we trigger meanings and references. Curving the shapes of the background panels, they resemble old maps or stretched hides. Cutting into their surfaces, making additions, taking away, working with pattern and repetition, narratives evolve. Animal or plant forms morph into abstract shapes, architectural details become geometric relief, or vice versa. Mimicking the adaptive strategies of life forms, our collective story involves improvisation.

Des mesures : variable – height of each panel 90 cm

Collection:

Date de réalisation : 2018

Matériaux : hardware cloth, cheesecloth, acrylic paint, wood, metal, fabric, found objects, natural materials

Collection virtuelle : Original CCCA

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Fae Logie

Artist: Fae Logie

ID :

Description:

Des mesures :

Collection:

Date de réalisation :

Matériaux :

Collection virtuelle : Original CCCA

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Wishing Whale

Oeuvre d'art par Fae Logie