Art

This art installation shows you what a tree is feeling in real time – CBC.ca

Published

3 years ago

July 19, 2021

Sensor hub on the tree and real-time data visualization gathered by the hub. (Jane Tingley)

Jane Tingley‘s digital art installation, Foresta Inclusive, is evocative of fireflies glowing in the night sky, or clusters of distant galaxies as observed through a telescope. The data visualization reveals the inner life of a tree living in Kitchener, Ontario, in real time.

Presented as part of the 2021 CAFKA biennial, the artwork has two main components: a sensor hub and an outdoor installation. The “ecosensors,” attached to the tree’s trunk and branches, gather information about the tree’s experience in its environment — such as soil humidity and air temperature — and send it to a display installed on outdoor screens in Kitchener. (A version of the installation can also be viewed online.)

The artwork is mesmerizing at first glance — but it becomes even more intriguing as a layered conceptual framework emerges. Through interactivity and sculptural metaphors, Tingley has the ambitious goal of inspiring the viewer to reconsider human beings’ place among species.

The subtle movement of trees and their surrounding ecology is often imperceptible to humans. “Trees are moving at a slower pace and it’s hard to really see something that’s on such a different time scale. It’s hard to see it as vibrant and alive,” says Tingley.

The installation is designed to raise questions about what it means to be alive and have agency. What does it mean to be in dialogue with something that does not share the same language nor temporal reality?

Installation view of Forest Inclusive on Water St. in Kitchener. (Jane Tingley)

Tingley believes that by confronting the viewer with the dynamic nature of trees, the viewer has no choice but to acknowledge their “aliveness” and consider the ethical implications of that recognition. She is drawn to the growing body of research on tree communication that shows that trees are much more social and cooperative than we thought. Ecologists like Suzanne Simard and Peter Wholleben have shown that forest trees are communal, form alliances with other species, share resources, and warn their neighbours of impending danger like insect attacks. It’s becoming apparent that nature is being ruled by more than just competition and survival of the fittest.

The artwork’s eight ecosensors monitor wind, rain, light level, soil temperature, soil humidity, and VOCs, which are organic chemicals that act as airborne signals. (VOCs are one of the ways that trees communicate with one another.) The information gathered by the ecosensors is sent to an installation that displays the information as it’s being collected.

The econsensors, which are hollow on the inside and contain electronics, also serve as sculptural metaphors for cooperation in the natural world. Tingley carved the sensors out of cork to look like protozoa, which are microorganisms that have mutually beneficial relationships with termites. Protozoa allow termites to digest wood in exchange for a place to live. It’s one of the oldest examples of mutualism ever discovered between an animal and microorganism.

Two of the tree’s eight “ecosensors.” (Jane Tingley)

“The protozoa speaks to me. There is something about this relationship and how enduring it is that I find really compelling,” says Tingley. She contrasts this with “parasitic” interactions in which the parasite takes from the host and may eventually kill it.

“Historically, at least in the Occident, we look at nature as a commodity for exploitation. We look at trees as something we can freely cut down for timber. I find that relationship problematic. It’s a type of relationship that’s more parasitic.”

With this project, Tingley says she was studying symbiotic relationships and asking how we can shift our current parasitic relationship with nature to a more mutualistic one.

“It’s clear that we need nature and everything it provides. So then the question is: what does nature need from us? I think to shift our current relationship, we need to spend more time on protection and stewardship.”

The Foresta Inclusive sensor hub is wifi-enabled and sends live data to a platform called shiftr, an interface that helps visualize the data that’s being gathered about the tree, which can be harvested and materialized in any location. shiftr also generates a live data visualization — the image with the glowing, moving particles. For this exhibition, Tingley materialized the particles in the air, like dust and pollen, as well as the wind speed, ambient temperature and light levels gathered from the tree’s immediate environment.

“The colour of the particles is generated by light levels,” she explains. “The background colour is controlled by air temperature. The amount of particles you see are controlled by the amount of particles in the air at a given time. The wind is used to create a flow field, think of them like currents in water. The particles are pushed around by these currents.”

Interactivity is a crucial part of Tingley’s conceptualization of the artwork, but due to COVID-19 restrictions, it wasn’t a part of the materialization of the project for CAFKA.

“I think if I were to do this in a gallery, post-COVID, this would be a wall-sized projection indoors and I would have some sort of touchless interface that you can move your hand around and you can move the particulates,” says Tingley.

Installation view of Foresta Inclusive on Water St. in Kitchener. (Jane Tingley)

She stresses that she’s not interested in replacing experiences outside in nature. Instead, her interactive installations are complementary, offering new ways of thinking about different kinds of intelligences and fostering a deeper sense of empathy and responsibility for the forest.

“I’m trying to create emotive spaces. I want to create spaces that the body can go into so that people can start to experience the data I’m collecting,” says Tingley. “I want to create spaces where people are actively interacting with the visual phenomenon so that they’re interacting with the natural world in a way, and are active agents in the co-creation of an experience.”

“And then maybe if you interact with it, maybe that helps you understand how alive this other entity is — this other-than human ‘person’ is.”

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Calvin Lucyshyn: Vancouver Island Art Dealer Faces Fraud Charges After Police Seize Millions in Artwork

Published

3 days ago

September 13, 2024

Harry Miller

In a case that has sent shockwaves through the Vancouver Island art community, a local art dealer has been charged with one count of fraud over $5,000. Calvin Lucyshyn, the former operator of the now-closed Winchester Galleries in Oak Bay, faces the charge after police seized hundreds of artworks, valued in the tens of millions of dollars, from various storage sites in the Greater Victoria area.

Alleged Fraud Scheme

Police allege that Lucyshyn had been taking valuable art from members of the public under the guise of appraising or consigning the pieces for sale, only to cut off all communication with the owners. This investigation began in April 2022, when police received a complaint from an individual who had provided four paintings to Lucyshyn, including three works by renowned British Columbia artist Emily Carr, and had not received any updates on their sale.

Further investigation by the Saanich Police Department revealed that this was not an isolated incident. Detectives found other alleged victims who had similar experiences with Winchester Galleries, leading police to execute search warrants at three separate storage locations across Greater Victoria.

Massive Seizure of Artworks

In what has become one of the largest art fraud investigations in recent Canadian history, authorities seized approximately 1,100 pieces of art, including more than 600 pieces from a storage site in Saanich, over 300 in Langford, and more than 100 in Oak Bay. Some of the more valuable pieces, according to police, were estimated to be worth $85,000 each.

Lucyshyn was arrested on April 21, 2022, but was later released from custody. In May 2024, a fraud charge was formally laid against him.

Artwork Returned, but Some Remain Unclaimed

In a statement released on Monday, the Saanich Police Department confirmed that 1,050 of the seized artworks have been returned to their rightful owners. However, several pieces remain unclaimed, and police continue their efforts to track down the owners of these works.

Court Proceedings Ongoing

The criminal charge against Lucyshyn has not yet been tested in court, and he has publicly stated his intention to defend himself against any pending allegations. His next court appearance is scheduled for September 10, 2024.

Impact on the Local Art Community

The news of Lucyshyn’s alleged fraud has deeply affected Vancouver Island’s art community, particularly collectors, galleries, and artists who may have been impacted by the gallery’s operations. With high-value pieces from artists like Emily Carr involved, the case underscores the vulnerabilities that can exist in art transactions.

For many art collectors, the investigation has raised concerns about the potential for fraud in the art world, particularly when it comes to dealing with private galleries and dealers. The seizure of such a vast collection of artworks has also led to questions about the management and oversight of valuable art pieces, as well as the importance of transparency and trust in the industry.

As the case continues to unfold in court, it will likely serve as a cautionary tale for collectors and galleries alike, highlighting the need for due diligence in the sale and appraisal of high-value artworks.

While much of the seized artwork has been returned, the full scale of the alleged fraud is still being unraveled. Lucyshyn’s upcoming court appearances will be closely watched, not only by the legal community but also by the wider art world, as it navigates the fallout from one of Canada’s most significant art fraud cases in recent memory.

Art collectors and individuals who believe they may have been affected by this case are encouraged to contact the Saanich Police Department to inquire about any unclaimed pieces. Additionally, the case serves as a reminder for anyone involved in high-value art transactions to work with reputable dealers and to keep thorough documentation of all transactions.

As with any investment, whether in art or other ventures, it is crucial to be cautious and informed. Art fraud can devastate personal collections and finances, but by taking steps to verify authenticity, provenance, and the reputation of dealers, collectors can help safeguard their valuable pieces.

Art

Ukrainian sells art in Essex while stuck in a warzone – BBC.com

Published

2 weeks ago

September 2, 2024

Harry Miller

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Ukrainian sells art in Essex while stuck in a warzone BBC.com

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Somerset House Fire: Courtauld Gallery Reopens, Rest of Landmark Closed

Published

4 weeks ago

August 18, 2024

Harry Miller

The Courtauld Gallery at Somerset House has reopened its doors to the public after a fire swept through the historic building in central London. While the gallery has resumed operations, the rest of the iconic site remains closed “until further notice.”

On Saturday, approximately 125 firefighters were called to the scene to battle the blaze, which sent smoke billowing across the city. Fortunately, the fire occurred in a part of the building not housing valuable artworks, and no injuries were reported. Authorities are still investigating the cause of the fire.

Despite the disruption, art lovers queued outside the gallery before it reopened at 10:00 BST on Sunday. One visitor expressed his relief, saying, “I was sad to see the fire, but I’m relieved the art is safe.”

The Clark family, visiting London from Washington state, USA, had a unique perspective on the incident. While sightseeing on the London Eye, they watched as firefighters tackled the flames. Paul Clark, accompanied by his wife Jiorgia and their four children, shared their concern for the safety of the artwork inside Somerset House. “It was sad to see,” Mr. Clark told the BBC. As a fan of Vincent Van Gogh, he was particularly relieved to learn that the painter’s famous Self-Portrait with Bandaged Ear had not been affected by the fire.

Blaze in the West Wing

The fire broke out around midday on Saturday in the west wing of Somerset House, a section of the building primarily used for offices and storage. Jonathan Reekie, director of Somerset House Trust, assured the public that “no valuable artefacts or artworks” were located in that part of the building. By Sunday, fire engines were still stationed outside as investigations into the fire’s origin continued.

About Somerset House

Located on the Strand in central London, Somerset House is a prominent arts venue with a rich history dating back to the Georgian era. Built on the site of a former Tudor palace, the complex is known for its iconic courtyard and is home to the Courtauld Gallery. The gallery houses a prestigious collection from the Samuel Courtauld Trust, showcasing masterpieces from the Middle Ages to the 20th century. Among the notable works are pieces by impressionist legends such as Edouard Manet, Claude Monet, Paul Cézanne, and Vincent Van Gogh.

Somerset House regularly hosts cultural exhibitions and public events, including its popular winter ice skating sessions in the courtyard. However, for now, the venue remains partially closed as authorities ensure the safety of the site following the fire.

Art lovers and the Somerset House community can take solace in knowing that the invaluable collection remains unharmed, and the Courtauld Gallery continues to welcome visitors, offering a reprieve amid the disruption.

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