Laurel Terlesky Artistic Research Posts

  Internal Sound: 3 audio speakers played the following tracks (overlapping) and were placed inside the mound of bed sheets so that participants asked to take their shoes off and lie on the pile to hear them. The same story is read by different readers and gender is also swapped. In the installation the stories are mixed up so that the same story isn’t repeated. External Sound: Three speakers were placed at the perimeter of the mound, facing in, playing the following track. These sounds were collected from field recordings during gathering missions (collecting sand and environmental materials from Squamish)

Read More Hallowed Winds Documentation

“Our body is not in space like things, it inhabits or haunts space. It applies itself to space like a hand to an instrument, and when we wish to move about we do not move our body as we move an object. We transport it without instruments as if by magic, since it is ours and because through it we have access to space.” – Maurice Merleau-Ponty. “An Unpublished  Text”. The Primacy of Perception: And Other Essays on Phenomenlogical Psychology. Translated by Arleen B. Dallery. Evanston, IL: Northwestern University Press, 1964.   Hallowed Winds has been in incubation / thought / slight working process for over six months now. The journey started with collecting stories about a memory of touch offered from my community. I am grateful for the diversity and deeply personal nature of these stories that have been contributed thus far. The last two weeks the development of this installation has ramped up substantially with the start of my six week artist-in-residence position at Quest University. In particular, I have to note that a few days ago I was ecstatic to answer my phone and learn that the Canada Council for the Arts is supporting this project along with the Squamish Arts Council. I have arrived. Deep breath out. The grounding work of the project has resulted in twelve sandbags filled with material from Squamish. Mostly I’ve collected sand from Nexen and Mamquam – physically these have proven to evoke the nature of the body. Each bag weighs about 40lbs…

Read More Hallowed Winds Process

This is the beginning process documentation of a collaboration with Bren Simmers. The outcome is unknown. The deadline is unknown. Here is a collection of lost objects encountered while on wanderings in Squamish, B.C..

Read More Narratives of the Lost

The following are a collection of daily drawings.  Words that have aligned themselves in this process are: mistakes, invisible, hidden, faint, lightness, delicate, pulling of lines, predictability…  

Read More Maps of Humanity

I feel like I’m still decompressing from finishing the MFA process at Transart and have been a bit all encompassed by some life transitioning lately so I haven’t done a lot of new work – but below, I want to share some documentation of a collaborative performance I recently did and also the initial starts of some new drawing work for your feedback. Mostly, since this feels like new generative work I am open to hearing your general thoughts about the work. On October 24 & 25th I collaborated with activist, action-theatre improvisor, Bronwyn Preece for The Interplay Project in Vancouver. This was our first collaboration with a live audience in attendance. This is the description of our piece: Surface Rupture explores the ‘limits’ of the skin’s boundary by projection and an interaction with material objects. Interdisciplinary artist Terlesky has developed a projected video and built an environment made up of soft sculptural objects — the result of her research exploring the intersubjectivity of touch and tactile language. Improvisational performance artist Preece will respond to the visual environment (made different by Terlesky each night) — truly embodying a moment-to-moment response – simultaneously engaging in an unfurling visceral discovery with the audience: Where do the boundaries of ‘self’ lie?! One object used in both performances was this soft scultpture that has lights embedded in it. The light blinks in response to a heartbeat monitor that I was wearing while Preece performed. (The first night the lights were not working properly… they…

Read More For Critique Group

Do you recall a meaningful memory where a distinct moment of touch occurred?  I am collecting stories about touch for use in an upcoming installation at Quest University in March, 2015. Please email your written accounts to hello@laurelterlesky.ca. All stories will remain anonymous. Deadline for submissions January 15, 2015.

Read More Call for stories about touch