Shintani’s Ancestor Chimes featured in Seattle Weekly

“Working lighter on the land means being fragile and vulnerable. For that reason, my favorite work here hangs almost unnoticed from fir branches near a picnic area facing the bay. Judy Shintani‘s gently ringing Ancestor Chimes are partly narrative, with text on oyster shell….”, writes Brian Miller

It’s great to get some press and I’m especially pleased that a photo from my Ancestor Chimes and positive feedback on the installation is in the Seattle Weekly. Carkeek Park has been a challenging venue for many of the artists and my heart goes out to them. Please read the review of the Rootbound Heaven and Earth Exhibition below:

http://www.seattleweekly.com/2012-08-22/arts/visual-arts-a-carkeek-park-art-safari/

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Another cool Seattle summer activity

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So much to do in Seattle. I’m putting this on my list for next time.

Seattle’s World Famous Trailer Park Market
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Thursday 11-2: Where Ya at Matt Creole Soul Food
947 Doris Street, Seattle Wash 98108

Check out more here: http://www.georgetowntrailerpark.com/

Many steps and helpers to create Ancestor Chimes land art

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Photos by MalPina Chan and Judy Shintani

I’m always interested in the back story of how a piece is developed and created, so I’m going to talk about the process of making my Ancestor Chimes installation.

Concepting

The theme of the Center of Contemporary Seattle exhibition: Rootbound, Heaven and Earth, drew me in since a lot of my work is about family history, stories, and culture. Because my father’s family settled in the Puget Sound area and raised oysters, I thought that my work could tie into this show nicely. I created and photographed a prototype and hung them in a tree near my studio. I uploaded the photo and a write-up of my idea for the submission. It was accepted and I had a few weeks to get the piece completed and installed in Carkeek Park in Seattle.

My artist statement
My father’s family settled here in America and raised oysters in the Puget Sound. I honor these family members, some of whom have passed on. On the oyster shells you will find stories about their time here. Some of the ink may fade over time just as memories do. The tree is a symbol of the connection between heaven and earth, so it is holds up my family’s tales. The shells dangle and move and our legacy travels to reach ancestors via the wind. I imagine they are pleased to be remembered in this beautiful place they once inhabited.

Gathering Materials
The Ancestor Chimes is made primarily of oyster shells. This is not a new media for me. I have used them in performances and in assemblages. They represent my father’s family, hope, and nostalgia. They also represent loss and secrets. I see the oyster as a symbol of the deep feminine.

The gathering of the materials I’m using in a piece is done with a lot of intention and caring. I want to be conscious of what is used, how it is used and handled, because this infuses my work with energy.

Photo by A. Meyer

I originally wanted to create the piece using Washington oyster shells. Due to the short creation time, I came up with a different solution. My partner and I drove to Drakes Bay Oyster Farm near Pt Reyes. This was a family road trip destination when I was a child. There they have mountains of oyster shells I could pick from. I looked for flat, clean ones with mostly white surfaces to write on. I had to carefully select shells of the right thickness for drilling.

In the best circumstances I would have liked to have ingested all the oysters to create the piece. I like the process of sharing the delicacy with friends and family – in that way honoring community and the oysters. I symbolically was able to add some shells from oysters that were eaten by my partner and I at the Pt Reyes Station House Cafe. I also gathered friends and family in Seattle at Chinook’s to help me eat some oysters so I had some Washington shells to use my installation. That was a very special intersection of family, old friends, and new friends.

Other materials gathered:
– Brass wire that will hold up best in the weather and over 4 months.
– Bells gifted to me that had been hanging outside on my studio door for years.
– Florist wire covered by rope found at Alena Jean’s Nursery  a few blocks from my studio.
– Matte acrylic medium
-Metallic acrylic paint
– Sharpe metallic paint pen
– Tools: drill, wire cutters, brushes

The Making
I wrote out the stories before hand on paper and then figured out how many shells I needed and how many chimes I would create. It came out to seven strands of chimes and I thought that was an auspicious number.

I assembled about half of the chimes in my Half Moon Bay, California studio. I cleaned, drilled, and wrote family stories on shells and then used a brass wire to connect the chime parts. I used a jewelry method of wire connection, incorporating a way for the shells to swivel and turn with the wind and make it easier for viewers to read the shells.

COCA provided me with studio space at their Georgetown gallery so I could add in the Washington shells from the Chinook gathering.  I went through the process of cleaning, drilling, writing, wiring, and adding a coat of matte acrylic medium to protect the writing.

I did a final couple of hours of wiring in Suze Woolf’s studio. A fellow Rootbound artist, she was also kind enough to provide me lodging while I was in Seattle for three nights.

Scouting Location
Upon arriving in Seattle from California, I went with David Francis the curator for the exhibition, to see the spot he selected for my installation. My placement criteria: near the Sound and a tree to hang the chimes so that they could be seen and read by viewers.

We hiked up the North trail path that bordered the sound and could not find a tree that had low enough or sturdy enough branches for the installation. As we walked back towards the picnic area, David mentioned a spot near the entrance of the trail as a possibility, only thing was that it had a chain link fence with barbed wire. Bingo! Part of my family story was that they had to leave the area due to the Japanese American incarceration. This was the perfect location to support the bittersweet side of the ancestor story.

Installing
I was fortunate enough to hook up with fellow JFKU alumni and dear friend Leah Libow who helped me install the Ancestor Chimes. Borrowing a raincoat from Suze’s daughter Boo, we trudged out to the park in the rain wearing boots and hats. This was not just a light rain, there were big drops coming down. I stood on the very top of little stepladder on uneven muddy ground holding up strands of chimes, trying to figure out which branches to hang them on and how high. Some branches we could reach, others we threw the rope wire over the branch. This all took about 2 hours and we were pretty wet, but exhilarated by the conclusion of the installation.

On Display
The Ancestor Chimes are on display in the Land Art Exhibition at Carkeek Park until October 31, 2012. I’m lucky that so many of my Washington friends have gone to see it and also many California friends are vacationing in the area and are checking it out too. Here is the link to find out more and download a map. http://www.cocaseattle.org/h+e/ If you click on the photos on the map you can find out more about each piece. I’m number 8.

Thanks
I’ve had a lot of support in making this installation happen and I want to thank: COCA Seattle, David Francis, Ray C. Freeman III, Suze Woolf, Ander Meyer, Alena Whiting Barragan, Judith van Praag, Linda Ando, Leah Libow, Janice Ono, Damon Ono, Stacy Ono Avara, MalPina Chan, June Sekiguchi, Melanie Corey-Ferrini.

Pieces of the story

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These are pieces of my father’s story. I chose to use oyster shells as the pages to write it. The “book” will be assembled into ancestor chimes with bells and will hang in a tree in Carkeek Park in Seattle. It is part of an group installation called Rootbound Heaven and Earth curated by the Center of Contemporary Art Seattle. My piece will be facing the Puget Sound where my father’s family once raised oysters.

American/Asian: A Tale of New Cultures

As many of you know I am currently showing my work up in Seattle at the wonderful ArtXchange Gallery. Ander and I drove my 3 assemblage pieces from Half Moon Bay, California to the gallery. It rained a bit on the ride up and the truck bed cab was not completely water tight. Luckily I had double wrapped everything and used big tupperware like bins, and everything arrived safe and sound. The drive up was like a pilgrimage back to where my father grew up and where we used to vacation during childhood summers.

I found the ArtXchange Gallery to be very professional and beautifully laid out. The staff were incrediably delightful and helpful. It is a contemporary international art gallery that “aims to inspire cultural exploration, the expansion of global community and the exchange of ideas through art, film and photography. They exhibit contemporary art from around the world that reflects the diversity of influences shaping today’s global culture.”

I appreciated the breath of the work in the show – ceramics, painting, assemblage, video, fabric, collage, photography. The show is also culturally diverse with artists from Japanese, Chinese, East Indian, Vietnamese, Filipino influences. You can view and download the show catalog and hard copies are also available from blurb, by clicking here.

I enjoyed meeting the other artists in this group show and I look forward to spending more time with them. I really connected with Malpina Chan, a wonderful artist who uses family images, collaging and transfer techniques. It turned out she was born in Lodi, California – the same town I grew up in! William Song and I spoke about his painting and the influence of the New Mexico pueblo dwellings. That high desert has always been a haven for me. I was intrigued by the use of rice sacks and encaustic in Deborah Kapoor‘s work. Jonathan Wakuda Fischer uses spray paint and stencils he creates in photoshop to create his paintings and he winked when I asked if he does any renegade street art. June Sekiguchi creates wonderful structures of delicate cut wood with beautiful iridescent colors. I resonated with her love of the book “How to Wrap Five Eggs” by Hideyuki Oka. I spoke with Arun Sharma about the exquisite film he made called “100 Flowers”. He used his wife’s face as the screen for projection. Joseph Songco photographs caught the vendors at the Pike Fish Market and he told me stories of the people he met there. Hopefully i will be able to meet the other artists in my next trip.

American/Asian: A Tale of New Cultures is up until June 27th. I will be returning to Seattle participate in a closing event. Please come by if you’re in the area!

Here are some images from the reception: