A brush with celebrity in the electric, tantalizing, surprising Intangible Adorations: Experience the Icon

Ensemble with the October 15 guest Icon. Lighting design and effects by Carl Elster. 

 

Haus of Dada, Workman Arts, KC Cooper and Meek present Lisa Anita Wegner and Scott White’s electric, tantalizing and surprising Intangible Adorations: Experience the Icon as part of Workman Arts’ annual Rendezvous with Madness Festival, running in the Workman Arts Chapel. The multimedia performance piece is part film, part performance art, part social experiment—as it explores the allure of celebrity and its impact on celebrity mental health. Each performance, a different mystery celebrity appears as the Icon, disguised in a morph suit. Will they reveal themselves or choose to remain anonymous?

Featuring performers KC Cooper, Emily Gillespie, Amy Loucareas, Meek, Jane Smythe and Lisa Anita Wegner; and hosted by creators Wegner and Scott White, audience members are ushered into the space as VIP guests of a celebrity. You’re given a VIP tag with your host celebrity’s name (I was with Tilda Swinton’s group) and invited to be seated by group for a three-part immersive experience of performance art and brush with celebrity.

We’re introduced to the genesis of Intangible Adorations with a brief documentary film highlighting Lisa Anita Wegner’s history as an actor, producer and filmmaker; and the diagnosis of Complex PTSD that led her to set off on solo film projects and an exploration of identity, iconography and transformation—and to the genesis of the morph suit-clad Think Blank Human that served as inspiration for this current project. For Wegner, art saves her life every day.

Prior to the appearance of the Icon, an audience member is offered the opportunity to get a taste of celebrity by joining Wegner and White up front and centre, along with the ensemble. It is a strange and discomfiting experience for the volunteer, even though she’s an actor. We’re reminded that lots of celebrities and performers are actually quite shy of the spotlight when it’s focused on them personally, as opposed to when they’re in character or in performance. Many performers are, in fact, introverts.

Wegner and White move on to give us a few rules of engagement with the Icon. Hints are dropped at who the celebrity may be: a female pop star of great renown, a major celebrity. There’s some buzz in the audience that it’s Madonna. A respectful hush falls over the audience as White ushers her in; the white morph suit, worn with a deep purple costume over it, covers her from head to toe, making it challenging for her to see. We’re called up by group to line up for a photo and an autograph; and then invited to head across the hall, into the Red Chapel.

While it may have a Game of Thrones edge to the name, the Red Chapel is actually a place of celebrity adoration—the Church of Celebrity, if you will. Here, we may sit where we like as we watch the ensemble, now all dressed in morph suits and costumes, prepare the way for the Icon as they move and dance (music by Pink Moth) around the ornate wooden throne, set on a dais. It is here that we will have a brief audience with her.

The Icon arrives to sit on the throne; White hands her a microphone and, through voice modification to maintain her anonymity, she speaks to us. Sharing personal anecdotes of youthful adoration and a more recent fan girl moment with a famous actor she respects and admires at the Academy Awards, she is genuine, candid, vulnerable and circumspect. She goes on to share her experience of and response to being famous, including sessions with a therapist; her talk taking on a confessional tone. Humble, forthcoming and generous, she moves to reveal herself—and then, with apologies, decides against it. The second-hand celebrity gained by the audience at having spent time with her is less important than the revelation that we are all worthy and beautiful people in our own right.

And so our time with the Icon comes to a close. The buzz about her identity continues: too tall for Madonna. Katy Perry? Lady Gaga? As we head back into the first space to collect our coats, ensemble members, acting as reporters, ask us about our favourite celebrities and how our views may have changed as a result of this experience.

If you had any aspirations to be a celebrity, the experience may have you thinking otherwise. And the electric buzz about the possible identity of the Icon was, I’m sure, accompanied by skepticism about whether the guest was an actual celebrity at all. How does that change the experience? And how would a reveal have changed the experience? Were we more at ease, as she was anonymous, vulnerable—humanized, even? Come and see for yourself—you have three more chances.

Intangible Adorations: Experience the Icon continues in the Workman Arts Chapel until October 19, with performances on Oct 16 at 8:00, Oct 18 at 7:00 and Oct 19 at 2:00 (final performance to be followed by a Q&A). Advance tickets available online. Enter through the main entrance off of Dufferin St. (where the box office is located up a short flight of stairs); a member of the company will come to escort you to the performance space.

Here are some photos I took last night; lighting and FX by Carl Elster. Thanks to Scott White for the photo of me and the Icon. And thank you to the Icon for sharing her time and thoughts with us last night.

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Check out the trailer.

 

 

The real & the fantastical side by side @ Nora Camps’ ‘CAPRICCIO. Real & Imaginary’ exhibit

Artist Nora Camps opened her ‘CAPRICCIO. Real and Imaginary’ exhibit at the Papermill Gallery at Todmorden Mills this past Thursday night, with guest artists: Marietta Camps, MaryAnn Camps and Pamela Williams.

The title of the exhibit refers to landscape work, which can be whimsical and fantastical, even collage-like in its assembly of images. Nora Camps’ prolific work shows great variety and vibrant colour – from photography-based (like Spirited Forest, an archival photo print on canvas that combines images of women with trees), to graphic design-inspired (the Fade to Red 1-2-3 triptych) to abstract (the Open series, that bring to mind giant, intense yet benevolent eyes) to expressionistic (land/seascapes like Sound, Surf and Arriving). And she’s created several large wooden sculptures too – her take on the totem pole – and a four-minute film, a moving collage of dance clips, plays on a screen in the Papermill Theatre.

Marietta Camps, Camps’ mother and a local Vancouver Island artist, uses watercolour and oils to paint images recalled from her childhood in India. Works on display include bright and lovingly rendered portraits and landscapes.

MaryAnn Camps’ (Nora Camps’ sister) Cities at Night is a series of startling beautiful aerial perspectives – done in acrylic on canvas – of Montreal, London and Tokyo. These are the kind of magical, shimmering views you’d get if you were flying into that city at night.

Toronto Photographer Pamela Williams shows several of her remarkable black and white archival silver prints of cemetery monuments that she shot in Genoa and Rome, Italy; Paris, France; and Buenos Aires, Argentina. Both beautiful and melancholy, the marble statuary works are so masterfully sculpted – and so vividly presented in the photographs – that you would swear they could come to life at any moment.

Original music by Tom St. Louis, who sang for us at the grand piano, added to the intimate, engaging atmosphere in the Papermill Gallery – and the celebration of art and friends.

The Nora Camps and guests exhibit is up until September 7.

Here are some snaps I took from the event:

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