Music video for “Sign of Life” by Dykea, produced for the Demo Fest x Suoni TV Telethon.
Listen to the album and buy it here: Dykea - Demo 2
All proceeds are going to Solidarity Across Borders
Dykea is Piper Curtis and Mackenzie Smedmor.
Animation by Piper Curtis.
Mastered by Will Killingsworth at Dead Air Studios.
Do you remember the first time you made cookies? Where you were? Who you were with? How the dough felt between your fingers? How it tasted, when you ate some cookie dough before being scolded and told it would make you feel sick? Did it make you feel sick?
My first cookie-making memory is of making peanut-butter cookies at my daycare - a classic three-ingredient thing of magic. I still love pressing the tines of a fork into the cookies, leaving my mark. We leave our small marks over time, as time leaves its marks upon us. My scattered memories shape and guide me, even those most mundane. Like the memory of crying when my mother dropped me off at daycare for the first time. I wonder if I got a cookie after that? I don’t remember anymore.
But today we’re not going to make peanut-butter cookies. We’re going to make oatmeal chocolate-chip - my favourite. I first made these cookies in my dorm in Halifax in 2014, which, unconventionally, had a small communal kitchen equipped with a working oven. Making a late-night snack with a dorm-mate, we had everything we needed but the egg. After a quick google on egg alternatives, banana was the winner, and did not disappoint. Even before going vegan the following year, the banana egg-substitute became my go-to version for this cookie.
I love bananas. I eat one nearly every day, sometimes more than one if I'm hungry and too busy to make lunch. I've been told this is gross, more than once actually. There is something about the taste and feel of banana in your mouth, that mushy chew, that gets kind of disgusting when it goes on too long. But it’s also what binds these cookies, giving them the taste and texture that I love.
This recipe was adapted from CanadianLiving.com’s Oatmeal Chocolate Chip Cookies. CanadianLiving.com is my go-to for recipes, at least classic comfort foods like baked goods, even though I do have to veganize pretty much all of it. I like to improvise in the kitchen, combining recipes to make them my own. My mom used to get Canadian living magazines when I was a kid. I don’t really remember making recipes out of them, but for that reason it feels like a trust-worthy source. Familiar, in place of the family recipes I long for. I have transcribed a few of my Oma’s recipes over the years, carefully writing out the grams of zucker und mehl required, but something feels lost. Surely we have more food traditions than Linzertorte and Goulash?
I wonder how my attachment to Canadian Living speaks to my settler ideals? I mean Canada is fake, but, can we still make a good cookie?
shared cookie memories
please view in any order, follow your heart
A polydisciplinamorous reading of the third chapter in “How to Make Art at the End of the World: A Manifesto for Research-Creation” (Natalie Loveless, 2019) by Vanessa Burns & Piper Curtis 2020.
Exhibition / Exposition: March 10th - 13th
Vernissage: March 13th 7 - 11pm [cancelled due to COVID-19]
Artists / Artistes:
Alex Apostolidis / Wasting Time
Clara Micheau/ Éclosion d’une légende de mon marais / Ton tombeau repose dans nos écrans
Susan Georgette / Sugarland, selected works
Piper Curtis / The Secret Sounds of Plants
Sonia Reboul / What Do You Want to See?
Camille Emmanuelle Legault / Prototype
Exhibition Facilitator: Mackenzie Aker
Conservation presents an eco-surrealist collection of artworks which explore notions of conservation across media, as the artists utilize memory, materiality, and technology to capture pieces of our rapidly changing environment. The selected works combine elements of documentary realism with sentimental, sensory processes to reflect specific relationships to the natural world in the face of climate change.
While binaries such as human/nature, value/trash, and dream/reality tend to structure our world and how we make sense of it, Conservation dissipates these boundaries to create embodied experiences with nature through making and feeling. The selected works raise questions about how we can document environmental change, and if on a personal level, this can serve as an act of conservation: to conserve a place, a memory, a relationship, or a life.
Conservation is not an exhibition about the apocalypse, but about complex human relationships to landscape, flora, and animal life, exploring modes of recording which flow between fact and fantasy. Visitors are encouraged to explore, touch, look, and listen their way through the space, perhaps noticing how the sculptures sway as they walk around them, or how the room feels different when seated in the Listening Garden. Fleeting moments like these are captured by the artists to invite visitors to reflect on climate change and our collective relationship with the earth.
Hear the full EP here.
Art Matters Festival | Installation | Curtis