November started out strong! Reveal/Conceal, my retrospective exhibit of 19 years of theatre masks opened alongside A Universal Feeling, the international collaboration I’ve been developing over the past two years, at the beginning of the month.
It was a really special night to share with the public—as well as some collaborators—and to have conversations about the work they were seeing.
Sooooooooo, I’m happy to announce that there will be another opportunity for you to see the work, hear about the process, and ask any questions you may have.
6:30pm Friday, December 6 Chehalem Cultural Center 415 E Sheridan St, Newberg, OR 97132
It’s been an amazing 5 months of work on A Universal Feeling! January through March were heavy on the initial creation of the six expressions of emotion. The last two months have been a heavy lift—with many volunteers—of creating the iterations of the masks in papier-mâché.
Throughout the making process, I also had to stagger the
shipping process to ensure everyone would get their mask at the right time. The
process began, naively enough, with heading to a local shipping franchise. And
I learned some things.
Lesson 1:Shipping is calculated not only based on weight, but on dimensions. Nothing too surprising there. They have to account for how much space a thing takes up when sending it to destinations around the world.
Lesson 2:Size matters. A roughly 12” cube package, weighing less than 1.5 pounds, will still be charged as weighing 8 pounds. A little surprising.
Lesson 3: Two identical packages traveling to different locations will be charged differently. Of course. But while the shipping cost may vary by a few dollars between domestic locations (say roughly $24 one way to Arizona and $33 one way to New York City) that shipping cost will explode when leaving the country… up to 10 times as much! One way! For the same exact object and service!
Lesson 4: Learn where your research and budget have shortcomings. Strategize to fix.
Lesson 5:Ask for help when you need it. It turns out I already know some people with experience with shipping art internationally. They can advise on how to find the right price.
Lesson 6:Membership has privileges. While investigating the benefits of creating an account with a shipping company, you may be informed that you will be eligible for discounts of up to 45% off!! Hello, affordability!
Lesson 7:Pay to Play. When the shipping company learns you may not be shipping at a predictable and consistent volume, but are instead working on a large art project, they may not actually follow through with setting up an account.
Lesson 8: When time is running short, you may need to bite the bullet. Those masks have got to get to the people, and a little thing like cost can’t get in the way. Just reshuffle that budget, take a pay cut, and make it happen.
Lesson 9: Surprise is, by definition, surprising. Expect surprises anyway. Like when import taxes are charged despite begin the package being under a de minimis value. Or like when VAT charges are assessed because you have sent a “gift” even though you made it clear in customs paperwork that it was not a “gift”. Or like when you assume you have just prepaid to have a package sent a to the person to whom you addressed it, there may be an office who informs you that you have essentially only paid to send it to the country (or if lucky, to the city) of the recipient and they will be expected to pay a “handling charge” to have it delivered to their house.
Lesson 10:Ask for help when you need it (reprise).
Lesson 11: Remember that every experience is new information, and the wise person learns from it. And also, record all your experiences so that your future self knows what questions to ask when attempting a large international collaboration. 🙂
Lesson 12:Gratitude is key. There are so many wonderful collaborators, generous financial supporters, and emotionally supportive friends who keep this wheel turning with enthusiasm, curiosity and humor. Totally worth it.
I’m looking for friendly volunteers who have an interest in making and a sensitivity to detail — and– who think it would be fun to do some papier-mâché in community with others. You’ll be helping make copies of some emotion masks for an upcoming art installation later this year.
Papier-Mâché Volunteer Hours
Seeking 3 to 4 hour commitment. Most days are 6 person limit.
Tuesday, March 26…………1-5 or 6-10 Thursday, March 28……….1-5 or 6-10 Saturday, March 30………..All Day
Sunday, March 31…………….12-4 Wednesday, April 3………….1-5 or 6-10 Friday, April 5…………………..All day Saturday, April 6………………All day — FULL
Sunday, April 7………………….1-6 — FULL Monday, April 8………………..1-9:30 Wednesday, April 10………..All day
Monday, April 15……………..5-9:30 Tuesday, April 16……………………..9-9 –FULL Friday, April 19………………..9-6:30 Saturday, April 20…………………2:30-6:30 Sunday, April 21………….1-9
Friday, April 26…………….9-9 Saturday, April 27…………9-6 Sunday, April 28……………1-9
Tuesday, April 30………….9-9
ADDED DATE! Saturday, May 11………….9-6
Papier–mâché (1753) from French papier–mâché, literally “chewed paper,” from Old French papier “paper” + mâché “compressed, mashed”, from past participle of mâcher, literally “to chew,” from Late Latin masticare.
About a year ago, I was approached to make an exhibit of my work… and it’s happening! Spanning the last 19 years of making masks, the exhibit Reveal / Conceal: The Transformative Masks of Tony Fuemmeler runs November 5 2019–January 3, 2020 at the Parrish Gallery, Chehalem Cultural Center.Stay tuned for information about the opening reception.
The Chehalem Cultural Center
(mask) x (62) = ?
As I was considering the invitation I thought, this is the perfect time to do a project I have been dreaming about for years: a series of mask collaborations with other artists on a compelling theme…and it’s happening!
Sixty-two artists from around the world will be participating!
The installation is called A Universal Feeling, and explores how something we all share can manifest very differently in our individual lives. I am so excited to be working on this project, and with so many (!!) amazing collaborators.
It is nearly impossible to do without the support of individuals and institutions alike. I’m proud to announce that I have been awarded a Project Grant from the Yamhill County Cultural Coalition for the show at the Chehalem Cultural Center, and ALSO a project grant from Regional Arts & Culture Council to extend the showing of the installation to Portland in 2020.
…but you promised puppets.
And I deliver!
I coached the puppets for world premiere of WOLF PLAY by Hansol Jung at Artists Repertory Theatre. The show just opened, so you have plenty of time to catch this amazing show.
A break from tech rehearsals
Chris Larkin puppeteering in rehearsal
What made it extra special is using the puppet made by Matt Acheson, who I met nearly 20 years ago at the start of my career! This puppet is great—not only is it extremely well-built and balanced, but also the design allows the audience so much room to imagine. One audience member mentioned to me that they “…never expected to be so attached and invested to a puppet!” That feels like a job well done to me. 🙂
Tickets available here.
Spring
Post script: Thanks also to the Oregon Community Foundation and Oregon Cultural Trust, who support this installation via the YCCC!
For two Saturdays in March, I traveled to the Lelooska Foundation in Ariel, WA, to learn more about the art of mask carving in the Pacific NW.
Chief by the fire. Photo courtesy of the Lelooska Foundation.
Yagis. Photo courtesy of the Lelooska Foundation.
Numas awake. Photo courtesy of the Lelooska Foundation.
Hox Hox. Photo courtesy of the Lelooska Foundation.
Echo by the fire. Photo courtesy of the Lelooska Foundation.
The Lelooska Foundation is home to one of the chieftainships of the Kwakwaka’wakw tribe. Many tribes in the NW have amazing mask traditions as a part of their potlatch. Every tribe has the rights to certain characters and stories which they can present at the potlatch, as well as some of their own stylistic signatures.
Materials and Tools
Tsungani begins a deer mask with his adz.
I have long admired the transformational masks of the NW Coast peoples, and I was interested to learn more about the kinds of wood used for masks, and the tools used to make them. This type of mask very often includes a mask-within-a-mask which is revealed when the dancer activates the hinge mechanism to open the outer mask.
The workshop was attended mostly by woodworkers and carvers. I have only worked in wood a very little, and it became clear what an intimate connection to material a dedicated carver has. You must have a great understanding of how red cedar or alder behave, when they are best to harvest, ready to carve, etc.
Through my studies of mask making, another thing becomes clear. While there are some tools one can purchase commercially, every dedicated artisan eventually develops and/or refines tools which are uniquely theirs. And sometimes one makes custom versions of existing tools.
Elbow adz made of adapted double ax blade and vine maple handle.
Adz handles in waiting.
Crooked knives. Notice the bevel in the center.
The adze is a crucial tool for blocking in the rough shape. Crooked knives—as well as straight knives and chisels—refine the form of the mask.
It was cool to see these, especially as it reminded me so much of the tools I had used in Bali!
Balinese hatchet used for rough cuts.
Balinese hatchet, side view. The blade is purposefully angled.
Crooked knife from Bali.
Masks
There are a number of styles of masks utilized by the peoples of the NW Coast. In addition to the transformation masks, there are are also forehead helmet masks, halo masks, and other masks with moving parts (almost like a puppet!), etc. These photos give a just at tiny peek in the large range of the amazing masks of the Kwakwaka’wakw.
The visibility for the performer is rarely as direct as you might find in a Halloween or Mardi Gras mask. The performer may have a very limited view or none at all. It takes a very skilled performer to dance them.
See for yourself!
Chief Tsungani is a wonderful storyteller, artist, and historian, and I urge any one curious to take a workshop from him. You can also see some of their masks being danced at their Living History Performances in the spring and early summer, which I also highly recommend. (Check the link for available times.) Stop by the museum and gallery when you go.
Tsungani demonstrates rough blocking with elbow adz.
I’ve often found that people aren’t quite sure what I mean when I say I’m a mask maker. Chris Hatcher of Field Guide Films gives a terrific peek behind the curtains in this video.
Hi! It’s been awhile. But for great reasons! I’ve been working on lots of projects in the last few months. Here’s a little about one of them.
The Project
Canby High has a team of about 25 dancers who participate in large dance competitions around the region. The dances are performed on a large gymnasium floor, with some sort of scenery specific to the concept of the piece. They have been working with choreographer James Healey for the past few years, and have made some stunning work. This last October, we began a conversation about masks they could wear… on the backs of their heads.
The Process
Playing in plasticene miniature to try ideas.
The miniatures that served as my starting point.
A rough sculpt in clay of one of the masks.
The concept had to do with shifting perception and multiple ways of seeing. So my goal was to conceive of a design that would come alive on the performer with all of the limbs moving slightly differently to how we are accustomed.
To communicate over digital media, I took shots of the mask from a variety of perspectives.
It was decided that the show would have three designs, but multiple copies of that design.
I used an existing mask to try out a helmet strategy for wearing. We scrapped it.
James shared some images and we talked about the feeling the masks should have. I sculpted with these emotions in mind, and also tried to capture the faces in a series of planes, slightly abstracting them.
Neoprene glows nicely when backlit by the sun!
Another strategy for wearing. Closer…
We knew the rest of the design would be in blacks, grays, and whites, in keeping the conceptual element of one way vs. many ways. It was decided that I would form the masks, and the arts students at Canby would paint them using my advice.
So many faces!
Priming the neoprene to prepare for painting.
An inspirational image. The director wanted to incorporate some reflective surfaces on the masks to match the costuming. (Thanks Lauren Adams of White Bike Ceramics!)
The students explored how best to paint the masks. High contrast was necessary for the sculpture to ‘read’ in the large dance space.
The Performances
The dancers came into my studio early in the process to determine how the masks would need to be arranged to carry out the choreography. They were so much fun! And they were very excited about the masks… which I think you can see in some of the photos below.
Welcome to my first blog from Italia. In short, it’s amazing! The study is engrossing, the people wonderful, a wine costs just a couple euro.Because of difficultly in previous years of the workshop, we aren’t allowed to take many pictures during the workshop, so instead of lots of mask process photos, you’ll enjoy shots of everyday life, gorgeous scenery, and lovely people. I’m sharing a flat for the month with another student from New York, and across the hall are wonderful artists from Firenze and Toronto. There are also more students from Italy, Spain, Mexico and the US.
A view of the kitchen balcony from my bedroom balcony
A view of apricots just a few feet from my bedroom balcony
The best sort of coffee machine for the studio. Though I dislike orzo as a coffee alternative. ;P
<INTERPOLATION> Why do cities names changes in different languages? As in, why do we call Firenze “Florence”? It’s a proper name, not a random vocabulary word. Or why do we call Venezia, “Venice”?or Deutschland ,”Germany”? or Nippon “Japan”? I can imagine changing the spelling in your language to make the same sounds, but actually changing the name? It makes more sense to me to call places what they call themselves, but that’s not how languages and culture work apparently. Or is it? After briefly searching the internet, the reason for difference between endonyms (what you call yourself) and exonyms (what others call you) often stem from the evolution of language itself. Firenze is the Italian derivation of the Latin Florentia, but Florence was the English derivation, and Florenz the German. So maybe we did try the spelling trick way back when, but the world changed and language didn’t. Still, why can’t we be on the same page about this? </INTERPOLATION>
Trying to design a mask with planes
Trying out a mask design in a new method of papier mache. It will be a study for my upcoming work in leather.
The Colli Euganei, just south of Abano Terme. Fourteen other small towns are connected to these hills which inspired poets and bring forth wine.
View from the Riviera Albertino Mussato of some houses that would have been outside the 1300s wall of Padova, but inside the city wall of the 1500s
Basilica San Antonio
Capella Scrovegni
As I said, the work is interesting and challenging. There is often an interpreter, and when there is not, many of the students are multilingual—so the ideas aren’t too difficult to grasp. You can really see and feel the inheritance of trained sculptors in this work. It’s not just actors who make masks—it’s artists who bring their knowledge of materials, sculpting tools and processes and strong visual arts skills and concepts to the work of theatrical mask.
Sarah Sartori and Paola Piizzi, leaders of the workshop
The muses on the ceiling, upstairs at Caffe Pedrocchi
Sculpted fabric
We have been doing studies in preparation for making of the leather mask. The traditional forms didn’t use paint to help augment the shaping of light and form. Instead, they rely on the sculpting of panes in the mask to give a sense of volume and life to the performance object.
Tall towers showed prestige.
The sun plays beautifully over the planes of the former tribunal.
I enjoy the lack of signs.
Sunset, arches, and mopeds. 🙂
I find it really interesting to consider this idea. The planes reflect light. And the abstraction of the forms of a face into simpler planes also helps us project our own experience on to the mask. Puppets can work in much the same way. In Understanding Comics, the artist Scott McCloud noted that as a face is rendered in increasingly specific detail, the easier it is to regard that face as something outside of ourselves. But as a face is simplified in its depiction, the easier it is for the viewer to regard it with a feeling of identification… it becomes more of an Everyperson.
So with these simplified planes, perhaps it becomes more possible for the actor and the audience, together, bring the object to life.
Christo’s Floating Piers at Lago d’Iseo— a mask of space?
This show was produced at Lewis and Clark College in Portland, OR, and designed by Professor Michael Olich. I worked as the movement consultant for the actors and as an assistant designer/ builder of various mask and puppet items.
Seven months before the show would open, we met to share broad concepts, discuss exciting opportunities, and forecast potential hurdles. At this early point, it became clear that some things needed to be tried in a rough form to solidify the approach of the design.
Parrot puppet
One such element was the parrot. The first task was to figure out from where it would be manipulated. The parrot couldn’t be designed properly without that key information.
(click on each photo to see full size and captions)
The basic concept was tested in scrap foam, construction paper, masking tape and bamboo
Testing motion with upgraded materials
Feathers were cut from craft foam to match Durandarte’s color palette
A spray bottle and styrofoam ball were the understructure.
The aim of the design was to echo the elements in the human version of the character while providing a clear sense of focus for the puppet
A second parrot (with folded wings) for the scenes after the parrot was caught.
After trying a few options, including operating it from above, the most feasible and satisfying conclusion was to puppeteer from the stage deck.
At first I thought I might have to trigger the flapping of the wings through a mechanism on the control rod, but using gravity to activate the foam wings was pretty satisfying.
Stag & Bear Masks
The show was not cast until September, so many issues of scale had to be determined at that time. To know how big to make the mask, it was better to know the size of the body supporting that mask.
I thought topographically to create the individual pattern pieces for each layer of the stag mask.
One of the early trial material was this translucent coroplast.
Actors working in rehearsal masks are great sources of information as a builder.
An early test of the rings had them suspended by thin gauge wire. Eventually we used scrim for the dual purpose of masking and connection.
The best solution for both stag and bear characters was a helmet mask—the stags were mounted on construction helmets, and the bear was, itself, a helmet.
I made trial pieces to test my construction methods.
Eventually, a bandsaw was a better solution for cutting out all the pieces. Exactos remained important for the connector slots, however.
Mask attached to helmet.
The layers of bear, from front to back.
I made this larger rehearsal mask for bear, which also allowed me try out a few different attachement methods.
The final bear used coroplast lined with metallic fabric, and scrim covered the open mouth.
The script requires an enchanted statue that comes to life and laughs at key moments in the story. The designer had a clear idea of the look of the statue and a general sense of intended scale early in the process. Once the part was cast, I could determine measurements that would allow the actor’s face to be seen and permit her arms to reach the control mechanisms.
Strategizing internal structure
The scenery shop provided the first step , a steel ladder and on a wooden base, with two metal support ovals.
To help us all visualize, I constructed a hasty mockup in cardboard. It helped me strategize how I would eventually use the fabric-covered foam to create the cape.
My friend Bill helps by patterning the Y20 foam
Fine-tuning the contours
Anchoring the hood of the cape
The third strategy for hand construction worked. They were designed in a way parallel to “topographic” approach to the stags and bear.
Extra supports and surfaces were needed as I listened to the materials I was using.
The order of operations was difficult—and necessary—to determine, much like constructing a garment in a costume shop. The pieces were unwieldy, so it was very nice to have assistance from student workers.
Waiting backstage
Even then, it was a challenge! I was using many materials and adhesives that were relatively new to me, and doing so in a short amount of time. We would joke frequently about how every single solution created two new problems. It was a relief to have the advice and help of both my friends in the puppetry community and also my collaborators on the show as I learned about making this statue.
It’s amazing to me how much expression can be manifested with just a few movements. The only movements available to the actor were the flex in the statue’s hands and those of her own face, but she was able to find great levels and variety to play.
I had an amazing summer of work, which has lead right into some great projects this fall. I have been so occupied with doing, I haven’t had much time to share.. so here are just a few quick highlights!
The Creation Story: Lincoln Center Education & Carmen DeLavallade
After taking part in a second summer of Lincoln Center Education’s Teaching Artist Training program this July, I had an excellent opportunity to put those new and exciting ideas directly in to practice. Working for LCE at the nearby Lincoln Square Neighborhood Center, I lead experiential workshops to introduce a group of seniors and a group of youth to the immense body of work of the late renaissance man Geoffrey Holder.
Photo: Šara Stranovsky
Using found materials to create costumes. Photo: Šara Stranovsky
Looking one of Geoffrey Holder’s pieces after making some art together. Photo: Šara Stranovsky
Then we moved on to the next phase of our work, in collaboration with the wonderful and imaginative Chris Green. Chris designed a number of puppet images (based on the work of Holder) to be used in a performance of The Creation Story by Holder’s wife and longtime collaborator, Carmen DeLavallade. Working with Chris, Carmen, and her team, I engaged the students in finding the movement to bring each of these images to life.
Building ensemble with the cast. Photo: Šara Stranovsky
A bear mask I made from a sieve. Photo: Lucy Gram
Exploring the movement possibilities with the students. Photo: Šara Stranovsky
Students did research to find the best way to bring the pinwheel paper cup bird puppets to life. They determined the criteria for success, and we used that information to coach them for the final performance. Photo: Šara Stranovsky
In rehearsal! Photo: Lucy Gram
Researching the performative nature of a rainbow: How does it move? How does it feel? Photo: Šara Stranovsky
Glittery fish puppets. Photo: Šara Stranovsky
Taking a rest from flight. Photo: Šara Stranovsky
Carmen DeLavallade, surrounded by birds, flowers, and the sun at the Damrosch Park Amphitheatre. Photo: Lucy Gram
In just one week, our ensemble did so much! Here’s a shot from the performance of The Creation Story. Photo: Šara Stranovsky
Chris and I with the generous and legendary Carmen DeLavallade after the performance. Photo: Lucy Gram
The youth staging a post-show bird attack! Okay, I egged them on a little 🙂
Hagoromo: Wendy Whelan at BAM
Right after that project, I was lucky enough to continue working with Chris as a rehearsal puppeteer in the early stages of development of Hagoromo. The show, premiering at the BAM Next Wave Festival in November 2015, is a huge collaborative undertaking. It stars Wendy Whelan, former principal dancer at the New York City Ballet, and features musicians, puppets, a mezzo-soprano, tenor, and a large chorus. Check out the NY Times article!
Discovering the way for three people to move as one being.
The first steps are… literally that. We had to uncover the way to do a basic walk before we could learn to dance.
The story is adaptation of a Japanese Noh play. For this multidisciplinary opera, there are two life-size puppets based on body casts of the incredibly talented Wendy Whelan. Our initial job was to work out the kinks.
Both doing and watching are necessary to learn how to successfully bring a puppet to life.
The dance of the puppeteers is a separate, but equally interesting, dance to that of the puppet itself.
Wendy and Chris discussing the fine points of puppet capability. Many of our rehearsal discoveries lead to small tweaks in the design.
It’s a small puppet world! One of the other awesome rehearsal puppeteers, Katie Melby, had previously performed with my talented sister-in-law, Katie Kaufmann, in the Twin Cities!
