Project Update 2: A Universal Feeling

After a 18 months of planning and working, you can finally come see the first showing of A Universal Feeling! The exhibition opens as a part of my larger exhibit, Reveal/Conceal: The Transformative Masks of Tony Fuemmeler.

  • 5:00–8:00 pm, Friday, November 8
  • Grand Lobby,  Chehalem Cultural Center  (415 E Sheridan St, Newberg, OR)

There will be live, masked-musicians, masked performers and the opportunity to try on some masks. You can also meet some of my local collaborators for Universal Feeling, AND some other mask-makers!

That’s right— the Chehalem Cultural Center will also feature a group exhibit of even more mask makers: Rachel Mulder, Nathan Tanner, Faerin Millington, Kris Musser!

This event is FREE and OPEN TO THE PUBLIC. Wine and light refreshments provided. See the FB Event Page Here.

The exhibition will run from November 5–January 3.

I’ve included a few of my masks here, as well as some mashups of the work of my collaborators. Come see the show to see the complete works!

Project Update: A Universal Feeling

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.

Exhibits and puppets and spring—oh my!

My first large exhibition!

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.

Learn more about the collaboration here.

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.

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!