Public Parking
A journal for storytelling, arguments, and discovery through tangential conversations.
Studio Visit: Madeline Rae

 

 

 

 

We caught up with artist Madeline Rae during her stay at Ace Art's Cartae Open School residency which Rae completed along with four other resident creatives earlier this summer. The seven month independent learning program allows for creatives working from distinct directions of interests to share and produce work in a single environment and subsequently exhibit their work at the end of the program. In the below conversation, we speak to Rae on her keen pursuit for working through film photography, her interest in performance, and video as way of working through ideas of sensuality and intimacy.

 

 

Madeline Rae works predominantly with film photography, video, and performance. Her work tends to explore sensuality and all of its facets—different pronounced moments you might face in life whether it being grief, extreme amounts of joy. For me, it seems she looks into how sensuality can be a tool to work through these moments in life. She often uses herself along with others in the work. —Talia Shaaked​

 

 

Photo contribution by Laina Brown

 

 

Luther Konadu: Can you remember your very first introduction to the film medium?

 

 

Madeline Rae: Yes, I got into video in high school and that was my first introduction to the medium and I soon realized that I was in love with it. I wasn’t much into photography- because I didn’t really feel excited by digital cameras or digital still images. With video, I felt I could do more: I could incorporate audio, performance, installation, etc. And I enjoyed the process of editing. I started performing in front of the camera for my videos before I even knew it was performance. It wasn’t until I got in post-secondary art school then I started taking some film photography classes, which got me really interested. I just ‘nerded out’ in the darkroom. I loved it. I just got obsessed with the physicality of it and I took subsequent classes where I could use the darkroom. It just spiraled from there!  '

 

 

Photo contribution by Laina Brown

 

LK: Before you knew you were doing performances what were you thinking you were doing in those videos?

 

MR: I just thought of it as though I was acting. I started using my body more and more in what I was doing because I realized it was taking me to emotional places and it felt really freeing and cathartic in a way. But then I started to also know more and more about artists like Marina Abramovic and Carolee Schneemann, etc., whose work began to shape my idea of performing. Then I took a performance course with Sharon Alward, and I started to learn exponentially about the importance of performance as a medium for myself as an artist. Then I started to make more sense of what I was I doing with video.

 

LK: Now that you have a defined understanding of what you were doing in the videos…how does that change how you think of what you do with your body and video? Because you weren’t aware that you were doing performances but now that you are aware, how do you approach working with your body?

 

 

MR: It definitely makes me aware of my emotions. I pay more attention. Overall, I feel more conscious of what I am doing and I think about the audience too.

 

 

Photo contribution by Laina Brown

 

 

At this point of the conversation, Rae takes us through a series of her photographic work and describes the processes she takes and why she takes them.

 

 

MR: I shot these with a Polaroid FP-100c film [She shows us images of the printouts]. I am really interested in pushing film photography. I recently ran a workshop where I spoke about alternative photographic processes and cyanotypes. This is a cyanotype here [she shows us an example]. I don’t usually make cyanotypes but I’m getting more interested in that. And the Polaroid film process can be experimental, especially if you start bleaching the backs to make negatives. Doing that can be a way of doing more with the film, and keeping the image longer, as a starting point.

 

 

Photo contribution by Laina Brown

 

 

LK: When did you make these [a series of the enlarged Polaroid works that hangs at her studio]

 

 

MR: I made these a while ago for a final project in Lisa Stinner-Kun’s Colour Photography course. I wanted to do something very technical and experimental. At the same time, conceptually, I am performing through the spaces that I am in. This one here is actually the living room of some of my friend’s. It has the original 70s décor all over the house from the couches, to the carpet, and the wallpaper… but at the same time you see these modern day phone chargers on the floor and I just found it interesting and weird. But overall the project wasn’t conceptually driven; it was more of a technical undertaking- I feel that is important to note.

 

 

Photo contribution by Laina Brown

 

 

LK: Talk to me about that image with dark background [I point to a striking print of one of her photographs hung on her studio wall]

 

MR: I really love that shot. I think it’s one of my favorites I’ve ever shot. It my friend Jade; she’s just so stunning. It was my first aesthetic push into this abyss-like exploration of darkness with fiber paper. Fiber paper takes on black so nicely…

 

[Rae looks at the print and thinks about something for a few moments]

 

 

…A lot of the film cameras and the film I’m using are discontinued or they are really expensive to use which is so sad. But anyways- with the Fiber paper I was using, you get a really nice rich and deep black space. And I became very attracted to that and it sort of inspired a wider series which was essentially the solo show I had at the GOSA Gallery in March. I became very interested in looking deeper into sensuality and vulnerability in this abyss-like space, which for me started out as this place of extreme pain and grief but then the more I explored that space, the more it became a place of strength, sensuality, and catharsis.

 

Photo contribution by Laina Brown 

 

 

LK: How do you see the increasingly obsolesce and cost associated with using the film camera in making work moving into the future?

 

 

MR: It makes me more methodical and slow. It’s become more precious to me. I am very careful about what I’m doing each time… well, unless I feel spontaneous. Digital cameras do still not exhilarate me, although I do play digitally with my scanned negatives sometimes. I really enjoy the physicality, and getting your hands dirty in the darkroom is so important to me. And yes, it’s so expensive, but I like the slower process. There’s no way around it being an expensive thing. I try to get everything I can out it. The negatives I made out of the Polaroids are one way I do this. I take my time to bleach the backs and make them, and that’s something people for year and years never did, because there was an abundance of Polaroid film. I always keep all my backs and all my negatives. I try to document them the best I can. I look to people like Sally Mann, who did the wet plate collodion process which was from the 1800s and that was certainly a dead process. And she was able to find a way to get access to that equipment and do it. There are definitely ways around it.

 

 

Another reason I really enjoy working in the darkroom is getting to understand the chemistry behind what I do. I think there are always alternatives to getting things done yourself as well, if certain chemistry or film is unavailable. You can actually make things yourself. It’s not impossible. There’s a way you can actually create instant film yourself… There can be a cyclical nature to art forms too. Think about Gerhard Richter and painting. I don’t think mediums ever completely ‘die out’. I always find it funny when people say “it’s [photography] like a dead art.” They isn’t an abundance of artists really pushing experimental film photography right now, which is another reason that encourages me to work and still with it.

 

 

 

from Love is Wet series 

 

 

still from Wet Love performance video 9:48. Photo by Karen Asher

 

 

 

LK: Can you talk about you video you are making for the show ?

 

MR: The video I’m working on is a documented performance. It is the component to the Love is Wet series. Essentially, it will be a more tactile and visceral version of what is happening in the photographs. I will be performing alongside various other artists, and we will be kind of washing each other. Although washing has a lot of connotations- what I’m interested in is the fluidity of the water, the vulnerability and intimacy of the act. I want viewers to be able to see the photographs, then turn around and feel immersed in the almost methodical, ritualistic repetition of the video.

 

LK: What's one thing that this residency has allowed you to become as a creative?

 

 

MR: Cartae has been great on so many levels. Specifically for my creativity, being in constant discussion, having frequent studio visits, and regular dialogue with my amazing studio mates, has all kept my mind fresh and on the ball. I feel drive to create because there’s always a new visit coming up and I want to have something to show for it, you know? I want to push myself. I’ve been really trying to consider each process more carefully, keeping theory in mind, and why each process is important, or not important. hannah_g had some great advice at the very beginning of the year… if you’re stuck, just make anything. Just put something on a page. It’ll get your juices flowing. So I’ve been keeping that in mind and trying to produce a lot, and then refine.

 

 

Photo contribution by Laina Brown 

 

LK: What do you think people might misunderstand about your work?

 

MR: There is a lot people can misunderstand, I think with any work. However I do think because I use my own body in my work a lot, and bodies in general, I enter some very delicate spaces. Sharon Alward really stressed in her Performance course that as performance artists using our bodies, we must always be aware of what our bodies say, whether we want them to be saying it or not. As a white female, with no apparent physical disabilities, my body automatically is associated with certain connotations, and any actions I do may also have certain connotations. It’s just something I have to keep in mind and be sensitive to, also when I create work featuring any models. This being said, there will always be people who push meaning onto your work that is not there, even clearly not there. It’s unavoidable. All you can do is really be careful and particular about what your work is, and could be, saying.

 

 

LK: What's something you've been recently curious about?

 

MR: I’m heading to Europe in less than a month, so I’m very interested in what I can make there and get out of that experience. More specifically, I’m so excited to visit Versailles. I’ve been obsessed with Marie Antoinette and that place my whole life- not sure why. Maybe I had a past life there? I just find that history fascinating- so much overindulgence and stimulation, constantly. How does anyone get used to that much constant stimulation of their senses?

 

LK: If you had a life motto what would it be?

 

 

MR: Oh my… all these lyrics are rushing into my head. Maybe ‘If you can’t handle the heat, stay in the kitchen anyway and get used to it’? Haha… I just came up with that now.

 

 

Photo contribution by Laina Brown