The coffeeshop is closed and Main & Station’s secondhand bookshop is not keeping regular hours during the pandemic. To make an appointment to visit the bookshop or to inquire about our titles, email firstname.lastname@example.org.
We do still accept applications for art residencies but if you are coming from out of province there is currently a 2-week self-isolation requirement.
NONESUCH ART RESIDENCIES
Perhaps travel cannot prevent bigotry, but by demonstrating that all peoples cry, laugh, eat, worry, and die, it can introduce the idea that if we try and understand each other, we may even become friends. -Maya Angelou, poet (1928-2014)
Applications to the Nonesuch Residency program are accepted on a rolling basis and we offer self-directed residencies year round.
The Nonesuch mission is to have fun and to encourage artistic activity, interdisciplinary collaboration, and community involvement.
Travel can be quite a stimulus to ideas and creativity. The residency program allows participants the opportunity to work creatively in one or more new environments. Support to the community is via arts programming, seminars, collaborations, small venue presentations, and partnerships.
Andrew Godsalve is an artist and wildlife technician based in Hinton, Alberta. Hinton is a small town in the foothills of the Rocky Mountains, along the Athabasca River. There Andrew was raised in a family studying wildlife biology. His mother Beth MacCallum runs Bighorn Wildlife Technologies, a small private consulting company that works primarily with the coal mining industry in the Hinton area. They do wildlife surveys on and around open-pit coal mines, making recommendations for how the industry can mitigate their impacts on the wildlife. As a Wildlife Technician, Andrew has learned to read the landscape as to observe the animals and how they inhabit it. This upbringing has had a profound effect on his artistic interests.
Andrew graduated with a BFA from the University of Victoria where he developed a practice of photomontage based on geologic forms and processes. He then took his “geo-photomontage” practice to residencies in Banff, Iceland and the Bay of Fundy, developing projects specific to the particular geologic histories of these regions.
A recent graduate of the MFA program at NSCAD University, Andrew is pleased to be back in Nova Scotia for back-to-back residencies along the Bay of Fundy.
He has just completed his arts residency through the Joggins Fossil Institute’s ArtScape Artist-in-Residence program where he has been working on “Camera Sigillaria”, a project tracing the geo-histories of Cumberland County and now from 1-14 November he will continue the work in Parrsboro through the Main & Station Nonesuch residency program. During this time Andrew will also teach an Artistic Geo-photography Workshop, lead a Geo-montage Walking Tour, and have an exhibition of his photographs. See below for details.
This outdoor walking workshop is about the joy of photographing rocks, sand, fossils and other geological formations, led by an artist interested in the science of geology.
While walking the beach at East Bay, participants will engage with earthen textures and histories through the artistic use of the lens. We will learn about shooting landscapes and small pebbles, and we will create photo- abstractions that blur the boundaries between things large and tiny.
I am an artist captivated with the idea of geodiversity – the idea that our geologic earth is a collage of difference. Each land is unique, an ever-changing and non-repeatable fabric of different minerals, animals, plants and theories. I work with the understanding that there is no such thing as a timeless landscape – rather each landscape is time-rich: if fossils can be seen as photographs, then broader terrains can be read as photo albums, whose contents are being continually revised. Every land is a shifting multitude, rife with slices of different pasts, present-times and potential futures embedded within it.
Photo credit: Alicial Hunt
Through my work I seek to ask: What happens when we make landscape photography play by geology’s rules? How do our ideas about space, time and environment change when this question is posed? The past times of Earth are unpredictable, and much can be learned by listening to its layered stories.
WHEN: SATURDAY & SUNDAY, 7 & 8 November 2020 from 10 am – Noon
WHERE: the beach at East Bay; participants will meet at the Partridge Island Beach parking lot adjacent to Ottawa House shortly before 10am.
COST: $25 / person. No charge for children under 12 who are accompanied by an adult.
REGISTRATION: To register, please email email@example.com or call 514-979-3978.
The four main objectives of this workshop are as follows. First, to show how geological photography can be a fascinating journey between shooting landscapes, abstractions and very small things. Second, to encourage participants to approach geological science through an artistic lens, showing how an aesthetic interest can foster a curiosity about the earth processes that brought these features into being. Third, to allow participants to grow their confidence in using a camera in an inclusive environment of mutual learning. Fourth, to show participants an enjoyable and rewarding way of engaging with the natural world, embracing the slowness of geological creation.
The workshop is open to all skill levels of photography, and all levels of familiarity with geological concepts. Learning will happen on a basis of mutual respect and inclusiveness as we share our different techniques, theories and ideas.
Participants will be expected to bring their own cameras to use during the workshop. There are no requirements as to the type of camera to be used, so long as the participant is excited about taking photographs with it. Participants should be prepared to move slowly along a rocky beach for 2 hours. It is advised that participants wear weather-appropriate clothing as well as sturdy footwear appropriate for navigating uneven terrain.
Participants will meet at the Partridge Island Beach Parking lot adjacent to Ottawa House shortly before 10am.
BLACK DOG & ONE-EYED PRESS is currently seeking submissions of up to five poems. We anticipate the 2021 print publication of a book of paintings along with poems which speak to or in some way reflect upon the state of the world in 2020 and the ways in which we, as individuals and as societies, have responded, and/or how we might imagine going forward.
Format: Send your submission as a single PAGES or WORD file. If formatting is important, please also include a PDF.
Simultaneous submissions: Please note if your submission is a simultaneous submission and let us know if it is accepted elsewhere.
Confirmation: We aim to acknowledge receipt of all submissions within 1 – 3 weeks. If you have not heard from us after three weeks, please email firstname.lastname@example.org.
Publication: Poets whose work is selected will be notified by 15 March 2021.
Copyright: Black Dog & One-Eyed Press holds first serial rights for material that we publish. The copyright automatically reverts to the author upon publication. We ask that Black Dog & One-Eyed Press be acknowledged in any subsequent publication of the work. It is ok to submit previously published poems so long as the author holds the copyright. If the work has been previously published, please list where and when it was published.