At the last In The Soil (2018), Silver Spire United Church was the main site for Rhizomes, a variety of installations / performances / interventions by a diversity of artists. This not only was a very mindful and effective adaptation of the spaces within the church / centre by respective artists, but even while being guided to one installation or another, the lovely interior of the church was, in itself, an enchanting environment. One of the artists whose work was installed in the Silver Spire was Tammy Jane Lepp: her piece fe·cund was arguably the most seductive work in Rhizomes. This was something that insinuated you on several sensual levels (while talking to Tammy, in front of the work, I often “unzipped” the “casing” it was in, to put my face forward and breathe it in, for example).
This wasn’t the first time I’d encountered Lepps‘ work: at the previous In The Soil (2017), she, Joanne Ring, Kelsey Cheslock and Lisa Renee McKenzie had collaborated on an immersive installation in the side event space at Mahtay. Alternately seductive and playful while also somewhat corporeal and unsettling, Sojourn of Spectaculous Wunderkle Things had fluorescent components, found and hand made elements, and yet allowed for performers during ITS to take the stage and respond and modify the space with their own music / audio contributions. Personally, despite your intrepid #artcriticfromhell’s being “full of high sentence, but a bit obtuse; at times, indeed, almost ridiculous— almost, at times, the Fool” (whoops, sorry, a bit of Prufrock there), I must also confess to being a fan of the Cthulhu Mythos (more so what others have done with it than Lovecraft himself). Thus, this installation appealed to me both in a positive recreation / reinterpretation of an immersive ecological space (I may or may not have been napping in one of the “alcoves” as ITS 2017 was intense) but also had an edge. This manifested at night, where the unearthly glow of the works fully “came to life” (reanimated, ahem, you might say).
Now, this was four artists (McKenzie’s work in ITS 2018 was something I hope you had the chance to encounter, as well), and collaboration is a compromise and a conversation (I have been known to say I only collaborate well when I’m in charge, ahem). However, when sitting cross legged inside the “greenhouse” of clear plastic and vinyl, filled with a variety of earthy elements that seemed to more so fill the confined space with scent than a physical occupation, this sense of evocation of emotion and concept returned to me.
Lepp’s sculpture, installations and wearable artworks have an organic quality that’s an essential aspect of her creative process. She employs an intuitive approach to her imaginative and eerie works, preferring to allow pieces to evolve, collaboratively with the materials themselves, rather than having a defined plan as to the final outcome. Her works are emotionally evocative, and this originates in her process, which is often raw and unchallenged by any “finished” agenda. This experiential, responsive methodology manifests in pieces (like fe·cund), that are more sensual than didactic, more about the physicality of the piece, and the corporeal nature of its creation. A poet as well as an artist, Lepp’s own words encapsulate the experience of her visual work: transformation, birth and rebirth, growth, metamorphosis and an abundance – perhaps an excess – of sensual cues.
A multidisciplinary artist and teacher based in St. Catharines, ON, Tammy Jane Lepp has exhibited extensively in the Niagara region since her graduation from the Art Centre of Central Technical School (Toronto).
One of the reasons I enjoy very much doing these ongoing artist features is that it facilitates my interest in what many artists are doing (this echoes in my hosting the Rodman Hall 5 x 2 Image Makers Conversation. Your intrepid #artcriticfromhell is nosy, always wanting to know what artists are making / creating). I’ve spoken with Lepp on numerous occasions (in fact, at ITS 2018, we may, ahem, have held up the line at Rhizome and I was so excited and enamoured of fe·cund that we had an animated conversation about it, with (the aforementioned) many delays of me unzipping the “greenhouse” and breathing deeply and with great satisfaction.
All images courtesy the artist, and you can visit Lepp’s site here.
Bart Gazzola (also known as #artcriticfromhell) is an arts writer/critic who has published with Magenta Magazine, Canadian Art, New Art Gazette, Galleries West, PrairieSeen, Long Exposure and BlackFlash (where he was Editorial Chair for 3 years). He is Assistant Editor at thesound.rocks and a frequent contributor to various cultural spaces in Niagara.