All paths lead to the piano room. The tape converges onto keys that play the E major chord – the unending final note of The Beatles A Day In The Life (and the Apple computer boot-up chime: very subtle, Steve Jobbs). Thanks to David for his piano playing in the video.

This is my first project from Sculpture 318 – the next level of site specific installation with Liz Magor in Spring Term of ’09.

My chosen site is know to Emily Carr students and staff as the “piano room.” It is actually a seminar room in the north building that houses a dilapidated old stand-up piano for no apparent reason than storage.

I taped it to a corner in the room with 6 rolls of duct tape, looking for the moment when the piano disappears.

These projects are from Sculpture 218: Site Specific/Installation, with Liz Magor from the Fall 2008 term.� Every Emily Carr student should have to take a course with Liz – her reputation as an artist and an instructor precedes her.� She is very knowledgeable and says what needs to be said in plain language.� She has high expectations of her students and little time for “slacker art.”� If you have an open mind and tough skin, you will learn a great deal from her.

I am currently taking the next level course, Sculpture 318.� Below is an on going list of “Liz-isms” that she has provided in class:

NO MEANING MACHINES!
Work should be something, not about something
Every space has its genius
The best Liz hires the worst Liz – you have no boss
There is no neutral signifier
Ask – “what is the reason for this being in the world?”
Don’t play intellectual silly games
Consider how all parts relate
Intuition is our “well spring” – the more you learn, the more intuitive you are
Nothing should announce your work – it should speak for itself
Don’t leap to meaning
Don’t try to be a shaman
Look for a pleasure node that elicits excitement
Conditions are real, signifiers are not
Process should lead to inquiry
Most brains shut-down when they are being dictated to
Venture off into the scary zone
It’s better to be weird than not to work
Viewer participation should have a purpose
Work should observe structure vs. concept
Look for how the “unnoticed” affects the “seen”
Work through early projects – don’t abandon yourself
If you retain one thing, you have something to draw on – work comes out of a flow
Developing work takes 10 years, during which time you should expect to be vulnerable and unsupported
Stay open as long as possible without trying to control your ideas
Make work about life – the hot places