Meet field school blogger James, pictured here enjoying the many antiquities of London’s art museums

Location | Venice: Meet Field School Blogger James Weis

July 04, 2019

Tell us a little bit about yourself—your background, major program of study, reasons for taking this trip, and anything else interesting you want to share (maybe something people might not know about you).

My name is James Weis and I am currently part of the Fine Arts program at KPU. I'm nearing the end of my BFA and I thought this would be an unforgettable experience that would help push my practice forward as well as inspire me for future projects. I haven’t travelled much prior to this trip so I was just really excited for the change of scenery and it has also always been a dream of mine to go to London and Venice. I am very inspired and easily captivated by classical art, especially sculpture. I have always been influenced by and been interested in Greek mythology/mythology in general and I find that these things always find a way into my own work, so seeing all of the paintings and sculptures so far has been a very nostalgic dream come true for me. I mainly work digitally now but I am also very passionate about sculpture/ceramics and I still enjoy working traditionally, mainly with watercolours and ink.

What has met or exceeded your expectations or surprised you about London (or Venice) so far?

James, second from left, is nearing the end of his BFA program and is shown here visiting one the many small galleries in London’s Shoreditch neighbourhood.

London exceeded my expectations just by the sheer amount of events available to attend every day. I was also surprised by how interesting and unique every building/neighbourhood was as every corner I took was something new and interesting to visit/look at. I didn't think that I would adjust to London as fast as I did, but it was actually really easy for me to navigate the transit system as well as just plan a full day of activities on my free days including orchestras, plays, street tours and gallery visits. Venice is definitely a different environment entirely, but it’s really exciting to see all of the architecture and attempt to navigate the labyrinth of alleyways. Each island that I’ve visited has been a unique experience and it’s interesting to see what’s going on at different times of the day. For example, my friend Leah and I were sitting on a dock and saw a group of students sailing small boats as part of their class which left me a bit jealous I didn’t do that in school. I was also excited for all of the sculpture and cathedrals which definitely did not disappoint. After this trip, I definitely want to go back to London and explore the places I didn’t get the chance to as I can see myself spending endless hours in their galleries and just absorbing all of the culture available there.

Give us some insight into your assigned artwork from the Tate Modern. After seeing the work in person in London (and any other related art from the same artist or art movement associated with the assigned work), what struck you most about it and/or how did the artwork’s form, content, and context shift for you when seeing it.

My assigned piece at the Tate Modern was Nan Goldin’s Jimmy Paulette & Misty in a Taxi, NYC (1991). My experience of the piece did not shift for me at the Tate Modern as much as it did for my assigned piece at the Tate Britain. Being that it was a photograph I didn’t feel that I was missing that much information, other than its quality, size and the surrounding images by the same artist. It was better to see it next to Goldin’s other work as they all worked well together. At the Tate Britain, Deanna Petherbridge’s ink painting The Destruction of the City of Homs (2016) was very large and included details where her hand was more visible in the piece up close as those details were lost in the photograph of it. As for Goldin’s piece, for me personally, I think I got most of the information I needed seeing the image even as a photocopy as its original medium is a photograph anyway.

James seeing one of his assigned art works, Deanna Petherbridge’s ink painting The Destruction of the City of Homs (2016), at the Tate Britain.

How did you approach the creative task of responding to your assigned artists in studio? What were your challenges as an artist to be in dialogue with the artwork and artist? Would you do anything differently now that you have seen the work in person?

When it came to my studio projects and being in conversation with my assigned artists (see James’ two art works below) I was interested in the process behind both artists and I mainly focused on adopting certain aspects of their process that resulted in the work I was assigned. It was challenging for me to work with photography as I’m not a photographer and I think that certain aspects may have been missing from my work as I was working with a different medium, but it was an interesting challenge nonetheless. If I would've had the time to I think I would have enjoyed working with actual ink on a large canvas as a way of connecting more with Deanna Petherbridge’s process. The amount of detail and evidence of work put into Petherbridge’s piece that can only be seen in person was really inspiring for me and I think I would have gone deeper into the amount of detail put into my own work.

Today’s activity was located at the Venice Biennale. What were your impressions? What will you take away of the experiences of this day? What are the most memorable moments for you?

Today I went to the Arsenale and also returned to the Giardini to compare the two works created by artist Dominique Gonzalez-Foerster for the Biennale. I was thoroughly fascinated by the Arsenale and found many of the works at the Giardini to complement the main pieces well. I've never been so captivated by such an abundance of artwork so it was slightly overwhelming for me. Gonzalez-Foerster's work was an interactive virtual reality piece and It was a very inspirational experience for me as I've worked with virtual reality tools for previous projects and never thought I’d see a VR headset in a gallery. It was interesting to see their work at the Giardini and how it contrasted their virtual reality piece as it was a physical display as opposed to virtual and worked with a similar theme. I think the most memorable experience of this day for me was just the feeling I got from seeing all of the work and the burst of motivation I had to start working on my own project. It was really important for me to see the new forms of media being placed in an exhibition, especially something as big as the Biennale is, so that’s something I will definitely take with me from the day. After the Giardini, I wandered the streets with my friend Leah and we spent some time working on our journals, freaking out over a pool full of turtles, and ended the day with a picnic by the ocean where we relaxed and watched one of the many beautiful sunsets we were able to appreciate in Venice.

To see more photos and impressions of London and Venice as the field school continues, check out our Instagram feed and follow us at #kpulondonvenice

Meet field school blogger Zoe, examining political street art works (here, outside the Hong Kong pavilion) that make up an important component of the Venice Biennale events city-wide.

Location | Venice: Meet Field School Blogger Zoe Leung

July 03, 2019

Tell us a little bit about yourself – your background, major program of study, reasons for taking this trip, and anything else interesting you want to share (maybe something people might not know about you).

My name is Zoe Leung and I am a Hong Kong-Canadian artist and activist of Cantonese descent whose practice lies in sculpture, installation, painting, and ceramics. I have been an artistic and musical person since I can remember, taking art and music lessons, composing my own music, and painting and drawing since the age of four. The London and Venice field school is my second field school to date, with my first being the Paris and Documenta field school two years ago. I took this trip because of the chance to go to London, a place I had heard great things about but never gone before, and the opportunity of a lifetime to join other students like me on a trip to the famed Venice Biennale. These are both places with incredible art, culture and history, and with very substantial roles in both past and present of art. With the little prior knowledge I have about art in London and Venice, I knew that there are very important lessons to be learned in these places, and thus I had to grab this chance to keep learning as much as I possibly can.

Zoe, far right, is an artist and activist pursuing her BFA at KPU. She is also very well traveled and has been on a previous Fine Arts field school to Paris and Documenta in 2017.

What has met or exceeded your expectations or surprised you about Venice so far?

Venice has absolutely exceeded my expectations regarding contemporary, Renaissance, modern, and so many other kinds of art. Not only in art, but in culture, food, environment, and lifestyle. This being my second time in Venice, the first time being six years ago, this time around I was able to skip the famed tourist sites and focus on the Venice Biennale and all the other art events that gather here at this time. I expected the art to be very conceptual and open-ended, but the amount of political art and hard-hitting questions posed by the artists and the national pavilions surprised me. I did not expect the art to be as unapologetic as it was. Although some art was perhaps purely formal or conceptual, the theme May You Live In Interesting Times was certainly very well met and explored. The culture, food, environment, and lifestyle of course, I am very appreciative of. Although as an Italian local I may not feel the same way, but as a foreigner, I am very happy to be here and feel very privileged to be catered to in such a tourism forward economy and city. The delicious food, wonderful slow-living, relaxed culture, scenic environment, and relaxed, summery lifestyle are all very aligned to my personality.

My assigned artwork is Ishi’s Light (2003) by Anish Kapoor. It is described as womb-like cocoon, with a dark blood-red interior and an egg shell-like exterior. Its highly glossy and reflective inside surface produces a column of light at its centre which is regarded as a physical object in itself, a part of the sculpture rather than just on the surface. What struck me the most about this piece of work when seeing it in real life was its utter size. Ishi’s Light is about twice the height of an average person, and requires two to three people to wrap their arms around it. The form and content was definitely more expansive in the way that it took up more space both physically and metaphorically. It had a larger presence that one could imagine, being only in one corner of a nearly empty room with only one other work hanging on the wall by Elsworth Kelly, but Kapoor’s work commanded the space in a domineering way.

I tried to respond to my assigned artists in studio through the concepts that they were working with, as well as through the content. In terms of Kapoor, I tried to work with reflective surfaces, and the physicality of the materials that were used in his artwork as well as the tangible quality of its physical presence. For Mark Rothko (I was assigned the Rothko room at the Tate), my global assigned artist, I tried to work in regards to the physicality of his methods and his paintings, and how they aimed to evoke physical and emotional responses from the viewer. A challenge was the scale at which my artists worked, which was quite large and a proper response to their works would be ambitious for the amount of time that we were given during the semester. In order to produce the physical, tangible responses that I wanted from my viewers, there had to be a scale. When trying to make the work on a smaller scale, I came across the obstacle of not producing a work large enough to get my message across. Having seen the sheer size and scale of both Rothko and Kapoor’s works, I can now definitely see how important size is to these works and how they would be affected if they were any less dominating in their space (see Zoe’s art works in juxtaposition to Kapoor and Rothko below).

Today’s activity was a free day in Venice. What were your impressions? What will you take away of the experiences of this day? What are the most memorable moments for you?

Today was meant to be the day where we went to see the Arsenale portion of the Biennale, but unfortunately it was closed due to it being a Monday, so it was deemed a free day. As a group, we travelled instead to the Rialto Bridge and explored the area. Unfortunately, the Rialto market was much too touristy for my taste and didn’t have too many locals. I did, however, find one fresh produce stand which was bustling with the local residents where I bought some delicious strawberries which I ate right then and there. I also picked up some risotto and Parmigiano Reggiano for the trip home. For lunch, I enjoyed a delicious plate of squid ink spaghetti, which had extremely soft pieces of squid in it. After cruising around on the wrong vaporetto boat for thirty minutes trying to find the beach, I returned to Rialto where I bought a gorgeous hand made Venetian mask. I sure did get to see the more touristy, typically Venetian part of the city, with its Murano glass and mask shops, as well as stalls filled with souvenirs of all kinds. Although I didn’t get to go to the beach today, nor did I get to visit the Arsenale, walking around the main island and getting lost in Venice was something I will remember for the rest of my life.

Zoe and the group enjoying a sunset group dinner in Venice.

To see more photos and impressions of London and Venice as the field school continues, check out our Instagram feed and follow us at #kpulondonvenice

Meet field school blogger Meg, an avid photographer and artist with a focus on illustration and, more recently, digital art.

Location | Venice: Meet Field School Blogger Meg Minett

June 29, 2019

My name is Meg Minett, and I’ll be going into my 3rd year of Fine Arts this fall. I’ve always been interested in art and photography, and I’ve been drawing for as long as I could hold a pencil and my father taught me photography at a young age. My main interest is in illustration and lately I’ve been experimenting with digital art as well. I hadn’t planned on majoring in Fine Arts; the plan was to become an English teacher and do my art on the side as a hobby. However, the more fine arts courses I took, the less interested I became in my English and history classes. I decided to switch my area of study and I’ve been happier ever since. As an only child there are certain expectations that I’m expected to live up to, especially being the only artist. I think that my family was a little weary that I’d be a starving artist for the rest of my life.

Meg, pictured right, enjoying the sites and sounds of Venice with CIska (left).

The plan is to hopefully finish my last year at NSCAD in Halifax, and eventually I’d like to have a bachelor's degree in both Fine Arts and Art History. I decided on Halifax because the beauty of the east coast has always struck me, and honestly I just cannot afford to live in British Columbia anymore. Here’s hoping I survive east coast winters! The endgame scenario is to open a space for artists to use as an open studio, as well as offer life drawing lessons and various workshops for all skill levels. Art has always been a form of escape for me, so I want to open a welcoming space where others could come and escape into their own worlds as well, but without secluding themselves from other people. I wanted to come on this trip because when I was in Europe last I didn’t have the knowledge or appreciation for art or architecture that I have now. I’ve always loved travelling and have been itching to get out of Canada for a while. I’m in a place in my life right now where I’m able to travel, and I knew I’d regret not going; especially with a group of people who are studying and interested in some of the same things that I am.

What has met or exceeded your expectations or surprised you about London or Venice so far?

Venice has surprised me in ways that I’m not sure how to articulate. Growing up you hear about and see pictures of Italy and Venice, but it had never felt real to me, it felt like a fairytale that one would tell to their kids. I honestly never thought that I would ever get to Venice, or Europe for that matter. Everything here has exceeded my expectations in the best way possible. Venice is beyond beautiful, but I wasn’t prepared for the heat or humidity. I’m the type of person who doesn’t do well in extreme temperatures of any kind, and I’ve found myself drained more than anything else. I’m seriously longing for the clouds and rain that we left behind in London. If I were to ever come back to Italy, it would definitely be in the colder seasons. I really feel like I’m not able to really appreciate my surroundings because all I can think of is when I’ll be in an air conditioned building again. However, sitting next to the ocean and watching the sunset almost every night here has given me such an appreciation for life. The food has also been a massive upgrade from London, and the pizza is to die for. I did also have the chance to go to Lido beach, and I actually swam in the ocean for the first time since I was a small kid. Italy is beautiful, and I can’t wait to come back to see Rome and the quiet countryside.

My assigned work was Valie Export’s Action Pants: Genital Panic (1969). An Austrian artist, Export has worked to create pieces and performances that speak to her own identity as a woman. Genital Panic: Action Pants was originally a performance that had Export strutting around a cinema in crotchless pants. Export had no intention for her work to be in an art gallery, and the six photographs hanging in the Tate Modern are just a product of that performance. What struck me most about seeing them in person was how small the photographs are. I missed them twice while searching the gallery. I noticed many people passing them by without a second glance as well, which was disappointing because they are magnificent photographs. The context for me didn’t really shift at all, but I did gain a greater appreciation for the artist and the work. It was honestly surreal to see the photographs in person, especially with the knowledge that she never intended for them to be placed in a gallery. What struck me most was the detail that I was able to make out, much easier than looking at them on a screen; and just seeing her expression up close was much more impactful.

Valie Export, Genital Panic (1969) — Valie Export, *Genital Panic* (1969)

Meg looking at another of her assigned artists at Tate Britain— Dawn Mellor’s Police Constable Kate McFay (Maxine Peake) (2016) — Meg looking at another of her assigned artists at Tate Britain— Dawn Mellor’s *Police Constable Kate McFay (Maxine Peake)* (2016)

I approached this task in the way that I wanted to be in line with Export’s in-your-face style. When she did Genital Panic she walked among the audience with her crotch face-level to people. I wanted to emulate this by hanging my paintings face level with my audience, keeping in mind the height differences of my classmates by staggering the height of the pieces (see Meg’s two art projects below in dialogue with Mellor and Export). The main challenge I faced was making work that lived up to Export’s. As an artist I’ve always struggled with the question of ‘Am I good enough?’. I was especially nervous making a work that responded to a global artist who is recognized across the world. I think I hit the nail on women's rights and identity that Export is so expressive about. If I were to do it differently now that I’ve seen the works in person, I’d make 6 pieces instead of only 3, and I would have dropped my more illustrative style in favour for a realist approach. I’ve often annoyed my profs with my paintings, as I’ve always preferred illustrations rather than realism and classical painting. This often surprises people because I’m not quiet when it comes to my love of classical and traditional works; I just find illustrations more visually interesting to paint. Looking back this didn’t really work with this assignment, and my work felt out of place in comparison to Export. I wish I had done something with photography as it would have worked better if I had experimented with film, but it’s something to keep in mind for the future.

Today’s activity was located at the Venice Biennale (Arsenale and Giardini venues). What were your impressions? What will you take away of the experiences of this day? What are the most memorable moments for you?

Today’s activity was located at the Venice Biennale at the Arsenale and Giardini. My first and immediate reaction was that I was way out of my element. A lot of the works that I saw I had no idea what to make of. I’m not a fan of contemporary art, something that I’ve never hidden and I’m not ashamed of. There were a lot of photographs and paintings that I did love, but the majority had me scratching my head. This really made me question myself as an artist again, because if I’m not able to understand these works, then what am I doing in this industry? I can appreciate contemporary art and performances for what they are, but it’s never been my main focus, even though a lot of my own work could be considered contemporary. The experiences that I’m going to take away from this day is that I’m going to start looking into and taking contemporary art far more seriously. It made me understand that this is the direction that the art world is going, and if I want to make a name for myself in this industry, I’ve got to catch up and get with the program. My own work doesn’t have to be as out there as a lot of what I’ve seen, and even though painting is coming back, if I don’t make an effort to understand and appreciate these works more I’m never going to get anywhere. My own aspirations don’t revolve around my work being showcased in galleries; that’s never been my goal as an artist. I’m much more focused on helping people find their own way as artists, but if I have people working around me who are interested and working as contemporary artists I’d like to be able to have educated conversations with them about it. This show has lit a fire in me, and I’m excited to see where it takes me in the future. The most memorable moment for me in this show was seeing the piece that was chosen for me. Jon Rafman’s Dream Journal was by far the most wild and out of the box work that I experienced at this show. It was like the artist had taken far too much acid before sitting at this computer, and honestly at first I hated it. I was so confused as to why I was assigned this artist as it’s so out of the realm of my own practice. Now I understand that this work has made me think more on what art can me, and I appreciate this piece for opening my eyes to the possibilities.

To see more photos and impressions of London and Venice as the field school continues, check out our Instagram feed and follow us at #kpulondonvenice

Meet field school blogger Allison, posing here with a work of protest art in the streets of Venice, revealing some of the tensions around the format and legacy of the Venice Biennale.

Location | Venice: Meet Field School Blogger Allison Hyslop

June 28, 2019

My name is Allison Hyslop and I am a second-year fine arts student at KPU. Growing up my parents always encouraged creativity in our home, giving me ample outlets to let my creativity flow. My Dad has also always been quite an artistic and creative person, so it definitely helped to have an artist in the house to help push me as well. As a kid, I was always creating things whether it was drawings, painting, or letting my imagination roam free. I was, fortunately, able to have the opportunity to dabble in multiple areas of creative output like fine arts, dance, music, fashion etc. As I got older, I always tended to gravitate towards the fine arts end of things, always wanting to paint, draw, or sculpt. As I transitioned I to my senior year of high school the counsellors were able to pull some strings for me so I could focus more on my artwork. This was the year where I truly felt like I could make art a bigger part of my life and as university application windows came around, I knew I wanted to be in fine arts. As I’ve slowly worked through different aspects of the BFA Program, I’ve so far gravitated towards painting and sculpting the most but there is still so much more for me to explore. Once I heard about this field school, I knew immediately it was an experience I wanted to have to help me explore my practice and all of the possibilities. The Professors are always telling us how magnificent the works we study in art history are in person and since my first art history course, I've wanted to travel and experience the works in person.

Allison, kneeling in front left with the group at San Marco Square in Venice, is a second year Fine Arts student pursuing her BFA at KPU.

What has met or exceeded your expectations or surprised you about London or Venice so far?

London was absolutely incredible. The architecture gave a sense of how old the area truly is, especially compared to home. There were so many similarities, it honestly felt a bit like parts of Vancouver, but with a bit of extra flair. Getting around the city was quite simple which I enjoyed. They have a far superior transit system to back home I must say. The abundance of artwork and the appreciation of it is so incredible. It felt like such a luxury to be able to walk into all of the galleries and museums and not have to pay anything. I wonder if they know how good they have it. I would highly consider going back just to enjoy the artwork more. Venice, on the other hand, is like a whole different world. Every turn is like looking back in time. The architectural history is so prevalent and enriching. I’m amazed at just how fast the environment can change in Venice. Just by wandering through alleyways and side street, you’re enveloped in a whole other realm of Italy where it is mostly locals. Venice, I feel, is one of those cities where you go for the art and stay for the environment. Even without doing anything particularly exciting, a day is well spent just by roaming around and enjoying the views. Every turn is a new experience, filled with small shops and restaurants. The number of places with gelato is overwhelming but I would gladly try them all. Having a bad time in Venice seems next to impossible with all the gorgeous views and amazing architecture.

Walter Leblanc, Torsions, CO 459 (1974) — Walter Leblanc, *Torsions, CO 459* (1974)

Seeing Torsions, CO 459 (1974) by Walter Leblanc in person changed how I viewed the piece completely. Photographs do it no justice, the intricacy and aspects of human touch are revealed through viewing it in the gallery space. Aspects that are not captured in photo are revealed, things otherwise unseen or unknown if not personally seen. A piece, which at initial viewing from afar, seems so simple and easy to accomplish, actually took a fair bit of planning and work. Details like the supports between the purple backboard and the canvases being painted to match would never be seen if not physically there in front of it. Next to Torsion was Leblanc’s piece titled Twisted Strings, in which he attached string to canvas and then covered in latex based paint. The two pieces side by side reflects on the two different directions his work took, one black and white, reflective of the work done with the group Zero, and the other incorporating vibrant colour, more present in his work after his work with Zero. It highlights that although his palette has broadened, his main focus has always been the way his works play with light and perspective. The way that the light casts shadows based on its position to the piece changes the perceived depth and intricacy of the image.

Working in conversation with my assigned artists (Walter Leblanc and Tomma Abts— see Allison’s art projects below) was an interesting task as neither one had any given or intended meanings in their artworks, but rather focused more on their process of creation. As someone who has always worked with a more direct meaning and purpose to my work, it was a bit challenging to switch mindsets and not revert too much. Researching the works and history of each artist allowed me to see how their practices morphed with time and what their inspirations were. I took aspects of these creative pushes and tried to integrate them into my own work. I focused primarily on the use of materials in somewhat unusual ways, and after having the chance to see what my work stemmed from right in front of me, I’m more than pleased with the outcome I produced. I loved the idea of taking a construct of art (i.e. the use of canvas) and working in a way to break it whether that be destroying it or orientating it in an unusual manner.

Today’s activity was a free day to explore in Venice. What were your impressions? What will you take away of the experiences of this day? What are the most memorable moments for you?

Well, let’s just say today didn't go quite as planned. What was meant to be a day filled with art from the Venice Biennale (at the Arsenale) turned quickly into a free day to explore; the Arsenale is closed on Mondays…. I decided to use the day to explore the city some more and see what kinds of places I could discover. As a group, we went from the Arsenale entrance up to the Rialto Bridge. It had an absolutely breathtaking view of the canal, and the beautiful weather was a bonus. Once the group split, I spent the afternoon with Gen, roaming the streets of Venice. Along the way, there were so many amazing little shops full of clothing and accessorize. We stopped into this amazing gelato spot called Venchi (the dark chocolate and tiramisu flavours were incredible in case anyone gets the chance to go.) Overall, even though we didn’t get to see the Arsenale as planned, I still was able to have an amazing day gazing upon the streets of Venice and taking in its hidden beauties. I can’t wait to see what else this stunning city has in store for me to explore. It’s a truly inspiring place to be.

The group posing outside the Venice Biennale Giardini grounds (Allison is at center in the photo).

To see more photos and impressions of London and Venice as the field school continues, check out our Instagram feed and follow us at #kpulondonvenice

Meet field school blogger Leah, pictured here at the entrance to the Venice Biennale.

Location | Venice: Meet Field School Blogger Leah Rosehill

June 27, 2019

I am one of those quirky art students you might see in the hallways of KPU that have paint, clay, or other colourful splatters all over their clothing with a wild look of creativity in their eyes. My name is Leah Rosehill and I'm a ceramic student at Kwantlen, I have a passion for working with my hands and creating functional works that are decorated with illustrations and carvings related to nature and the world I see around me. Throughout my childhood I have had an obsession with creating things, ranging from sewing my own clothes, dolls and bed sheets, growing my own vegetables to crafting pottery. I have always wanted to make a business where I created objects that could be useful but also beautiful to others. I have been interested in being an interpreter of the visual spaces I immerse myself in, which is why I decided to go on this field school. I wanted to see contemporary and historic spaces for the arts that I have learned about for the past few years up close and personal. I get inspired by both architecture and nature and felt that putting myself in a completely new setting would send me in a different direction within my own art. Anyone who knows me knows that I am a free spirit, and as soon as I heard of a field school that took me to London and Venice with like-minded art students I jumped at the chance to make this adventure a part of my life journey.

Leah, pictured in center of image with Zoe, Victoria, Allison, and Celesta (clockwise), is a ceramic student in the Fine Arts program at KPU.

What has met or exceeded your expectations or surprised you about London (or Venice) so far?

London was Vancouver times a million. The culture shock wasn't bad at all, in fact I felt very confident and at home moving around and exploring the city. The vibe was similar to the busy hum of Vancouver covered with hipsters, business people and delicious ethnic foods, but the differences were much more obvious. The architecture was outstanding, getting a glimpse into the past with every step you took deeper into London. I climbed the seemingly thousands of steps at St. Pauls Cathedral, got wooed by the rib vaulted ceilings in a cathedral in Bristol, became lovingly fond of the brick fortress that is St. Pancras International Hotel, and fell for the twisting cobblestones that led you to the late 19th century tower bridge right down the road from the magnificent modern mammoth that is Tate Modern. As soon as I landed in Italy that amazement that I felt in London tripled and I became enchanted. Venice is something that needs to be experienced, one can not simply understand the force of this city by hearing about it or seeing paintings or pictures of it in a gallery. The warmth surrounds you like a hug as you walk the ancient cobblestones next to couples enjoying a romantic ride on a gondola in a turquoise canal. The water glistens against the strong glow of a hazy sun and historic buildings trace the island in a maze of peeling pastels and beautifully crumbling bricks. What has surprised me about Venice so far is one, that it feels utterly un-real being in such a place, and two, that it is such a tourist town that I can’t tell if I have met a local yet. Everywhere I go people speak English, and when I go to a restaurant I hear at least five different languages throughout dinner. I can definitely feel the tension and resentment around the tourist industry here, it makes me feel fortunate to be able to see this place before either the water drowns it or the tourists do.

Leah (crouched in centre of photo) and the group outside the Venice Biennale Arsenale grounds.

My assigned artist was The Guerrilla Girls, and they are a feminist propaganda and social/political activist collective based in New York City. Their work focused on bringing to attention the discrimination and marginalization against women in the art world, as well as commenting on political and social movements. The work I was assigned was Guerrilla Girls’ Definition of A Hypocrite (1990) that hung up in the Tate Modern along with seven other of their images in a collection talking about feminism. It was a piece that outlined the definition of a hypocrite as “an art collector who buys white male art at benefits for liberal causes, but never buys art by women or people of colour” in the style of a dictionary definition. The work looks like a political poster you would see on the street posted to the side of a building, not hung up in a frame on a gallery wall. It felt out of context and therefore not being shown with the original intended of the artist. It was strange to see these images put up as if they were something to consume, a commodity or something to showcase because It was made to make a statement on the streets or on the door of an institution out of protest. I really liked the way that the Guerrilla Girls pinpoint issues and point out sensitive topics blatantly with statistics, witnessing their work in the flesh was really inspiring as someone passionate about social justice and women’s rights.

Today’s activity was a visit to the Venice Biennale. What were your impressions? What will you take away of the experiences of this day? What are the most memorable moments for you?

Today was our first day exploring the Venice Biennale. It was hot and overwhelming, a perfect day for three gelato breaks, several prosecco detours in between visiting pavilions and of course viewing world class contemporary art. We started out at the Canadian pavilion that showed video installations focused on Inuit life in Nunavut. It highlighted the day to day impact that displacement has had on the indigenous peoples of Canada. Going into that pavilion as a Canadian gave me no sense of patriotism, instead watching the videos made me feel shame about the dark past of Canada’s history. But the fact that it touched on such sensitive subject matter really made me like the work because it created the space for the conversation about reconciliation and what that actually means as a nation.

After Canada, the group separated and I visited each pavilion one by one. Shonel, James and I walked all over the Biennale grounds spending seven and a half hours completely immersing ourselves in the art. My favorite pavilion was Israel, the whole building was turned into a mock hospital setting that was interactive including a sound proof room where you learn how to produce a controlled scream to reduce stress and several videos depicting social and political horrors that caused major trauma to Israelites and immigrants. The video about child abduction from Israeli hospitals made such an emotional impact on me, I sat in the chair after watching the video and just thought for a minute about how fortunate and privileged I really am. It was a profound moment for me during this trip and something that I don’t think I will ever forget. After leaving the Biennale the three of us turned off our phones and got lost in Venice. We walked the streets and just absorbed the culture and luxurious atmosphere. Dinner was also when I learned that water will cost you five euros, where a large glass of prosecco will cost you less than three euros. Never making that mistake again! All in all, Venice has charmed me and I never want to leave this magical island. Eventually I’ll have to though, that’s where making art about this journey will come in handy.

Venice, the magical city, that Leah argues must truly be experienced to be understood.

To see more photos and impressions of London and Venice as the field school continues, check out our Instagram feed and follow us at #kpulondonvenice