#and i was like. no way cuz shes inescapable so how did it escape me?? i didnt hear anything | Explore Tumblr Posts and Blogs

swearyshera · 1 year

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Reliving this is a trip. I was an interesting feeling the first time thru, and I'm not saying that to humorously downplay a horrific situation. It drew out a little bit of sympathy for Catra I really thought I'd used up by that point, if only cuz what Prime does is really that vile. That's super unusual for me. I went in rooting for Adora to take back someone she cared about, not necessarily cuz it was Catra specifically if you know what I mean, but this got me to want Catra rescued weirdly well. I almost never feel for villains at their nadir like this.

Twisted how empathetic paragon heroes like Adora are among my most treasured characters in fiction, yet I suck at extending the same sympathy they can. You're supposed to see characters like Catra (or Azula or Bakugou or whoever you please) going thru awful things as flawed people with interior lives and subject to exterior circumstances that the heroes are kind/strong/savvy enough to see and incorporate into their responses and my knee jerk is still "fuck off with the pity party, get to the atonement." Or in a lot of cases to laugh while they're down. I always sabotage myself by seeing the author making horrible things happen to the rival/villains, and contrasting them with worse villains, as a cynical tactic to get me and the heroes to sympathize before they've started changing for the better.

It helped that Catra already saved Glimmer at her own peril, and Adora already would've saved Catra no matter what, but still. This is a big reason why villain mind control is one of my least fave tropes. Manipulation and coercion are all good because meaningful agency and responsibility are still there even if characters can't see it, and that is everything in my eyes. To me mind control is the writer hitting pause on a character's growth til a more convenient time in the plot. Or just forever. *cough*🌊🦂🧙‍♂️.

Most of my appreciation for pre-s5 Catra only built up in retrospect through meta-posts and following fanworks like this. So seriously thank you for this series; it's like experiencing the series as it was intended for the first time, weird as that sounds.

You're version of this sequence is as skin-crawling as I think we all could've hoped/feared. Prime is the worst kind of living scum. Great work. Now I can start counting down to the "you miscalculated." scene. Aimee Carrero crushed that line. Can't wait for your version. Positively dancing with anticipation.

It is - at least to me - a really interesting point for Catra to be at, narratively speaking, because it shows the dialectic in her journey. She both did and didn't "bring it upon herself" - yes, she tried to get in Prime's good books, but no, she didn't ask to be chipped. Yes, she saved Glimmer against his instruction, but no, she didn't know the full consequences of what that would do. And when you get people on different sides of the argument, some saying "poor meowmeow didn't deserve this" and others saying, "She's reaping what she's sown", actually they're both right, in this way.

I don't think it would have worked going straight to the atonement, anyway. We don't have these scenes to revel in the depth of her lowest point, we have them to show how bad, how inescapable it was - and then we set up to escape them!

The whole story with Prime has been an interesting writing journey, too. Every time I review the lines, I tweak them to make them that little bit more realistic, that little bit more uncomfortable. I'm painfully aware that we're seeing a lot of similar rhetoric flying around from real people in the media these days (particularly with anti-trans bullshit), and it's no coincidence that Prime is a reflection of this. But my focus isn't on "Oh look, doesn't this character sound like the person trying to destroy our lives", it's on "This character, like the people you've seen on the news, might think they're right but they will never win. They will never defeat us."

Indeed, the Save the Cat books (yes, this episode did remind me of them... It's probably where the name is from) talk about the 'All is Lost' point and the 'Dark Night of the Soul' - this is where we're at right now. It's bad, it's the worst - but it's going to get better.

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ithacamoma · 5 years

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20 QUESTIONS FOR: TAMMY SALZL

image courtesy of the artist and DC3 Art Projects

1.Name:

Tammy Salzl

2.Occupation(s):

Artist, Sessional Teacher in Senior Level Painting at the University of Alberta.

3.Where are you from and what is your education?

I was born in Edmonton, AB, into a gigantic dysfunctional family with 18 aunts and uncles, 42 first cousins and barely one parent. I spent my summers being tortured as an English speaking city slicker in French speaking prairie farm communities. Retreating into art and stories and animals was the salvation I didn’t find in the fundamentalist religion I was periodically thrown into. For my undergrad I did 2 years at ACAD (Now called AUArts), and finished my BFA at the University of Alberta. I received my Masters in Studio Arts (Painting) at Concordia University in Montreal 2014 and have been expanding my practice to include video and multimedia installation since graduation.

4.Where do you live/work (neighbourhood/city/country)?

For the past 3 yrs I’ve been splitting my year between the Southside of Edmonton, AB. and Parc Ex in Montreal QC. I have family in both places, which makes this both possible and necessary.

5.Does your location affect your practice?

Definitely! Emotionally, psychologically and logistically. I’m lucky to be able to spend time in both eastern and western Canada. Sometimes they seem like entirely different worlds and it’s a privilege to be able to step into both. It broadens my field of vision.

6.What is your favourite tool in the studio?

I have two favourite things. My glue gun, because I love glueing stuff, it makes me feel like a little kid again! I also love it when I have a fresh, unused brush in hand.

7.Where do you look for your source material?

Everywhere! Movies, books, (I love sci-fi books, and I just finished 2 books by Yuval Noah Harari - Sapiens and 21 Lessons for the 21st Century - so gooood!) mythology, ecology, weird/wondrous animals (like the barrel eye fish or the Aye-aye), bus stops, Edmonton’s River valley, back alleys in Montreal, weird stop motion animations, the fresh sights, sounds and smells that come with travel, looking at art and, occasionally, the bottom of my wine glass.

8.What is you daily art world read?

I email subscribe to a bunch of art blogs (like Hyperallergic and artdaily.org etc), and I also try to read Border Crossings and Canadian Art magazines, but honestly a lot of my art world reads come from instagram. Cuz you know… pictures.

9.What is your daily non-art-world read?

I love science and nature blogs. I really enjoy nature.com, naturecanada.ca, futurism.com/, and for quick global news stuff I like Quartz Daily Brief. It’s hard…you don’t want to be ill informed yet it’s so bleak out there…I think overexposure to media can be harmful. I try to find a balance.

10.What role does writing play in your practice?

Sadly, not much. It’s an inescapable task for every artist, and one I dearly wish I could escape. That said, aside from the necessary evil of artist statement/proposal/grant type of writing, I sometimes play at creative writing. I make little one page tales that turn into paintings, or I write a short narratives based on something I’ve made. I’ll often have automatic writing embedded in my underpaintings, and if you look hard enough you can sometimes find traces of a word here and there.

11.What role does research play in your practice?

Because I peddle in tales, I research the history, culture, psychology, pop culture, philosophy of whatever traditional tale or mythology I’m referencing, and how others have interpreted those tales over time - even if I’m referencing something like Dr. Seuss. I often tie that into the research I do out of my interest in ecology and nature. For me, working representationally means there is intension in everything. I try to have layers of meaning and make work that engenders multiple interpretations. I research the symbolism and history of objects, places, animals, colours , etc. With my installations there is a lot of material research involved as well.

12.What role does collaboration play in your practice?

Since expanding my painting practice into intermedia work, I’ve done quite a bit of collaborating in the form of “I don’t know how to do this technical thing so I need to find someone who does”. It’s taught me a lot in terms of learning to communicate and work with others. As a solitary person, it’s a challenge for me, but I also find it incredibly rewarding and enriching. Also, a couple of years ago 4 female artist friends and I began an art collective called IFPP (incubator for phantom pregnancies) We’ve staged a couple exhibitions and have some upcoming shows, and it’s been really great. You learn a lot about yourself in a collaborative process, and it’s exhilarating ending up with this thing you helped create, but in a mind hive kind of way.

13.How does success affect your practice?

Ideas of success are pretty subjective, no? Speaking in terms of non-commercial success, I would say it helps drives my practice forward. It gives you the incentive and confidence to keep going, to make more, to take risks and think bigger. Sometimes commercial/monetary success can do the opposite because you’re expected to make more of the same, sellable stuff - to keep the formula and not colour outside those lines.

14.How does failure affect your practice?

Failure is an opportunity to learn, and can lead to amazing things. I suck at it. I can be super stubborn and fight with a painting that’s not working for days and days. I’m often my own worst enemy. I’m learning to walk away, to turn the bloody thing facing the wall and only come back to it when I can be more objective - when I’m in a better place to paint over the 100 hours invested and start over.

15.What do you identify as the biggest challenge in your artistic process?

My own stubbornness! My own rules and obsessiveness and need for control. I can get restrained by fear of making something ‘bad,' and I struggle to let myself play more, to let myself ‘fail’. I can get too caught up in my own head. I struggle with a lot of self doubt. A dear friend of mine recently sent me a beautiful quote by Robert Hughes in an attempt to assuage my doubt:

“The greater the artist, the greater the doubt. Perfect confidence is granted to the less talented as a consolation prize.”

I’m not so sure this is the case, but it’s nice to hear!

Also, like so many of us, I struggle socially and will hide in my studio rather than go to an art opening when I know I should be trying to make “connections”. Wine helps tremendously in all my struggles.

16.Who are some historical artists you are thinking about?

This fluctuates a great deal. I often find myself interested in artists I thought I didn’t like years ago, and will lose interest in artists I thought I loved. Art crushes come and go. I just bought a Frida Kahlo book and am rediscovering my fascination with her.

17.Who are some contemporary artists you are thinking about?

Everyone and no one in particular. I was in LA last January and saw an amazing Outsider Art show at LACMA. There was a piece by Greer Lankton titled, “Candy Darling” depicting a transgender actress who was featured in several of Andy Warhol’s films and was one of Lankton’s icons she looked up to as a trans woman. It’s exquisite with an edgy sexuality - totally blew my mind. I also saw some Mark Bradford works at The Broad that really surprised me. You have to be in front of them to understand how profound, beautiful, raw and sophisticated they are.

18.How do you describe what you are making now?

Right now I’m bouncing all over the place with various mediums. I’m working on a new series of oils, sort of taking the piss out of patriarchal old fables and the misogynistic way they portrayed women by retelling them through a contemporary lens. I’m also making a series of small, intricate “naughty fairies” made out of Sculpey (imagine tinker bell-like creatures going down on each other), some larger installation pieces that incorporate a variety of materials - video, sound, found and crafted objects, and I just completed my first short narrative video with footage shot on an artist residency I did in Norway last year.

Sometimes I feel like I’m spreading myself too thin and there’s an invisible pressure to focus on one thing, but I’m a storyteller and I use whatever mediums best suites the tale. I think everything I do remains distinctly me, it all has connective threads. Generally I paint in the morning and move onto video and sculpture in the afternoon/evening. Painting is mentally challenging in a very singular way; it’s super humbling and I need a fresh, rested brain to do it.

19.Who is an artist that you think deserves more attention?

Oh man. Too many to count. Seems to me art world trends often translate into amazing artists not getting their due. I think Canadian artists in general deserve more of the international spot light. There’s so much talent here.

20.How can we find out more about you (relevant links etc)?

I keep my website pretty up to date, including upcoming shows and press links etc.

www.tammysalzl.com

#20 questions #art #Artist Interview #tammysalzl #canada #ithaca moma

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