Aleks Bartosik will be doing a series of short art performances titled desolate paper girl between musical acts throughout the night. desolate paper girl is a performance piece that explores the boundaries between the real and the imaginary. This work is made up of old and new drawings and texts on paper, found, used papers, and video footage projections from the past. As the desolate paper girl stands above, she lets the papers tell a story that once was, and never will be again.
Design 1: LCBO Purse – This PaperLooks purse took an everyday reclaimed material paper shopping bag and transformed it into a refined wearable piece. The purse’s logo is a constant symbol brand, and its transformational details show the characteristics of thinking outside the box.
Design 2: Mixed Prints – My second piece mixes both map and recycled red paper. My source of creativity in using this reclaimed material was noticed by the feel and touch of old worn out maps. Soft to the touch and shaped to the body is a beautiful form on and off a silhouette.
Design 3: Chestnut Skirt – I have chosen this knee-length gathered skirt as my third design. Reclaimed material papers used for this skirt is crumpled to give it smoothness, providing a youthful appearance with fluttering lightness. It is tailored to feature an outward curve, outlining small detailed pleats on the trim.
Design 4: Candytuft – This full-length evening gown has a fitted bodice and hangs loosely draped to the floor. Stored and tucked away in a school’s art supply room for over 15 years, this cream vintage crepe paper is given new life in the form of a gown. This reclaimed material, split-fronted dress, frilled and ruffled is to be admired.
pulp it UP explores the potential of architecture that can simply disappear after its short use. The project poses questions of materials, life cycles, construction systems, and structural typologies. Using cattail intrigues us for two reasons: the plant helps restore wetlands by filtering urban runoff, but its prolific nature means it can also be a pest. Through our material development process, we investigated its surprising structural capacity, weather resistance, and inviting texture. By using fans to harmonize the fabrication and form-finding processes, we then generated wind-blown cattail sails. Ultimately, the imposing yet intimate pulp it UP is a cocoon for quiet chats, quick flings, and escaping to an ostensibly alien world.
This installation was part of a third year studio project at the Masters of Architecture Program at the Daniels School of Architecture, Landscape, and Design.
A|B Collective – Alisha Sunderji, website: https://www.abcollective.ca/
Live drawing combines projections and music to create a visual dialogue between the subject, artist, and the audience. Participants are welcome to be subjects and get “drawn on”, or draw on their friends and fellow PULP attendees. Create immersive drawings, stories, conversations.
The drawings are spontaneous, playful and quick. An IPad will face the participant, recording the process (in selfie mode) as it occurs so that they can respond to the drawing as it unfolds, through movement, dance, conversation, and in doing so, shape the outcome of the piece. This installation is highly interactive; participants can use the tablet to draw on their friends, or describe their friend to me as I’m drawing, informing the narratives, colours and shapes, that are used. This piece invites participants to be playful, it encourages strangers to interact with each other, and create conversation. Prompts like “what does the environment mean to you?” or “describe your own environmental superhero” could inform the drawings that take place. Photos of each drawing could be taken, and shared online so to showcase the diversity of responses.
Shattered Cloud by Ryan Phyper
Shattered Cloud is a dynamic spatial installation exploring the relationship between geometric forms and light. The installation will consist of suspended geometric forms made from recycled corrugated plastic sheets, rigged with light weight battery powered LED string lights to create a cascade of colour throughout the space. Shattered Cloud will be suspended from the ceiling using high strength fishing line and gaff tape. The installation is intended to be hung above a portion of the dance floor, using light and dynamic forms to encourage movement and participation within the space.
Adhacks by Stephanie Avery
Stephanie Avery uses salvaged magazine ads as her canvas, painting her own whimsical additions directly onto their pages to shift their content from being manipulative and insidious to hilarious and absurd. And she wants you to do the same!
With her ongoing ‘Adhack’ series, Stephanie critiques the nefarious aspects of consumer culture by making a mockery of one of it’s biggest tools: advertisements. Her additions co-opt their original narratives, disengaging viewers with humour while revealing how absurd advertisements are (even without the alterations). Ads are truly absurd and it is ridiculous that they wield such influence over us, both as individuals and as a culture. Laughter has the power to disarm them and inspire us to see all ads through this lens of humour and absurdity.
Join Stephanie to create your very own adhacks.
Now What by George McKillop and Cheryl Stevens
Returning artists, George and Cheryl will roam the venue with a 200ft coil of rope and a bucket full of hand rolled newspaper tubes. Will spend most of their time stationary braiding a second rope. This piece is fully interactive. Pulp Party guest are invited to uncoil the rope, reshape it or pick it up to take a closer look. The conversation, debate, creation and play options are endless.
Hex Structure by Ron Wild
This can be a participative installation if it’s 75% erected on Saturday, but allowing interested partiers to add to it in the evening. No tools or expertise is required for the press-fit connectors. The connectors are virtually indestructible, (to be reused often in the future), and the cardboard tubes are 100% recyclable.
I’m always interested in seeing what others would make out of these components.
Paper Fortune Cookies by Holly McClellan and Nick Horsfall
Approximately 3 billion fortune cookies are made each year; the majority consumed in North America. In recent years, fortune cookies have started to trend as party favours. While the cookies themselves are an interesting shape, it’s the messages inside that people covet – especially the ones promising great fortune and luck. The confusing, wacky, nonsensical messages are just as much fun to receive.
In the spirit of New Year’s resolutions and good financial luck, the fortune cookies are made with old bills & statements, company annual reports and other paper products that relate to the theme of money . The messages inside the cookies are just as cryptic or nonsensical as edible fortune cookies. Some messages will delight and some will confuse. Like any other monumental party, guests will have a memento to mark the occasion.
Electric Wings by Neda Saeedi (Lush Lemon Design)
A tribute to a special angel who found her wings and took flight.
Spread your wings, and be electric against a set of paper angel wings.
Material used: Paper from old books & packaging cardboard.
UNHOARD – Paper Star Net by Claire McMillan
This piece is a large net made from paper stars connected by scraps of black fabric. Each star is made from paper from the past that I’ve never managed to toss out, despite its irrelevance. Old homework assignments, permission slips, rejection letters… anything that I no longer need to remember distinctly but do.
Humans keep rather than repurpose, donate or recycle. We fill up storage units and spare rooms with tools and furniture, withdrawing items from circulation, creating the need for more thing to be produced. This hurts both the environment in an ecological sense, but also in a livable sense. I believe we live in not just a throw-away culture, but in a keep-everything-but-buy-more-culture. Instead processing our discards, we hoard. We keep our skinny clothes when we will never fit into them again, we keep our organs when we are dead and do not need them anymore, and fill cemeteries with formaldehyde preserved corpses . We collect our garbage in giant landfills, storing even the things we don’t think about any more in poor countries. We try to preserve industries that are no longer viable for our economic or ecological future, because of the pain of loss and transformation. (Cough, cough…coal)
In a emotional sense, the piece is meant to be a reflection on our tendency to hoard, to feel the dissolution of the self when we discard or deconstruct objects or even specific memories, even when the keeping of the objects or the memories is costly. It is also an exercise in trust, that I will not fundamentally change now that these objects are permanently transformed.
Round Headed Wasp Paper Sol Evictus Bonnet by Kaya McGregor
The paper for this bonnet came to me in an extraordinary way requiring none of the usual equipment. I was doing a winter storm walk on Toronto island from the centre island farm to Artscape. Crossing the open field by the island school, an extraordinary missile fell from the snow thick sky into the drift ahead of me. A huge 2.5ft round headed wasp nest with no tree in sight.
Here’s my theory – the island was a frozen globe of winter isolation after the ice storm, temperatures were at record lows – a myriad of birds frozen into the layers of ice. Exquisite ,macabre beauty. After weeks and weeks of no thaw or break – the birds were starving and exploring all options – dead larvae within the nests must have seemed a feast to the bird. But alas, her claws proved insufficient to carry such a load against the wind and weather.
And thus, her loss, my gain.
the Weave by Interspatial [with BluePrintJam]The project is a composition of re-purposed paper & plastic stripes, that intersect at various angles, creating a network of patterns. Each stripe does not exist independently; they are a unified whole, producing “the Weave”.
Stripes vary in length between 15’ and 18’, and are attached to a suspended wooden structure at the ceiling and a plate at the floor level by rubber bends and paper clips. An array of stripes splays as it reaches the ground, making a passageway.
Participants can interact with the Installation by entering the passageway between three planes, and look above to observe the overhead “landscape” created by the stripes.
Floodlights, likely in red tone, illuminating it from above will aid the visual impact of the piece.
The plastic stripes are recycled from another installation, done in the past year by Interspatial Design Collective. They are reused in a new way over the wooden structure. Non-thermal receipt paper is salvaged from a recycling bin of a restaurant. Fasteners are donated by various art-supporters.