Chris Purdie Projects

Objectophilia -- Spine 2 Installed

2010-07-08T06:14:00.000-07:00

Spine 2 installed at the Objectophilia exhibition (Biennial of the Americas) in Denver Colorado.

Preparing for Objectophilia Show in Denver June 30

2010-06-13T20:59:00.000-07:00

I am preparing to install Spine in the Objectophilia exhibition in Denver, Co. opening June 30.

Documentary Catalog Sales

2010-06-13T20:58:00.000-07:00

For information regarding the purchase of the I am Chris Purdie catalog and/or documentary please email cdpurdie@gmail.com

Documentary Screening "I am Chris Purdie"

2010-02-21T23:41:00.000-08:00

Please join us for the screening of the "I am Chris Purdie" documentary on March 20, 2010 5pm at the Velour. It has been almost one year since the performance at the Sego Art Center. We would appreciate your attendance as we commemorate the experience with the screening followed by a brief discussion. Director Judy Simmons, Artist Chris Purdie, and members of the cast will be in attendance.
A small quantity of exhibition catalogs and documentaries will be available to purchase if desired.

(Velour 135 North University Ave. Provo, Utah -- Free and open to the public).

Funded in part by The Laycock Center for Creative Collaboration in the Arts, College of Fine Arts and Communications, Brigham Young University

Reception & Exhibition

2010-01-18T23:37:00.000-08:00

The Speakers (Voice Box) from Chris Purdie on Vimeo.

72”x72”x72”
Twenty-eight tracks, sixteen channels, two hundred-twelve speakers, ninety-six amplifiers, computer, and wire.
Duration: 15 minute loop.

Salon Style, Dec. 17-Jan. 14, BYU Gallery 303

2009-12-18T00:36:00.000-08:00

Salon Style is an art exhibition featuring the combined efforts of Brigham Young University's Oil Painting, Aqueous Media and Sculpture classes. On display at BYU's Gallery 303 in the Harris Fine Arts Center Dec. 17-Jan. 14 with a reception Jan. 7 6-9pm.

Admission--December 4, 2009-January 7, 2010

2009-11-29T00:56:00.000-08:00

Title: Admission

Artists: Chris Purdie & Marc Bradley Johnson

Exhibition Dates: 4 December - 7 January

Opening Reception: Friday 4 December 6:00 - 8:00pm

Salt Lake City Gallery Stroll

Location: Rio Gallery

300 S. 455 W. Salt Lake City

(at the Rio Grande Depot)

Cost: Admission is free to the public

Gallery Contact: Laura Durham

801.533.3582

riogallery.org

Gallery Hours: 7:00am - 6:00pm Monday - Thursday
Design: Manasseh Langtimm

Photograph: Galen Dunn

Photograph: Galen Dunn
Design: Manasseh Langtimm

[ADMISSION]

Art Exhibition of Sound & Motion

Two artists, two cubes, over two hundred speakers, and twelve doors combine to create Admission, the Rio Gallery’s next exhibition in December.

Artists Chris Purdie and Marc Bradley Johnson will be exhibiting two large interactive sculptures next month at Salt Lake City’s Rio Gallery. Purdie’s sculpture is a six-foot cube constructed by stacking over two hundred functioning speakers. Johnson’s sculpture is a seven-foot cube constructed of twelve functioning doors. The audience is invited to interact with these sculptures by listening to the speakers and by walking in and out of the doors.

Admission will be on display December 4 - January 7 with an opening reception in conjunction with Salt Lake City’s Gallery Stroll, Friday December 4 from 6-8pm (free to the public). The Rio Gallery is located in the historic Rio Grande Depot 300 S. 455 W. Salt Lake City (gallery hours are 7am-6pm Monday-Thursday).

Admission utilizes speakers to represent thought or voice and doors to demonstrate access to possibilities or options. Both sculptures involve the patron in a distinctive manner, presenting not only a visual, but also a multi-sensory experience based on perception and consciousness. Purdie’s black speaker cube is referencing sixties Minimalist artist Tony Smith’s Die. Johnson’s door cube was inspired by the philosophies of Antonio Gramsci. Purdie and Johnson were united for this exhibition through the commonalities of their concepts, mediums, and methods of display.

chrispurdie.com

chrispurdieprojects.blogspot.com

marcbradleyjohnson.blogspot.com

This Speakers Project was funded in part by Brigham Young University's Office of Research and Creative Activities.

The audio for The Speakers was created in collaboration with the very talented Lance Montgomery.

Photography: Galen Dunn
Designs: Manasseh Langtimm

Essay: Joseph Parry

Technical Support: Jarime Billings, Neil Bly and Ned Clayton
Amplifier Design and Production: Ned Clayton

Promotions: Landon Hallman, Adam Reitz, Cole Sanders and Mike Woodward

Voices: Emily Fox, Andrew Kosorok,
Brian Andelin, Jarime Billings, Krystal Billings, Jared Clark, Lee Cowan, Noah Coleman, Jared Greenleaf, Marc Bradley Johnson, Jamie Purdie, Judy Simmons, and Shane Simmons.

Thanks to Laura Durham and the Rio Gallery for this opportunity.

Special thanks to Jamie Purdie for much help and support.

Download/Upload--Construction/Deconstruction/Reconstruction

2009-11-29T00:43:00.000-08:00

Download--Speaker Exodus.

After days and hours of construction I felt great anxiety about deconstructing the cube.
Loading up the speaker cube to move it from the studio to the Rio Gallery. Van loaded to the hilt.

Everything loaded and ready for transportation.

Upload--Speaker cube unloaded and ready for reconstruction.

Ned finishing the wiring of the amplifier.

Ready for the reception

Preparing for Admission

2009-11-15T16:18:00.000-08:00

My palette.

Or the cast of performers for Admission.

Control center inside the cube.

Gleaming the cube.

Four walls complete!

Beginning the roof

A beautiful interior shot of the Speaker Cube--the view most people will not see, at least not at this exhibit.

SPEAKER CUBE COMPLETE!!!

Me in the studio after completing the speaker cube for the upcoming exhibition Admission.

Recreating Tony Smith's Die with Black Speakers

2009-11-01T01:25:00.000-07:00

My next scheduled exhibition Admission will be at the Rio Gallery downtown Salt Lake City December 4, 2009--January 7, 2010. Admission features myself and artist Marc Bradley Johnson. Marc is showing a seven foot cube constructed of doors and I am showing my first speaker piece, a reconstruction of Tony Smith's Die made of black speakers.

A few weeks ago I had the ground breaking, corner-speaker setting, and foundation building ceremony. Below is a picture of the crude beginnings.

In The Speakers 003 (Die) project, I am using speakers and sound to further unveil the references to anthropomorphism in Minimalist artist Tony Smith's Die.^[1] I am reconstructing Smith’s Die out of black speakers and giving the cube a voice. The dimensions of mine and Smith’s Die correspond to those of the human body as depicted in Leonardo da Vinci's drawing, Vitruvian Man (72x72x72).^[2] Both Smith and myself are interested in the ways physical objects, as well as our spatial proximity to those objects, shape our self-perception.^[3] My work contributes to this focus on perception by adding a new dimension—sound. This piece, then, will both literally and theoretically delve into the phenomenological essence of man, which I take to be consciousness.

By giving an object an audible voice, I seek to fill the “hollowness” of which Die was convicted by critic Michael Fried.^[4] Whereas most art gives to its audience, Fried criticized Die for sucking the soul of the viewer. The audio portion of my piece ties to this notion of a storehouse of human consciousness, or as I see it, a sort of black box recorder of humanity. The speakers will be relaying messages that humanity has collected and maintained as important to civilization, representing something essential to mankind, quotes from throughout history—ancient to contemporary. This piece will thus further blur the line between the so-called “non-art” and “art”, “object” and “essence.”^[5] Delivering visual and aural elements at the same time, The Speakers 003 (Die) will educate the artist and the patron about the elements of human perception—one of the most central elements being consciousness.

[1] Michael Fried, Art and Objecthood: 1967, (published in Harrison, Charles, P. J. Wood. Art in Theory 1900 - 2000: An Anthology of Changing Ideas: 2002) 845.

[2] James Meyer. Minimalism: Phaidon, 2000, 172.

[3] Judith Collins. Sculpture Today: Phaidon Press Inc., 2007, 5.

[4] Michael Fried, Art and Objecthood: 839.

[5] Ibid., 836.

Manufacturing & Assembling the Amplifier

2009-11-01T00:59:00.000-07:00

I am working with Ned Clayton to produce a 96 channel amplifier unique to the speaker projects.

Ned designed and manufactured the amplifier PCB's in which he is drilling holes while watching some TV as I prep the components.

My wife Jamie kindly helped me stuff the components preparatory to soldering.

This is where those ten years of electronics manufacturing comes in handy.

Ned Clayton finishing up the soldering of the amplifier PCB's.

Assembling the amplifier heat sink plate and cabinet.

2009 Summer Vacation-Flesh Painting

2009-10-12T12:20:00.000-07:00

On the morning of July 22 I fell skateboarding and broke my shoulder. The resulting bruise was the most beautiful, colorful thing I have ever seen. It only made sense to take pictures everyday and track its progress, then make some collages.

Salon Style

2009-10-07T01:40:00.000-07:00

Salon Style is a sculpture commissioned by BYU painting professor Peter Everett for his painting class to paint. In December 2009 the sculpture along with the paintings will be exhibited in Gallery 303 in BYU's Harris Fine Art Center.

This piece was inspired by my reconciliation of painting verses sculpture. It was the natural evolution from Vacant.
Although it is smaller than I envisioned due to restraints of door sizes leading into the painting class, I may be adding to it before the exhibition.

Lumen 001

2009-10-07T01:17:00.000-07:00

I was initially asked by Von Allen to do something for BYU's department of Visual Arts fair. I proposed a lamp installation which was denied then later accepted. Lumen was installed in BYU's Museum of Art sculpture garden.

Full view

Side view

Patrons were advised to stand in a specific location and squint, by doing so the word "lumen" came into focus.

Catalog & Documentary Coming Soon

2009-07-28T22:46:00.000-07:00

A twelve page exhibition catalog has been printed in conjunction with the I am Chris Purdie performance.

Catalog Design: Cole Nielsen; Essays: Jill Dawsey Curator of Modern and Contemporary Art, Utah Museum of Fine Arts; Wade Hollingshaus PhD Assistant Professor of Theatre and Media Arts, BYU; Introduction: Jason Metcalf Sego Art Center Director; Editor: Lynda Palma; Photography Editor: Chad Keyes; Funding: The Laycock Center; Printer: Brigham Young University Print Services; Photography: Leo Patrone, Chad Keyes, Justin Hackworth, James Lyons, Duane Call; Printed in Edition of 200.

Accompanying the catalog is a ten minute film documentary.

Executive Producer: Brandon Kelly; Director: Judy Simmons; Art Director: Chris Purdie; Editor: Tracy Derenthal; Associate Producer: Cameron Wilbur; Cameras: Spencer Cahoon, Aaron Ogilvie, Travis Pitcher, Andrew Smith, Jarime Billings; Narration Editors: Chad Murphy, Lee Kimball; Narration: Emily Fox, Monson Hayes, Andrew Kosorok, Chris Purdie, Judy Simmons.

I am Chris Purdie (Documentary--2 minute excerpt) from Chris Purdie on Vimeo.

This video is a two minute excerpt from the I am Chris Purdie documentary soon to be released.

More information to come.

Provo Channel 17 Interview

2009-06-02T13:17:00.000-07:00

chrispurdie.com from skylerjeppson on Vimeo.

Provo Channel 17 Interview

Again, Painting.

2009-04-28T12:19:00.000-07:00

A funny thing happened the night before the Big performance. I went a head and took some time out of my busy schedule to help out my old Coal Umbrella friends, maht and liz, again, with some paintings, for their store. This time I helped them paint a room inside. We painted for hours. What a flood of memories...

2009-04-28T10:35:00.000-07:00

SECRET/SECRETION 001

2009-04-15T22:44:00.000-07:00

Temporary installation in BYU's sculpture facilities (B-66)

A hose acts as a conduit and outlet for the sound being broadcast from a speaker housed in a sound proof box
The participant encounters the hose and listens to the secrets, then tracks the hose back to its source.
This installation is a sketch for a future formal exhibition. Some elements may change according to the location.

Double Helix -- Installation at Field Workshop

2009-04-15T22:33:00.000-07:00

Installed at Salt Lake City's Rose Wagner Theater for the final session of the Field Workshop 4.13.09

After constant pressure from the real chris purdie

2009-04-13T19:35:00.000-07:00

This Chris Purdie has decided to do a blog posting. It is tough being a Chris Purdie. I have to constantly ask myself if i am being an authentic Chris Purdie. Being a Chris Purdie feels like you are one of those uncle Sam characters on the side of the road begging people in cars to do there taxes. Everyone knows you are not the real uncle Sam but you do represent the government and if you haven't done your taxes yet then you feel the same as if big Sam was pointing right at you.

I am Chris Purdie

2009-04-13T17:05:00.000-07:00

Take one...

I am Chris Purdie

Chris Midterm

2009-04-12T19:42:00.001-07:00

In the sculpture class I teach, one of the assignments is to build a conceptual piece. Many find the assignment bewildering, because the medium isn’t easily workable, like most substances used by sculptors. For a conceptual work, the artist is building something specifically inside the head of the patron. Most artwork is finished when it is completed as an intellectual circuit—when the patron experiences the work and internalizes it; for each patron, the artwork is a unique experience, and represents a fusion of the artist’s work and intention, and the patron’s memory of the experience. A conceptual work uses this last stage of completion as its primary form, and the sculptor is in essence using the reaction and imagination of the patron as her medium. By way of example, I gave the midterm for my class as Chris.

It is not a big deal to dress like someone else—most do this with their Sunday-go-to-meetin’ clothes. However, it is something else to take on a shared persona with a large group of people, with the express purpose of exploring analogs of social interaction. It is also something else entirely to develop the idea and orchestrate the event. Having Chris discuss his project with my class, explore some of the questions and ideas it germinated, and cap it by politely and firmly giving each of my students their midterm evaluations (in the nicest, most non-confrontational way possible) helped many of my students understand that conceptual art is something that can be done by any artist with drive and intellectual curiosity, and the willingness to document everything. This also led many to the question of whether most art is conceptual, if in the end the art affects the patron. The answer (politely given): of course.

After Chris finished, I took off the hat and glasses, and had a big swig of my Vault. I can’t be someone else forever.

A critique on "I am Chris Purdie"

2009-04-12T16:37:00.000-07:00

Right now I am taking a Intermediate Jazz class and was asked to write a performance critique and I decided to write it on "I am Chris Purdie" and Chris asked me to post it on here, So here it is...

I was part of a live Art Show. I have never seen anything like this before. The artist was my brother, Chris Purdie. He worked on this project for over a year. He dressed in the same clothes everyday.

He fist started thinking about the project when he realized he was uncomfortable at his shows when he interacted with the public. His brother Jason is an actor and Chris thought he could get Jason to go to the show and play “ Chris Purdie”. Better yet I could have several people play me to cover different situations.

For his final project at BYU Chris decided to do a live art show, something new for this area. He had auditions and recruited 35 people – boys and girls to portray “Chris Purdie”. He met with each “Chris” for 2-3 hours. Each person studied Chris’ mannerisms and characteristics and tried to be as much like him as they could.

On the night of the performance, March 6, 2006 we arrived at the Sego Art Center in Provo at 5:30. The show went from 6-9 pm. Over 600 people went throught the gallery during that time. I was very nervous to be “Chris Purdie” and talk to the people there. However, it was quite fun. I talked to lots of people and it was also interesting to listen to the other “Chris Purdies” talk to the public. I thought because I was Chris’ sister I would know most everything about him, but I was amazing at what I learned about him. It was very relaxed and some people stayed for a long time because it was so interesting and different.

We also went to Salt Lake to channel 2 news to advertise for the show. That was an experience! The wanted to know who the real Chris Purdie was and they were told “we all are”. I don’t think they ever realized who the real Chris was. We went to a breakfast/coffee place up there and rode the escalators up and downin a row. People watching were very interested and just wanted to stare at us.

It was kind of weird to dress as a guy, but interesting to see the reactions from people. It made you feel like whenever we meet and sincerely talk to someone, you take a part of them with you.

It was great to be a part of something new. I guess they do live art show a lot in New York and LA, but this was a very different concept for here. People were very open to the excitement of the show. Some were very confused and their main objective was to find the real Chris. As people cam in you could see the confusion in their eyes, but as they talked to the Chris Purdies and felt the excitement, they settled in and enjoyed the experience.

Many of the participants talked about their experiences as Chris Purdie and for most of them it was amazing. It was almost a spiritual experience for some as they worked to get to know him and represent him. They had to change their own characteristics some had to be more quiet and move more slowly. They had to learn how to stand and hold their hands and interact with others differently than they were used to. Most of the performers took this challenge very serious and it will be an experience that will stay with them. Many also want to be involved in similar shows in the future.

I think all together it was a very successful show. Everyone put what they could put into it. Some could have put more, but that is expected. It went so good for Chris. He put a lot of time and hard work into it and it came out exactly how he was expecting. For me, I probably could have worked a little harder on it. I could have studied the character a little more, but I was very scared and I went in there and did it! I’m proud of myself for doing it.

What in the world am I?

2009-04-12T16:19:00.000-07:00

"Dear, dear! How queer everything is to-day! And Yesterday things went on just as usual. I wonder if I've been changed in the night? Let me think: was I the same when I got up this morning? I almost think I can remember feeling a little different. But if I'm not the same, the next question is, what in the world am I? Ah, that's the great puzzle!"

Lewis Carroll Alice's Adventures in Wonderland

Sego Lecture Night and Los Hermanos Happening

2009-03-24T14:10:00.000-07:00

PLEASE JOIN US FOR THE FINAL EVENT OF I AM CHRIS PURDIE

Please do your best to find the following items for the uniform. It is not necessary to be exactly the same or to have everything as long as we appear to be connected.

DRESS CODE (UNIFORM listed by priority)

1 - Black frame glasses (sources $1-8 at DI, Savers, dollar stores, or at Claire's in malls)

2 - Black knit watch cap beanie ($3-8 available at many locations, for sure at Uncle Sam's Army/Navy)

3 - Black full zip sweatshirt hoodie

4 - Brown pants

5 - Black t-shirt

6 - Black scarf (can be any black material)

7 - Dark Belt

8 - Dark socks

9 - Black shoes

You are invited to participate in a *happening with the cast of I am Chris Purdie on March 26th 8-10pm.

In conjunction with the Sego Art Center's current exhibition of I am Chris Purdie, the monthly evening with the artist lecture and discussion series will be Thursday March 26th 7-8pm. Please come and join in the discussion. As part of the lecture we will all be going, in uniform, to dinner at Los Hermanos (details below).

Next Thursday evening (March 26th) between 8 and 10 pm all involved will transform Los Hermanos from a restaurant into a gallery.

In groups of 2-6, approximately 5-10 minutes apart we will slowly enter the restaurant, fill it with "Chris Purdie's", and eat dinner.

Thinking in terms of the performance and performers as artwork in a gallery, the maitre d’ becomes the curator placing the art in the gallery, and the servers then become the curatorial staff attending to the needs of the art.

The capacity for Los Hermanos is 210 patrons so we need to invite a lot of people to try to fill it.

Guidelines for Performance

1) Please be serious. (this could be seen as a joke or a stunt so we must stay in character - as far as you know we are just there for dinner)

2) Don't acknowledge the fact that everyone is dressed the same - you are "Chris Purdie".

Please RSVP so we may reserve and assign a time slot for you and your party.

Contact Chris with any questions - chrisdpurdie@hotmail.com 801.426.4696

* A happening is a performance, event or situation meant to be considered as art. Happenings take place anywhere, are often multi-disciplinary, often lack a narrative and frequently seek to involve the audience in some way. Key elements of happenings are planned, but artists sometimes retain room for improvisation. (Wikipedia)

New self portrait

2009-03-23T16:36:00.000-07:00

charcoal on paper, roughly 3x4 ft.

I am Chris Purdie - The Poem After the Performance

2009-03-20T13:51:00.000-07:00

Vulnerability: a moment of silence

where everyone gathers to speak

The body, a better listener, takes comfort in knowing

it didn't have a choice

Cross-examination is in fashion after all; in defense of taboo

the tongue well-intended, what's left of credentials if we're subtle like we should be

Your olive branch, the treacherous tête-à-tête, can still be in good taste

though the transcript may not include our names

Language has made liars of us all; silence is precision

binding the clauses of conversation; the awkward

pause, merely a figure of speech

unless performed in earnest

Your sense of certainty - a luminous window

my apprehension, a runaway skateboard

Enough with the transparent peace offerings; I'm aiming

at your expectations

Performance - Justin Hackworth Photographs

2009-03-19T00:26:00.000-07:00

Photographs by Justin Hackworth

I AM CHRIS PURDIE --- Progress Report

2009-03-10T17:12:00.000-07:00

Photographs: Leo Patrone Design: Cole Nielsen

We had a successful performance with close to 700 attending and many staying almost the entire time. Thanks to everyone who attended and participated and helped in creating an exciting environment. Photos coming soon.

Please be sure to attend the exhibition March 6-28, 2009 at the Sego Art Center, Tuesday- Saturday's 2-8pm. There will be at least one "Chris Purdie" in the gallery for the duration of the exhibition.

We are in progress on the 12 page exhibition catalog designed by Cole Nielsen, photographs by Leo Patrone, Justin Hackworth, Chad Keyes and others, and essays by Wade Hollingshaus and Jill Dawsey. Scheduled to be printed and available March 30, 2009.

We are also in progress on the documentary of I am Chris Purdie scheduled for release May 30, 2009. Directed, filmed, and edited by Judy Simmons, Spencer Cahoon, Travis Pitcher, Cameron Wilbur, Aaron Ogilvie, and Andrew Smith.

The Speakers (RPM)

2009-03-08T14:53:00.000-07:00

This sound installation is currently on display in the (Re)Context exhibition at Brigham Young University's Harris Fine Arts Center, BF Larsen 5th floor gallery.

I hate to have to say it...

2009-03-07T16:21:00.000-08:00

...But I don't enjoy "being" Chris Purdie. Nothing personal, Chris. I felt a dreadfilled pit in my stomach all day Friday: could have been the weather, could have been the anxiety I feel about winter driving (I went to Ephraim that day), or it could have been the knowledge that I was going to don the ill-fitting brown pants and hairdo-smashing beanie that evening. Added to that I do not wear contacts or glasses, and the glasses infringe on my viewing pleasure as they slide down my nose every 3 minutes. Call me vain, but it bothers me not to "look my best." The clothing does nothing for my figure, and I like to wear earrings. Chris doesn't wear earrings.

I have gone to school twice as Chris Purdie, those were the days when my schoolmates looked past me and didn't recognize me. It felt like heresy not to follow the unwritten BYU code for single women: You will wear make-up and have your hair done everyday, no matter if you are wearing sweats, you never know where you will meet your EC (eternal companion). I went to Costa Vida one day for lunch, and the man behind the counter who asks everyone if they want "black or pinto sir/mam?" didn't follow his question with a reference to gender. He just didn't call me anything. The androgynous element to the Chris costume is an interesting one, it makes me uncomfortable. I don't think the "real" Chris Purdie or the male actors may experience what we women feel when donning the uniform. Your thoughts, ladies???

KUTV 2 News Interview

2009-03-07T12:35:00.000-08:00

For anyone not up at 6:50am Friday March 6, twenty "Chris Purdie's" were featured on the KUTV 2 Morning News program. (Watch the interview below or click here)

The interview went really well. We had a little "bump" (short shot) before the commercial break and then a 2 minute interview.

Chris Purdie, Joscef Castor, and Denise Metcalf fielded the questions and gave some good answers in character while the other "Chris's" milled around in the background. Everyone did a great job staying in character.

I was very impressed with the dedication of the performers to wake up so early and travel all the way to Salt Lake City to help promote the show. I think we all had a fun time.

After the interview we had some fun getting footage walking through the revolving door then travelling up and down the escalator. Before going home we crossed the street and went to a cafe to get some pastries (image below).

PS - Thanks to Jill Fellow, and the Sego Art Center we have received a good amount of press for the show, here are the places to look.
Daily Herald, In Magazine, City Weekly, 15 Bytes, UVU Review, BYU NewsNet, 337 Project Newsletter, and various other postings.

photographs by Brandon Purdie

The Rhythm of Life

2009-03-06T15:09:00.000-08:00

Where do I begin?...In donning the Chrispy attire, there is an almost immediate paradigm shift. It is almost impossible to determine the exact catalyst, but it is existent nonetheless. I walk out of my bedroom a whole new person, yet filtered through the lenses of another being who has lived in this body for a very long time. Roommates don't really know what to make of this. I get a quizzical, almost reproachful glance from one, while the other expresses admiration that I am so dedicated to my craft. I really don't know what to make of outward praise. Out of my costume, I would accept such acclamations about my personal investment in the arts, but as Chris, the attention makes me feel a little too self-aware for comfort. I warm up quickly though. I have been listening to the music that inspires me, paying special attention to the rhythm of performance...the beats that drive the piece forward. I feel a desire to transfer that rhythm into my actions. I begin to feel my actions start to be driven by an underlying rhythm, kind of like a background music to my life. I walk out and people start asking me about my art, I find satisfaction in this conversation, although there is a lot more to say than can ever truly be said...but I just stay with the rhythm, and everything seems to be ok.

Bring-Your-Chris-Purdie-To-Work Day

2009-03-05T16:47:00.000-08:00

photos by Brea Sorrell

Chris Purdie made a guest directorial appearance at Rubberball Productions today.

When he first arrived, the staff at Rubberball mistakenly identified Purdie as Eddie King (a current Rubberball employee). Rubberball employee Brea Sorrell (who took the above photos) reportedly stated, "Eddie, it's weird to see you in baggy pants."

Purdie was reserved at first, but after getting to know the staff at Rubberball and doing a series of arm stretches (a ritual he engages in prior to playing energetic rock shows; it prevents his muscles from locking up during a performance) Chris opened up and began directing a shoot featuring slot race cars.

Rubberball Productions declared the shoot a success, citing Purdie's intense attention to detail and amazing ability to make every single aspect of the shoot symbolic.

The Saggy Nerd

2009-03-04T23:51:00.000-08:00

Last Friday was a special day. My fifth-grader was mortified that I took her to school in my Chrisgear, and by the time I got to work, I was comfortable in my oversize pants, black shoes, and awkward glasses. My coworkers (hesitant to say anything about my behavior or uniform) quickly adapted to the real me, and asked me to explain my art project to them. After establishing a solid, politely nonconfrontational presence at work, I went to BYU to uninstall the exhibit my alter-ego had previously set up.

Taking down the exhibit, people approached to help or offer greetings, only to stop a moment and readjust to the new reality. People stopped what they were going to say, smiled slightly, and said, "Nice to see you, Chris," and more often than not, offered to help for a second to take down Andy's show. Another Chris adjusted my hat for me (thoughtful). After taking down the exhibit, it was back to work. My interaction with people at my job is limited (I am rarely let out--unescorted--of the locked room), but the customers I met with either were completely unimpressed with my snappy attire, or seemed genuinely interested with my art project. After a long, grueling day of adjusting my glasses, I had to go to the Orem library and pick up a sculpture to be delivered to another site the next day. That was interesting.

Growing up south of five nuclear power plants, with an engineer father who helped develop early robotics software and a mother with multiple Masters degrees, I feel a particular familiarity with the stereotypical nerd profile. I was a bit surprised, however, by my reception at the library (NOT, however, by the librarians--they are always models of appropriate behavior). My oldest, who believes that observing the adult "uncool" condition will help her avoid the same problems, agreed to go with me to pick up the sculpture, and observed reaction to the new me.

Standing to wait for the reference librarian (patiently), I passed the time by smiling occasionally, fiddling with my fingers, pinching my sides with my elbows, and correcting the perching angle of my feet. While he was finishing with the patrons before me in line, a couple young men (members of the high school social elite) came up behind me and started muttering to each other. My daughter said that, when I failed to respond (I couldn't understand them, for one thing--and besides, responding would have been rude) they would slightly raise their volume. They made a number of comments about my nifty hat and sweater, which I ignored because I thought they were discussing a statue nearby. The librarian came to help me, scowled at the two boys behind me, and took me to the basement display where the sculpture was. For some reason, the two boys followed us downstairs.

The librarian kindly helped us get the work out of its display case, pausing frequently to scowl again at the two boys, and guided us back upstairs. At his desk, he asked again if there was anything he could do to help us, and complemented my alter ego regarding the show on display. As my daughter and I were leaving, he turned to the two boys and said (with a bit of snap), "What do you want?" They asked something, and he told them he couldn't help, and they'd have to come back on Saturday. Then he turned away and completely ignored them. On our way out, I asked my daughter why she thought the man would do that. "Well, Dad," she said, "I think the librarian was angry at them for following us around and making fun of you." "What do you mean?" I asked, because I was completely oblivious. "They called you a Saggy Nerd."

The librarian stuck up for me, not even knowing who I was.

Did I mention I like librarians?

Being myself

2009-03-04T17:31:00.000-08:00

As I was walking around campus I found myself thinking in a new light. As Chris Purdie i find myself feeling a bit more reserved. this in unnatural to my life. My other identity is as a female actress. This is the identity I have portrayed most of my life. As I was Chris I found it difficult to be loud. I was more aware of my surroundings. in a class I sat in on we had a discussion about art. what is art? for me it is the journey of building something that make a statements about what we are and who we are. as i was in class i volunteered my hat to the teacher who used it to put words into it to teach a lesson about Dada. when the hat was returned to me two words were still inside. the words were "thou" and "possession". i put the words in the rim of my hat. I thought i might use these words to inspire a project soon. For a day I was not playing a character, I Am Chris Purdie. I'm not the interpretation of Chris, but i am trying to find the Ethos of Chris. As and actress you create a character but in this case the character has already been created by years of experiences! The other day while I was Chris I hear someone call me Lisa. I was so confused. who is Lisa. "I am Chris." I thought to myself. It was a strange feeling to not know who I was for a moment. I am Chris Purdie....

pizza

2009-03-03T08:13:00.000-08:00

Karl Marx thought that in order to reach the "totality of individuality" a person needs to be part of a community. Within that community each person needs to take pride in their specific, individual role. When you find yourself in relation to the whole, you become a complete individual. Adorno, another Marxist thinker, talked about the idea of solipsism. This term refers to the idea that we can't know anything that is outside of us. All we can know is our perceptions of people and objects. This means that, to ourselves, we are the center of everything because we're the only thing we can really know. Adorno rejected this idea, suggesting instead that it is essential to find connection with the things around us and to have meaningful interactions with others.
When people hear "Marx" they often think "communism." But they aren't really the same thing, just to clear that up. These ideas (which I learned about in a class this week) made me think of our role as Chris Purdie. We are all playing the same character, but as another person commented on the blog, we each bring out a different aspect of Chris Purdie. Together we form a community of Chris Purdies who are reaching out and trying to understand the Chris Purdie, ourselves, and other people as we have conversations. Yes, we filter Chris's experiences through our own, but in the process we also take on a part of Chris and add that to our perspective on life. As Chris shared with me in our conversation, our internal identities are influenced by outside forces. And the more interactions we have with all kinds of people, the richer our identity will be. In this Chris community, maybe we can come closer to accessing our "totality of individuality."
P.S. Oscar Wilde said "Man is least himself when he talks in his own person. Give him a mask, and he will tell you the truth." It's crazy that playing a character can help us to understand more of the truth about ourselves. But it's true. This Chris Purdie thing can be liberating.

UVU Panel of Chris Purdie

2009-03-02T11:33:00.000-08:00

For me, becoming a reflection of Chris Purdie involved a lot of surprise. Over the weeks of info and observations, I have thought about what I immediately connected to with Chris, our most obvious differences, etc., & it came out as intellectual ideas, like us having our conversion to the LDS church at the same age, our retrospective glances at lives we once pursued with vigor, & now remember with awe, & nostalgic "what ifs." But when sitting among a panel of other Chris Purdies so willing to speak, so prepared to expose him - as Chris Purdie, himself, requested - to a room tiered of tabled students & garish florescent lights, it became very clear to me what I cherish most about Chris Purdie. And it was nothing so concrete as a topic or event in time.

With the dominant Chris Purdie on my left determined to be heard & understood, undaunted by his stories of testicular cancer & realities of offspring, & the reasonable, measured Chris Purdie down the table on my right, patiently explaining what the Chris Purdie experience may or may not be all about, I felt surrounded by a distinct sense of adulthood, an angular, crisp, unfaltering, sure, adult-sense of life & art, & it was then that I identified what was most Chris Purdie to me, & the less I felt it from the panel, the more overwhelmed I became by it, with a stronger need to represent it, to embody the side of Chris Purdie most incongruous to the whole Chris Purdie Project.

Within the soft, black hoodie & stiff, gray work slacks, between the snug, knit cap & fleecy scarf, I started sliding. I slid down into a place brimming with childlike wonder & hesitation. To a sassy extrovert, it was like being six years-old again, where everything is impossibly new & magical, & the need to share it & be understood, so desperate, the sheer endeavor of communicating it was becoming painful. Taking in a breath, filling my response to another Chris Purdie, I would lean into the mic, & the fear of potentially being mistaken, or garbling my intentions, my visions, was like a hand over my mouth, covering all sound, & I would just hang, all over the mic, my silences heavy & awkward, mouth opened, body forward, thoughts racing, the desperation so pure & artless, I didn't even know how to cover them up. I could laugh, at the wry candidness of the other Chris Purdies, I could laugh, & it felt like bursts of relief, my mouth stretching back, elastic, so willing to endure the impulsive yanks of joy, but then back I slid into the conflict of needing to express, & the need almost paralyzing the expression.

When I finally did connect to a voice, my ideas came out in blurbs, sound bites that seemed only half-related to the current dialogue, but were so essential in my head, & the words landed on the audience like chunks of Styrofoam, "Herman's Heads!" "Thirty-five, it's thirty-five!" I could feel how uncomfortable my participation made the panel & the straining audience, & I thought "Yes! This is it! Be with me in this! This space, this glowing, unbearable space of hope & impending rejection! Don't move! Just sit here with me!" And it was in those humiliating moments that I felt we were most connected as a panel, as a room, as an experience, because we could not be sure any of the previous moments were a success in articulation or expression, or understanding, but in the gruesome silences that formed around my attempts to participate, was an undeniable sense of failure, & that was just straight-up uniting.

The keen presence of both hope & the anxiety of potential failure, negotiating every moment, is what the Chris Purdie experience became for me at that panel discussion Thursday night. And I thought of a comment Christopher Guest made about J.T. Walsh & his understated choices as a performer: "You have to have a lot of confidence to do nothing." And that night I realized it may not be about choosing to do nothing, choosing not to react, but a reaction so filled & complex with possibilities, that when it looks up, reaches out, it appears very simple & glassy, but is so alive & electric, can pulse across a room, and back again.

Kat Mandeville

My Preparation

2009-03-02T10:10:00.000-08:00

Today, in preparation for my role as Chris Purdie, I watched the film Student Bodies.

Which you can watch here.

Chris mentioned it was one of his favorite movies and the title made me think: why not watch it?

Also: Clifford

MBPLT at UVU

2009-03-02T00:07:00.000-08:00

Thursday was the Mega-Big Purdie Lecture Thingee at UVU (referred by the performers involved as the MBPLTAUVU—not yet, but I hope it catches on). Fully intending to get there a half hour early, I got lost on the way and struggled with finding parking (a massive booger); I ended up getting there barely 5 minutes early. Chris handed one of us Chrises an outline of what Chris wanted to cover, and while techno-dudes were setting up techno-gear (for me, the most recent technological innovation I’m comfortable with was the Timex-Sinclair One Thousand, one of the first Personal Home Computers, complete with 1,000—that’s right, I said 1,000—BYTES of memory; I was very good at programming it to draw circles in less than 45 minutes), the Chrises were able to go over it quickly. A few ideas were bandied about and discussed, but we mostly spent time “getting into character”.

After the introduction, we kind of muttered self-consciously, then we started talking about our show. Very rapidly, it became obvious that each of us was channeling a different aspect of the Chris psyche, and each of us remained consistent to that throughout the performance. No one had planned who was going to say what, how each of us were going to act, or what each person would focus on, but everything worked seamlessly. Chris was rather confrontational (in a focused, inoffensive way), Chris was very obviously uncomfortable in front of so many people, Chris felt emboldened to explain his motivations to the audience, Chris helped keep the discussion to the outline Chris had written in a comfortable and self-deprecating way, and Chris liked to discuss underlying philosophies that had helped formulate and govern the project. Finally, at the end of the panel of Chrises, one of us discussed our social awkwardness, and everyone at the same time fell uncomfortably, awkwardly silent.

It could not have gone more smoothly (aside from my speaker suit malfunctioning).

What was particularly interesting was that afterwards each of us was able to talk to each other comfortably, politely, and at a level of ease with each other that usually takes a significant amount of time to reach. It seemed that, through the Chris experience, each of us had made a certain level of connection with each other. There were a number of lively discussions within our group, but each potential confrontation was politely side-stepped, each disagreement was civil and respectful, each discussion was filled with attempts to understand the other’s point of view, and everyone was painfully, almost irritatingly, polite to each other. Each of us had developed a certain level of empathy and understanding with the other that led more than one member of the audience to wonder if we had already worked with each other for a substantial bit of time.

By the process of connecting with Chris individually, each of us had (by emulating Chris for a moment) connected with that part of the others. It was a very interesting exploration in social interaction, as well as an intriguing view of the effects of social dynamics. And it was very cool to meet others who had been Chris, people with whom I would not mind spending more time, at all.

EMAIL: Rehearsal Opportunities for Performers

2009-03-01T16:47:00.000-08:00

Here is the email sent to all of the performers for rehearsal opportunities, sent 2/19/09.
____________________________________________________________

Here are some rehearsal/*happenings I would appreciate people participating in.

I have all of the uniforms and need to get them to you, not sure how yet.

The following ideas came from Andy Kosorok (a fellow Chris Purdie).

Please wear the uniforms to the following events/situations and document it in some way on the blog (film, photography, written, etc.):

1) FRIDAY FEBRUARY 20: There will be a number of student shows towards the end of the
semester, and the receptions would be fun to Purdie-fy. (This Friday

Feb. 20 from 7-9pm in BYU HFAC there will be the graduate exhibition receptions.

Also that night in Salt Lake City is the gallery stroll or Art Walk from 6-9pm,

it would be great to go and pass out some fliers.)

2) FRIDAY FEBRUARY 20: Go to the Woodbury during the
day and all make identical comments about a work on display.
(open from 11am-7pm 575 East University Parkway #250 | Orem, UT in
the Univerity Mall) Discuss Robert Stuart's work with one of the gallery staff
and mention how the camera was not able to capture the complexities of the work.
Excerpt from exhibition catalog: "Regrettably, the camera and thus printed reproductions serve up only a semblance of these complex works." You may want to look at the catalog online and study it so you can make other comments from the catalog. The more the better. http://www.uvu.edu/museum/exhibitions/2008_woodbury_invitational/robert_stuart/index.html

3) TUESDAY FEBRUARY 24: A group of Purdies checking out the same book at the HBLL
(BYU Harold B. Lee Library has 92 copies of the Illiad, many of them
are located on the south end of the 5th floor. Call No. PA4025.A5 M57,
see reference desk to find more copies.)

4) WEDNESDAY FEBRUARY 25: Go to Lowe's at different times, but each looking for the same part
(1/2 inch ball bearings, look like steel marbles) and expressing the same frustration when they don't have it.
(140 W University Pkwy Orem, UT - Go to the service desk and ask where to find 1/2 inch
ball bearings. They do not sell them. They may send you to hardware dept. When you find out they don't sell them ask them where you can buy them in this area. Act slightly, politely frustrated.)

5) The Los Hermanos Happening has been postponed until mid-March. more info to come.

Please contact me with questions, comments or other ideas.

Thank you,
Chris

Troy Tuesday

2009-03-01T16:14:00.000-08:00

On Tuesday it was Iliad night, and a chance to Purdify the HB Double-Toothpicks. Because of a series of unfortunate inconveniences, I was unable to get to the library until 9:45 pm, but I accoutered myself in Chrisgear and went to get my copy of the Iliad. It was a very warm and lovely evening, and I was the most heavily dressed out of everyone I saw.

When I went to the computers to find where my copy (of the 92 in the library) would be, I found every computer was occupied by pretty people--apparently it was a date-night of sorts. I received a numbered of disdainful power-ignores (you know, when people go out of their way to ensure you know they are ignoring you), a couple sniggers, and a few down-the-nose glances. I went up to one computer with the intent of standing awkwardly close until the user left, but they noticed my purposeful approach, signed off, and let me take it--all without looking at me directly.

The Iliad I was looking for was in the Juvenile section, and I had a considerable amount of trouble finding it. Fortunately, there was an obvious Jock who sniggered (I don't know exactly what a "snigger" is, but both times it happened, the sound was similar and mildly spurnful) and gave me a slightly contemptuous sneer. So, of course, each time I failed to find the call number of my book, I just happened to walk all the way to the end of that particular row, pass just close enough to Mr. Jock (giving him a helpfully conciliatory grin) to make him uncomfortable, and cruise through the stacks for another attempt. On the fourth try I found my book.

When I checked out, the check-out-helper-lady smiled, was very kind, and completely separated herself from the sallow-minded people who had ignored me earlier. I do not know how many other Chris-copies she had helped during the day, but she took me completely in stride.

I do not know if the other people ignored me because I did not look like I was ready for a date, or if it was because my attire was entirely inappropriate, or maybe it was because everyone except the actual librarian was conceited and self-absorbed and wanted nothing to do with a slightly awkward-looking library patron. Whatever it was, I found myself liking librarians.

Utah Valley University Presentation 2009

2009-02-28T03:17:00.000-08:00

I was given the opportunity to be the speaker for Utah Valley University's visiting artist lecture series. For this presentation I had a panel of five "Chris's" speaking as I stood next to them wearing the speaker suit. All of the microphones were wired to the suit so although they were speaking, I was the speaker.

Contact Sheet

2009-02-28T02:13:00.000-08:00

Contact Sheet

2009-02-28T02:10:00.000-08:00

Contact sheet of some of my sculptural works.

Contact Sheet

2009-02-28T01:59:00.000-08:00

Contact sheet showing some of my sculptural works.

One of four similar ceramic sculptures

Two views of stone sculpture

The Strength to Say No

2009-02-27T21:56:00.000-08:00

Friday the 20th was the reception at the HFAC for the shows of Susan, Kisslan, Wei, and myself. I get rather frustrated with "moochers" at these events, who snack on the way into a theater event rather than seeing the art. The eats are an age-old, ongoing Pavlovian experiment--the Art Department's way of trying to get visitors to associate artsy-fartsy displays with good (or at least interesting) food, and reward attendance with a treat. When most students are doing their final show/reception, all available resources have been tapped, and the offerings to the (hoped-for) legions of attendees represent the final Widow's Mite of the BFA/MFA candidate. It is thoroughly annoying, and not to mention slightly thoughtless, for a theater-going visitor to step around three (that's right, I said THREE) signs inviting, in large and friendly red letters, the potential snacker to partake of the mind-expanding bounty of the art display BEFORE eating, and eat what may have been the last bit of cracker-and-cheese in the poor graduating student's pantry.

Of course, there is a reasonable possibility that I might be exaggerating slightly, but still--you understand.

I felt Chris had to step in.

Dressing up in a ritualistic fashion, and in full Chris regalia, I donned the Personna and Purdified myself. My kids, who were helping me with the reception stuff, determined it was just another evidence of my exposure to lead and mildly radioactive waste in my formative years, but pretended not to notice. I helped set up the food 30 minutes before hand, because Chris was really starting to get irritated at those darned insensitive theater-goers, and wanted some confrontation. I moved the signs warning about improper refreshment ingestion so they formed an obvious barrier against casual snacking, and sat like a predator (or maybe a small-town speed trap cop) waiting for victims to appear.

It was liberating.

As Chris, I was able to tell the offending, unworthy nibblers exactly what they could do with their greasy little tickets and half-eaten Pringles, unless they wanted to take some quality time and check out the REAL shows. My kids said that in reality I was weirdly polite, self-deprecating, and almost apologetic when I carefully explained why the moochers' behavior was incorrect. My mother-in-law said it was wonderful, and I needed to be Chris to the next family picnic when a huge family of squatters tries to take over the pavilion WE reserved.

After two hours of that, I wondered around the exhibits making Chris comments, and switching between answering questions as Chris (Well, what do YOU think it means?) and as myself (I suppose, before I go into that, I need to know if you are comfortable with the works of Heidegger, Hegel, Kant, Augustine, Pythagoras, Plato, and Ridley Scott--are you?). All in all, it was liberating (vs. the Theater People) and enjoyable.

Best of all, if any of the Theater People complain, they won't call me!

practicing

2009-02-27T12:25:00.000-08:00

A good conversation between Chris Purdies.

2009-02-25T21:32:00.000-08:00

I met with Chris today. We sat out on the lawn outside of the b66, it was surprisingly warm and then surprisingly cold by the time we went in. I kept picking little sticks and leaves up and breaking them between my fingers, I noticed that Chris didn't. I tried to make a mental note. We talked about how instead of our identity being something that is internal and external forces threaten it, our identity is rather the way that we internalize what and who is around us, we take it in, understand it in a particular way, and then that is manifest in what we call our "identity". We talked about how in the 5th grade Chris noticed a kid in his class who was full of quirks, and Chris felt like he didn't have any, so he made some up, which consequently have stuck with him through the years. I confessed that in the 8th grade there were some popular girls who had a habit of scrunching up their nose and top lip when they sniffed. I thought it was cute (don't ask me why) and in an attempt to be popular in the 8th grade, also adopted the feature. I do it to this day. It was nice and a little scary to understand that really, in a strange way, we are all portraits of each other.

I Am The Speaker

2009-02-24T01:27:00.000-08:00

The Speaker Suit -- 19 lbs. & 22 speakers

This is the suit I wore during the UVU lecture

Neuro Center

2009-02-22T22:10:00.000-08:00

Neuro Center was on display in the Y Show at Snow College February 22 - March 28. This exhibition is showcasing BYU's sculpture department. The show is full of very nice pieces.

Later this same piece was exhibited in BYU's Annual Student Show 2008

Metronomic Echo - Collaboration

2009-02-22T21:51:00.000-08:00

Metronomic Echo is a collaboration piece I did with Lia Kim Farnsworth for our "New Genre" class.

Creation Process

2009-02-22T01:24:00.000-08:00

Cecilia White - 2009.02.04 - 4.5 hrs
Duane Call - 2009.02.05 - 2.5 hrs
Sherisa Bly - 2009.02.07 - 2.5 hrs
Denise Metcalf - 2009.02.07 - 2 hrs

Monson Hayes - 2009.02.07 - 3 hrs

Amy Purdie - 2009.02.08 - 1 hr

Joscef Castor - 2009.02.09 - 1.75 hrs
Jake Ben Suazo - 2009.02.09 - 1.25 hrs

Melissa Myers - 2009.02.09 - 2 hrs

Maren Dennis - 2009.02.10 - 2 hrs

Amanda VanValkenburg - 2009.02.10 - 2 hrs

Gian Pierotti - 2009.02.10 - 1 hr
Neil Bly - 2009.02.12 - 4 hrs
Jayci Taylor - 2009.02.12 - 2.5 hrs

Aaron Ogilvie - 2009.02.13 - 2 hrs

Christopher Groesbeck - 2009.02.13 - 3.5 hrs

Emily Fox - 2009.02.14 - 2 hrs

Kaneischa Johnson - 2009.02.14 - 1.5 hrs

Jayson Reynolds - 2009.02.14 - 2 hrs
Andy Kosorok - 2009.02.16 - 2hrs
Brian Christensen - 2009.02.17 - 1.5 hrs
Eddie King - 2009.02.18 - 2 hrs
Hallie Wiseley - 2009.02.19 - 1.5 hrs
Lisa Stoffer - 2009.02.19 - 1 hr
Kat Mendeville - 2009.02.19 - 2 hrs
Fidalis Buehler - 2009.02.20 - 2 hrs
Laura A. Rowley - 2009.02.20 - 2 hrs
Joshua Dravland Brown - 2009.02.20 - 1.5 hrs
Hailey Nebeker - 2009.02.21 - 1.5 hrs
Dennis Purdie - 2009.02.22 - 1.5 hrs

Jason Purdie - 2009.02.23 - 1.5 hrs

Lisa Stoffer - 2009.02.20 - 1 hr

Ashley Mae Christensen - 2009.02.24 - 2 hrs

Austin Neal Lynn Baker - 2 meetings - 3 hrs

Ashlan Schofield - - 2 hrs

Judy Simmons - - 2 hrs

Many of the missing photos are due to the experience discussed in The SPEAKERS blog about the speaker suit.

The Speaker Suit

2009-02-22T01:08:00.000-08:00

X
X
X
X
X
X
X

Here are some pictures of me in my speaker suit containing 22 speakers, weighing 19lbs.

I know what you are thinking and you are correct. There are no pictures.

I made the hysterically, horrible mistake of holding my camera while in the suit.
Speakers are primarily magnets. Magnets reset memory. So my full card is now empty.
I can't help but laugh as I cry inside.

Camera + Speaker Suit = No pictures

The clothes make the man

2009-02-19T20:11:00.000-08:00

I got my uniform today, do I pass? How do you all feel when wearing the uniform? I think the pants make me look fat. :)

I AM CHRIS PURDIE --- March 6 2009 6-9PM

2009-02-08T14:07:00.000-08:00

One Night Performance

Photography: Leo Patrone Design: Cole Nielsen

I A M C H R I S P U R D I E

Title: I am Chris Purdie (I am Chris Purdie, Fidalis Beuhler, Neil Bly, Sherisa Bly, Duane Call, Joscef Castor, Ashley Mae Christensen, Brian Christensen, Maren Dennis, Emily Fox, Christopher Groesbeck, Monson Hayes, Kaneischa Johnson, Eddie King, Andy Kosarok, Kat Mandeville, Denise Metcalf, Melissa Myers, Hailey Nebeker, Colin Nesbit, Megan Nesbit, Gian Pierotti, Dennis Purdie, Jason Purdie, Amy Purdie, Jayson Reynolds, Laura Rowley, Jake Suazo, Jayci Taylor, Amanda VanValkenburg, Cecilia White, Hallie Wisely.)

Performance Description: The project involves 35 performers all playing the same role of visual artist, Chris Purdie, interacting with the viewers during the art reception in the Sego Art Center on March 6 from 6-9 p.m. For the duration of the art exhibition, March 6-28, there will be at least one "Chris Purdie" in the gallery during their hours.

Main Performance and Reception: March 6, 2009 6-9 p.m. (open to the public - free to come and go)

Performance Location: Sego Art Center (169 N. University Ave. Provo)

Exhibition Dates: March 6-28, 2009

For more information contact Chris Purdie: info@chrisdpurdie.com

Funded in part by The Laycock Center for Creative Collaboration in the Arts, College of Fine Arts and Communications, Brigham Young University

Performance Exhibition March 6, 2009 6-9PM

2009-01-29T12:09:00.000-08:00

The Portrait Project is well underway now. We have the cast and rehearsals have begun.
Watch for more information

2009-01-19T22:31:00.000-08:00

Please contact me if you are interested in being a part of this project.

Auditions Announcement

2009-01-10T19:38:00.000-08:00

A U D I T I O N S !

Artist Chris Purdie Announces AUDITIONS for a Performance Art Project

Needed: Looking for a diverse group of 40 actors and actresses, ages 16 and up, for a large-scale performance art project.

Project Description: The project consists of 40 actors and actresses all playing the same role of visual artist, Chris Purdie, in a gallery during his art reception (March 6th, 6-9 p.m.). Preparation will include learning how to improvise and "be" Chris Purdie. After the reception and for the duration of the art exhibition (March 6th-28th), there will be at least one "Chris Purdie" in the gallery during gallery hours. (For more information, see Project Details below.)

Expectations: I am looking for dependable and independently-driven individuals to produce quality performances. The project is a conceptually-driven performance. The performers are expected to understand the concept behind the performance and dedicate the time necessary to produce a quality performance.

Audition Information: Auditions will be improvisational and based on the character description you will be given.
Please come to one of the three audition dates listed below.
AUDITION #1
Date: Monday January 19, 2009
Time: 7-9pm
Location: Sego Art Center 169 N. Univ. Ave. Provo
AUDITION #2
Date: Tuesday January 20, 2009
Time: 7-9pm
Location: Utah Valley University Campus, Gunther Trades Bldg., Rm# GT 635
AUDITION #3
Date: Wednesday January 21, 2009
Time: 7-9pm
Location: Brigham Young University Campus, Harris Fine Arts Center, Rm# F556

Project Details:
Title: PORTRAIT: The Legacy of a Conversation
Performance Location: Sego Art Center (169 N. Univ. Ave. Provo)
Full exhibition runs March 6-28, 2009
Main performance/reception will be held on March 6, 2009 from 6-9 p.m.
Time commitment: If cast, performers will be asked to commit a total of approximately 24 hours (3-4 rehearsals, 2-3 performances).
Compensation: Performers will receive an exhibition catalog, documentary video, and a unique experience for their resumes.

For more information contact Chris Purdie: chrisdpurdie@hotmail.com or 801-426-4696.

Auditions

2008-11-09T02:11:00.000-08:00

Auditions are scheduled for January 19-21, 2009. There will be 3 separate auditions at BYU, UVU, and a community location. As we get further information it will be posted.

SPINE 001

2008-11-09T01:56:00.000-08:00

SPINE 001 is a lamp installation utilizing 40 lamps to create a spine-like form.

Exhibitions scenes - SEGO Art Center, Virtual Identities/Real Space, 2008

Natural Lighting 001

2008-11-09T01:46:00.000-08:00

This lamp installation was created outdoor at the Utah State Hospital for the acoustic performances during SEGO festival 2008

CERAMICS 001

2008-07-20T11:15:00.000-07:00

Von Allen my ceramics teacher challenged each of us to take a symbol and create 25 models in modeling clay from it, then we chose one to enlarge up to 25-30" in long beach clay. I chose a five pointed star as my symbol. Creating 25 models was a stretch of our imaginations, so it was a very valuable exercise. I relearned how brainstorming and drafting can help when beginning a project. I felt good about the model I chose to enlarge.

2" Model (Face)

2" Model (Side)

After a few quick calculations I was ready to build. The main point of the lesson was to learn how versatile pinching is and how large you can build in clay. I had a rough beginning, middle, and end but I learned a lot and was happy with the results.

25" Enlargement (Face)

25" Enlargement (Side)

I have been slowly letting it dry and secretly enjoying having it around because I am pretty sure it will explode in the kiln just like my classmate's sculptures did.

Sign Painter 001.2

2008-07-06T16:40:00.000-07:00

First outline the letters.

Then block it in.

Right Side

Left Side

Trunk

Center

The elephant is finished!

Signed and complete

From a distance

I am going to miss the late nights on a roof downtown Provo, listening to the city go to sleep as the final bands play, crowds disperse, traffic fades, and silence descends.

KIRBY Acting/Not-Acting Continuum

2008-07-03T08:29:00.000-07:00

This is a continuum taken from an article I have been reading about acting and not-acting by Michael Kirby. In this article he describes the many different styles and situations where each area applies. I feel this is important for the project since each performer will be placed in all of the categories depending on the viewer.

Kirby says "Acting means to feign, to simulate, to represent, to impersonate." He goes on to show the many different types of performance that do not involve acting or involve a smaller level of acting.
When Kirby says "non-matrixed" he is referring to "those performers who do not do anything to reinforce the information or identification. When the performer... is merely him-self and is not imbedded, as it were, in matrices of pretended or represented character, situation, place and time, I refer to him as being 'non-matrixed'."
He goes on to define the "received actor" as "only an honorary title, so to speak. Although the performer seems to be acting, he actually is not. The amount of simulation, representation, impersonation and so forth has increased as we have moved along the scale, but, so far, none of this was created by the performer in a special way we could designate as 'acting'." An example he gives of a "received actor" is an extra.
Moving closer to "acting" Kirby explains that "Acting can be said to exist in the smallest and simplest action that involves pretense." "The simplest acting is that in which only one element or dimension of acting is used." Acting exists in both physical and emotional terms.
"If the performer does something to simulate, represent, impersonate and so forth, he is acting."
"At times in 'real life' we meet a person that we feel is acting. This does not mean that he is lying, dishonest, living in an unreal world, or that he is necessarily giving a false impression of his character and personality. It means that he seems to be aware of an audience-to be 'on stage'-and that he reacts to this situation by energetically projecting ideas, emotions and elements of his personality for the sake of the audience." The example Kirby provides is that of a public speaker.
Kirby speaking of "complex acting" says, "In part, complexity is related to skill and technical ability." He continues, "Anyone can act; not everyone can act in a complex way."

PORTRAIT PROJECT PROGRESS REPORT 003

2008-06-29T21:23:00.000-07:00

I created a group on Facebook for the project. Please join Chris Purdie's PORTRAIT PROJECT group.

PORTRAIT PROJECT PROGRESS REPORT 002

2008-06-28T08:41:00.000-07:00

2008.6.24 - Met with Dave Mortenson of BYU’s Experimental Theatre Company to discuss their participation in the project. They will help with scripting and during Winter semester with workshops as an audition process. Scheduled next meeting for 2008.7.1.

ART PROJECT PARTICIPATION REQUEST 002

2008-06-24T00:14:00.000-07:00

The following is the request for participation and questionnaire I sent out to acquaintances.

_____________________________________________________________

Hello Family and Friends,

Many of you may remember the participation request email and form I sent out January 2008. I received some great feedback and look forward to more.

Please remember this is an ongoing project that will last up until the exhibition in March of 2009 at the SEGO Art Center of Provo.

PROJECT DESCRIPTION: A large-scale performance art project. I am working to create a conceptual self-portrait involving 35 actors/actresses who will learn how to be “me” and perform the part in an art gallery. They will wear the “Chris Purdie” costume, be strategically placed in the gallery, and act out specific roles as they interact with the viewers. In order for them to learn how to be me, I must better understand who I am (external and internal view). I need your help with the external part of the script for this production. I will use yours and others memories and experiences as well as my own to construct the external/internal image of “Chris Purdie”.

PARTICIPATION REQUEST: I would greatly appreciate it if you would write down as much as you can about me on the attached form. Your participation will be integral to the success of this project.
Please send me things as they come to you. This is a long-term project (about one year), so I hope there will be enough time for everyone to send more than one description form.

ATTACHMENT: Please answer the questions on the form and get it back to me (see questionnaire form below). Remember to write your name and the date in the “footer” section of the form.

DEADLINE: At this point in the planning stages the sooner I receive the forms the better. The latest I can accept the forms for use in the script writing process will be January 2009, but again sooner will be better.

Thank you for your participation and support.
Chris Purdie

____________________________________________________________

QUESTIONNAIRE:

P O R T R A I T
Introduction | Exposé | Memorial

1. How do you know Chris Purdie?

2. How long have you known Chris Purdie?

3. Describe Chris Purdie with one word:

4. Describe Chris Purdie with one sentence:

5. Please share stories, experiences, personality, quirks, flaws, weaknesses, strengths, mannerisms, phrases, or anything and everything you can think of:

PORTRAIT PROJECT PROGRESS REPORT 001

2008-06-24T00:09:00.000-07:00

I am very happy to announce that I received the Laycock grant from the College of Fine Arts and Communication at BYU to help fund this project.
I am currently in the script writing and planning stages and I hope to have a clear vision of the project (script and schedule) by the end of summer so I may move forward with execution.
Most of the background work will take place during Fall semester (Sept.-Dec. 2008), which will include: preparations for auditions/casting, design work for advertising methods/catalog, writing of press releases/invitations, purchasing and manufacturing of props, etc. More of the execution will be in Winter semester (Jan.-March 2009), which will include: auditions/casting/rehearsals, advertising/invitations/press releases, purchasing costumes/refreshments, exhibition/performance/artist reception, etc.

PARTICIPATION: I really appreciate all who have signed up to help with this project and look forward to working with you. If you know of anyone who would like to help please forward this information to them and have them contact me (see participation opportunities below). If you do not feel you will be able to help please let me know.
The Laycock grant is an interdisciplinary grant, which requires me to work with students and faculty from multiple departments of BYU. Although working within the college is a requirement, I am not limited and may also work with people outside of the college.

Participation Opportunities:
Actors/Actresses – Casting, Performance
Video Documentation – (Spencer Cahoon is primarily responsible for this and may need assistance)
Photographic Documentation – Photography (secondary help needed)
Marketing/Advertising – Public Relations, Invitations, Press Releases
Designer – Catalog, Flyer, Post Cards
Accounting – Budget, Purchasing
Artist’s Assistant – Curator, Other
Writer – Script, Biography, Essay, Press Release, Invitations

Compensation for Participants:
College Credit (Advisor carried/Independent study worked out through department)
Receive applicable work experience (Resume/Portfolio/CV)
Letter of recommendation
Personal growth through unique performance opportunity
A copy of the documentary

Thank you for your participation and support.

Chris Purdie
chrisdpurdie@hotmail.com

Sign Painter 001.1

2008-06-20T15:51:00.000-07:00

Painting the elephant sequence

Me at work

Sign Painter 001

2008-06-17T19:53:00.000-07:00

Previous Sign

Projection Night

Maht Paulos primed and painted preparatory to projection

Time to paint

Letter sequence

ATOM 001

2008-06-17T19:40:00.000-07:00

ATOM 001 - Installed at SEGO Arts Center 2008

ATOM Detail 1

ATOM Detail 2
(photograph by Maht Paulos)

Special thanks to the people at Provo DI for helping me each week.

Synapse 001

2008-06-17T19:38:00.000-07:00

Lamp installation in B-66 stairwell (sculpture facility at Brigham Young University)

Special thanks to the people at Provo DI for helping me each week.

The SPEAKERS 001

2008-06-17T15:31:00.000-07:00

I started preparing for the Speakers project over ten years ago and this last year I ramped up preparations. I am continually in the collecting stages; I am caching speakers wherever I can find space. Recently I started experimenting with structures. The next stage will come in a couple months as I begin experimenting with sound possibilities and other sculptural structures.

___________________________________________________

Storage container at the Deseret Industries from which I pick up speakers and lamps

One load of speakers in the back of my van - In route to Cache #2

Caching speakers at the B66

Cache #2 BYU B66 BFA Sculpture Studio

Backside of Cache #2
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Cache #3 BYU B66 MFA Sculpture Studio
___________________________________________________

Speakers in my van - In route to Cache #6 Weight Storage Facility of Springville Utah

________________________________________

Cache #8 Smith Residence of Lehi Utah

Underground cache at two incredible artist's residence - Andrew and Britney Smith

________________________________________

More Speakers in the van - Caching at BYU Storage Facility

Load in
________________________________________

The SPEAKERS Install #1 - Cache #9

_________________________________________

Many of my wonderful friends and family have provided a way for me to continue with this project by offering cache locations and I am very grateful for their kindness.

Special thanks to the people at Provo DI for helping me each week.

____________________________________________________

Cache_Name______________________Location___ Contents
1____ A1 Security Storage_____________Orem_____Speakers/Lamps
2____BYU B66 BFA Sculpture Studio_____Provo_____Speakers/Lamps
3____BYU B66 MFA Sculpture Studio____Provo_____Speakers
4____BYU B66 Sculpture Facility_______Provo______Vacated
5____Simmons Residence_____________Springville_Speakers
6____Weight Storage Facility__________Springville_Speakers
7____BYU B66 Sculpture Facility (Closet)_Provo_____Lamps
8____Smith Residence______________ Lehi______Speakers
9____BYU Storage Facility____________Provo_____Speakers