Fall festivals are some of our favourite activities — they combine great atmosphere, perfect weather for strolling, good food, beautiful colours, fallen leaves to shuffle through. Last year most festivals weren’t running, so this year’s batch are especially welcome.
The two we’ve attended so far couldn’t be more dissimilar; the only common denominator is that they perfectly captured a period in time, one in the late 1800s, the other a modern-day take on art-in-the-park.
I’m on the mailing list for the Royal Botanical Garden in Hamilton, Ontario. If you’ve been following my blog you know that it’s already one of my favourite places to chill out as well as take photographs, and I’m always excited to hear about special events. In early September I received notification of something really intriguing, called “Seeing the Invisible”, i.e. Augmented Reality Art. The marketing described it as:
“Visitors will engage …through an app downloadable to their smartphone or tablet and encounter 13 unique and interactive artworks dotting the…landscape…This cutting-edge AR platform forges new links between the RBG landscape and global artists, harnessing the power of art to connect people to the natural world.”
None of our group really had much idea of what to expect, though, until we got to the first piece of art. With the special app installed on our phone or tablet, when we were in proximity with the artwork, we were prompted to activate it, and suddenly we could see the image on our device: an enormous boulder floating in the air, which we could walk around, lie or crawl under, and have our photo taken with if so desired.
The artist was El Anatsui from Ghana, who produces works of art out of thousands of bottle caps wired together with copper, “thereby catalyzing the transformation of familiar, mundane objects into startlingly poetic works of art”.
There were thirteen art pieces in all, each with specific meaning and style. Some were accompanied by music; some could be walked into to see something different on the interior than the exterior. This piece by Timur Si-Qin was called Biome Gateway and represented a temple cave that connected the garden we were walking through with a parallel landscape on the inside:
The interior was quite startling, a “virtual sacred locus of contemplation”:
One of the most interesting pieces was a massive doughnut-shaped symbolic representation of the number zero and its impact on mathematics.
Apparently the work was originally created for the city of Abu Dhabi, with its diverse population embodying coexistence and peace. The surface of the entire piece is covered in geographic coordinates that represent all the countries of the world. I really liked the concept of this one.
My personal favourite, by Israeli artist Ori Gersht, was called Forget Me Not. It featured a large, visually spectacular arrangement of flowers:
,,, which, when a visitor was close enough to ‘touch’, then exploded, scattering petals through the air of the large lawn where the artwork was located:
It was meant to evoke the creation of the universe and the transience of everything on earth, and included a commentary by three scholars offering different interpretations, but I just enjoyed the effect of walking amid the flower fragments, which lingered in the air for quite a while:
The exhibit was specifically chosen to take place in botanical gardens, to connect nature, art and technology without disturbing the natural environment. It opened simultaneously in only eleven gardens around the world, and we were extraordinarily fortunate to be close to the only exhibit in Canada. If you’re interested in finding out more and perhaps finding a location you can reach, visit the Seeing the Invisible website.
The very next day we traveled back in time at Pioneer Day in Jordan, Ontario.
Jordan is a small community along Twenty Mile Creek that was the first Mennonite settlement in Canada. The settlers had come north from Pennsylvania in 1799, and with the rich soil they soon developed a flourishing agriculture community.
Today the village is charming and trendy in the midst of one of the premiere icewine destinations in Canada, but the festival celebrating the early pioneers in the Niagara Region has been running for 55 years, long before the region became a mecca for wineries. My father used to take us when I was a child, and I remember cool fall days watching apple butter being made in huge kettles over a wood fire, the scents of apples and wood smoke, crisp sausages on buns, and a great family day overall.
My hubby and I have continued going sporadically over the years, but this year in particular it seemed like a nice fall activity to do. There’s a brand new and very modern museum on the site, which perhaps detracts a bit from the back-in-time feel that I used to love as a child, but there were still plenty of old-time enjoyments.
The two festivals couldn’t have been more different, but they book-ended a lovely weekend in fine October weather. Let me just say, thank goodness for the coronavirus vaccines that are allowing us to gradually return to normality and the opportunity to attend events again.
I’m also very pleased to announce that some of my photographic art is now available for purchase as wall art or on a variety of products through my site on Fine Art America. If you’ve liked my work that you’ve seen in my blog posts, I’ll just mention that I’ve introduced a special collection called Gothic Dreams — art for anyone who has a darker side that especially comes out in October 😀 Please do check it out!
3 thoughts on “Time capsule fall festivals + photographic art”
Awesome post! Nice pics💞
Thank you! It wasn’t until after the fact that I realized what a great juxtaposition the two festivals presented.
You’re welcome 💞