…explores vacation culture at the crossroads of capitalism and the future of human consciousness. Travel and tourism is one of the world's largest industries. It "surpasses that of oil exports, food products or automobiles," according to the United Nations World Tourism Organization.
In seeking to understand the deeper meaning of vacation culture, Club Paradise considers certain existing fictions and fantasies about vacation.
Club Paradise is set in the vacation destination, Cape Cod and islands, where Wampanoag peoples lived in paradise 7,000 years before Europeans arrived. The vacation migration is compared to early nomadic tribes led by their shaman on the tracks of game. Only now the game pursued is a state of mind, a workers’ consciousness, tolerant of capitalist slavery.
These works examine the colonization of vacation areas, worker migration, pervasive control of workers' minds, the selling of nostalgia, the marketing of adventure absent in workers controlled lives and the use of memory to control capitalism. The vacation industry can be viewed as a means of dividing the empires' peoples, hastening environmental damage, the extinction of species, the growth of refugees, migrants, and terrorism.
Influenced by her own work in graphic design, perception and the service industry Chapman, in collaboration with Jeff Crouch, reveals the function of text and image inherent in vacation advertising. They rearrange vacation narrative and question social and marketing propaganda in moving and still image, mail collaboration and essay. The works become fable and myth, mixed with signs and propaganda.
Nomadic shamanic ritual is proposed in the redemption of hedonistic down time, a time to dream, to consider consciousness, awareness, and reconnect to the rhythm of nature and the vacationer's relation to earth.
Tears In The Night
…Club Paradise is always here. With Jeff Crouch. …an ad for Club Paradise in production....
With American composer Sean Derrick Cooper Marquardt. An eleven chapter video based on his album and filmed on San Francisco Peninsula 2016-2017.
Using Marquardt's chapter titles to address the social contradictions in a drone society: income disparity, environmental catastrophe, epic cultural upheaval.
Despite California’s free-wheeling, rebellious US government attitude, the state is the world's fifth largest economy supported by aerospace industry, bio-tech systems, military defense contracting corporations. Silicon Valley's highly militarized information corporations grew out of the Vietnam Nam War machine home based on the San Francisco Peninsula. The war machine morphed from the local, world's greatest WWII shipbuilders. This evolved from the wealth of California's San Joaquin Valley which supplies 25% of world's food. Big agriculture business has subsequently moved into the valley, and, having snatched the sea of wild grasses, wild flowers and the land of various peoples, has created more (unreported) crime than anywhere in the US.
Works on Paper, selected works, more coming soon when I expand this page…
Endgame2 2017 reflects on war arts glorified and embedded in human culture. It employs kung fu animal stance titles, camouflage markings, and the ambiguity of asemic writing to consider that the ultimate goal of the military-industrial complex is ambiguity, instability and no end to the game. Ride The Tiger, Green Dragon Drops Water, Hidden Leopard, Snake Creeps Down. 4 drawings on Lanaquarelle paper, watercolor, ink, graphite, personal rubber stamps. 9 x 12 in., 23 x 30.5 cm. http://the-otolith.blogspot.com.au/2017/05/cecelia-chapman.html
Blue Souvenir: memory and wampum, vacation and consciousness from Club Paradise 2019. The prints are cyanotypes, made with sunlight. The photographic process, originally called a 'blueprint,' was used by builders for drawing plans.
3asemiscapes: when meaning is meaningless, propaganda is meaningless. Asemic writing and drawing and glitch open the door of perception to transform consciousness. Asemic writing, mark-making and drawing are renegade acts, a fuck-off to global corporate-industrial, military-defense, and advertising-media propaganda. They are a revolt against social, thought and image control. Asemic and glitch are soul-food to the starving who wander, mapless and hungry, in the media landscape, pelted by slogans in a terrain without real, truthful or valuable meaning. 3 drawings on Lanaquarelle paper, watercolor 10 x 14 in., 26 x 36 cm. gouache, personal rubber stamps, graphite, ink. https://www.utsanga.it/chapman-works-4/
In Ultima Thule: Horizon, Border and Limits2018, we see a murky silhouette of NASA’s New Horizons spacecraft with (fantasized) sweeping searchlight and dropped ladder in an imaginary horizon. The space vehicle is scheduled to begin exploration of the Kuiper Belt object, 2014 MU69, recently nicknamed Ultima Thule, on Jan. 1, 2019. NASA says it will be the ‘most primitive world’ ever observed, the farthest visit in history.
These drawings grow from concern about geo-political complexities associated with "borders,” and the heated race to colonize space. Border complications not resolved on earth will affect territories in space. Perhaps the opportunity to dissolve borders is on the horizon? Can we transform our territorial nature and limits of behavior?
6 Digital Prints from Lanaquarelle paper, watercolor 10 x 14 in., 26 x 36 cm. gouache, personal rubber stamps, graphite, ink.
Strange Love 2017. Is there a more enigmatic species? Humans have been fascinated by them and cultivated them for thousands of years. They orchestrate a dance of sex and death through complex strategies of attraction to ensure survival. Orchids are the earth’s most rapidly evolving species, the largest species of flowering plants, are twice the number of bird species, and four times greater than mammal species. Genetic sequencing shows orchids may have evolved more than 76-84 million years ago. Perhaps they have something to tell us about survival and the balance of life.
Over the years I have drawn and studied orchid markings and pattern. Design is our way of attracting fate. Orchids speak the Asemic language. And they appear in two of my videos.
Club Assassin 2017 dwells on the fact we are all complicit in organized killing, using the Syrian word ‘assassin’ in the title, and the image of the endangered Syrian national bird. 3 drawings on Arches paper, watercolor, gouache, personal rubber stamps, digital print, graphite. 8.5 x 11 in., 21.5 x 28 cm. the-otolith.blogspot.com.au/2017/04/cecelia-chapman.html
ViperDown from Stealth
Stealth2015-2016 examines the war-like nature of our culture. An entire series with photographs of the panels with childrens’ war toys I found while working on Stealth. Birch panel, mineral pigment, acrylic, gesso, house paint, spray paint. Stand, hanging wire. 2014 - 2016. Some sold, originally 4 large, 4 small panels 8 x 12 in., 20 x 30.5 cm., and 24 x 24 in., 61 x 61 cm.