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more than going through the motions

The Shoeless Joes on their debut EP


by alex J MacPherson

collection of five infectious rock songs called The Motions. “We like catchy stuff,” says Stork, explaining that in addition to the sounds of classic rock and roll, the band members have also been influenced by groups like Foo Fighters, the Black Keys, and Kings of Leon. “We all like the grooviness. And when we get together and jam, the four of us, that’s just what comes out.” These sounds and more are captured on The Motions, which will be released later this month. Recorded over the winter in a series of short, intense bursts, The Motions was conceived as something the band could give to club

he members of the Shoeless Joes have been playing music together for years. Growing up in Maple Creek, a small town tucked away in the southwest corner of the province, Dillon Currie, Ethan Stork, and Aspen and Greig Beveridge spent their time learning covers of songs by Ray Charles and the Beatles — catchy pop from the golden age of rock and roll. In early 2012, reunited after several years apart and motivated by the success of a one-off show in Maple Creek, the four young men moved to Saskatoon and began planning their first record, a

owners to improve their chances of securing a show, a perennial problem for young bands. “We just wanted to put out something that was a very accurate representation of what we sound like during a live show,” Stork says of the record, which feels raw and unrefined. “We wanted it to sound as live as possible with as little production as possible.” The Motions captures the sound and intensity of a live performance, but it also depicts a band in search of a sound. The strongest song on the album, and the one that best captures the band’s musical vision, is “Black Roses,” which uses a blast

Photo: courtesy of anna martens

of frenetic guitar and piano to show off a chorus as simple as it is effective — proof that the Shoeless Joes have a solid foundation on which to build.

The Shoeless Joes August 23 @ Rock Bottom Tickets at the door

things potentially it can’t quite do,” she says, alluding to the idea that her original intention was subverted by an exploration of technique and process.” Creatures In Translation is a meditation on the relationship between high and low culture, and an examination of the way status changes over time. It is also a look at our collective desire to domesticate wild animals, to transform them into objects to be hoarded. But the main thrust of the exhibition is the process itself. It provides unprecedented access to a respected artist’s studio — a look at the details most artists will never reveal.

“When I think about it,” she laughs, “it’s four teapots and then riffing off of them, endlessly riffing. Like a jazz riff: you start with these things and what comes out unfolds through my own attempt to remake them.”

creatures in translation

Experiments in process from Saskatoon artist Susan Shantz


ost artists would be horrified by the suggestion that their sketches should be put on display. But this is the essence of Creatures in Translation, an exhibition of works by Susan Shantz. Creatures in Translation uses Shantz’s sketches, and even her mistakes, to subvert the way we think about art. By emphasizing the process rather than the finished product, Shantz is able to ask probing questions about form and technique. “The project started by looking at website images of artifacts in collections of galleries,” she explains. “They’re more accessible now, through the internet. You can see

by alex J MacPherson

what’s in a collection and there’s a sense that you know something because of the digital representation of it.” Shantz spent months exploring archives and basement vaults using her computer. She looked at thousands of digital prints. But something wasn’t quite right. “You can’t have three dimensions on the internet,” she says. “You can get a photographic representation, but you miss a lot of what I like — the physicality of the thing. The somatic sense of things, what they’re like in space.” Shantz found the solution in an article about three-dimensional printing, a technique used by engi-

neers and architects to transform digital renderings into solid objects. Selecting images of four Japanese teapots shaped like animals, she set about trying to replicate them. Working from photographs and basic measurements, she spent hours learning how to carve virtual blocks of clay with virtual knives. The learning curve was steep and mistakes began to pile up, but Shantz saw value in every one of her creations. “I was interested in how there would be errors in the attempt to replicate, because maybe the scale isn’t quite right, but I was also interested in how the digital technology breaks down, and how there are

Creatures in Translation Through August 30 @ Kenderdine Art Gallery Free

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Profile for Parity Publishing Inc.

Verb Issue S253 (Aug. 16-22, 2013)  

Verb Issue S253 (Aug. 16-22, 2013)

Verb Issue S253 (Aug. 16-22, 2013)  

Verb Issue S253 (Aug. 16-22, 2013)

Profile for verb