Shortly after I made this #greenscreenart #video, I upgraded to #HighSierra, which is incompatible with my favorite editor, #FinalCutExpress4. I had to strip my OS, downgrade to #ElCapitan and reinstall Final Cut Express. I can’t open any of the timelines I created prior to this “disaster”. However, since this video has three layers of keyed clips (i.e., first I keyed out the green the figure is wearing, and in a new file, keyed out the red backdrop, etc.) I had begun creating #AppleProResHQ files to used as my #source on different layers of the #timeline. It is so interesting how habits you develop as part of your #process, no matter what your practice (art, writing, law, business) can sometimes save your ass.
Year of creation: 2008
Psychotic Artifacts. Exhibited in The Revolution Will Be Televised, Altered Esthetics Gallery, Minneapolis, MN, 2008.
Year of creation: 2010
Depression As Geography. Exhibited in ‘CologneOff VII, Marrakech and Turkestan, 2011.
Year of creation: 2011
Indigo Lady. Selected for L.A. Neo Noir Film Festival, Femmes Fatales Grand Jury Award, 2016.
Indigo Lady pre-production videos. Exhibited at Galerie Chartier, West Haven, CT, 2013; KAPAS Film Festival, Spain, 2012.
Runnn. Exhibited on Skye Arte TV, Italy, 2013-2014.
Traveling To. Exhibited in STREETVIDEO Art on the streets of Paris and at Larcade Gallery, Paris October 2012, March 2013.
TYFTB (thank you from the bottom), (remastered and re-released 2017). Pre-production video screened at Galerie Chartier, West Haven CT, 2013.
Year of creation: 2013
Lucy, the First Human (remastered and re-released in 2017). Featured in The Unstitute Projection Room, November – December 2017.
running out. Exhibited in Pineapple Underground Film Festival, Hong Kong, 2014.
VOICE Pre-production videos. 2013-2016. Exhibited in International Video Art Exchange Program, Marrakech (2016) and in the Chemcraft Exhibit, CM Projects, London (2015).
Year of creation: 2014
before chill. Selected for Creative Arts Film Festival and awarded Honorable Mention for Best Cinematography, Online festival, 2016.
Queen. Exhibited in “Clash,” Siger Art Gallery, London, November 2017.
Year of creation: 2014
The Sound of Being. Toured internationally in Magmart F.I.V.E., 2014-2015. Exhibited in CCIFabrika “Now&After17,” Moscow, RU, 2017.
Year of creation: 2015
The Blue Lady by Sylvia Toy. Exhibited in 1974-1978 UNL Alumni Exhibition, Eisentrager-Howard Art Gallery, Lincoln, NE, 2016.
Passages, a Myth. Excerpt, PASSAGES, A MYTH | DISCOVERY OF THE PREGNANCY OF THE KING, exhibited in Festival Miden, Kalamata, Greece, 2016 and at Visual Container, Milan, IT 2017.
KILLER JANE Pre-production videos. 2015-2017. Selected for L.A. Neo Noir Film Festival and awarded a Femmes Fatales Grand Jury Award, 2016.
Year of creation: 2016
THE HARPY by Sylvia Toy. Selected for Bucharest ShortCut CineFest, September, 2016.
VOICE, a performance art movie. Selected for Hong Kong Arthouse Film Festival, 2017. Awarded Honorable Mention laurels by Los Angeles Underground Film Forum, 2016. Awarded Honorable Mention laurels by Experimental Film Forum, 2017.
VOICE Festival Cutting 2. Exhibited at VisualContainer TV (2016 and 2017) and toured in HearteartH to Barcelona, Berlin, Milan (2016).
VOICE Festival Cutting 3. Exhibited in Underground FilmFest, Munich, Germany, July 2017. Exhibited in Black Underground Film Fest, Rancho Cucamonga, California, October 2017.
Year of creation: 2017
THE HARPY Tribunal. Exhibited on Art Web Gallery, La Spezia, IT, online June-July 2017.
KILLER JANE by Sylvia Toy. Exhibited at Klanghaus, Oakland CA, May 2017. Selected for Chicago Amarcord Arthouse Film Awards, November 2017.
AND SO I SAID. Exhibited in Burnt Experimental Video Art and Film Festival, Montreal, December 2017.
There is nothing quite the light of late autumn/early winter. Shot on my iPhone while I was supposed to be making lunch. #experimentalfilm #sylviatoy #sylviatoystlouis #performanceart #sylviatoyindustries #AfricanAmericanartist
I have made autobiographical art about mental illness for twenty five years, including sculpture and solo theatre. One of my friends and theatre collaborators told me I’ve made so much art about it that I’ve almost cured myself of bipolar disorder. By the time I began working on VOICE, a performance art movie, it wasn’t autobiographical anymore. I was able to make surrealistic fiction about a middle-class woman who is so clueless about mental health that she is too embarrassed to tell her therapist that she was treated for an eating disorder as a young woman; a woman who is so out of touch with her inner self that her psychoses leave the planet without her. Also, the woman has had artist’s block since college – that’s not me! When the movie opens, she is a shell and her life has fallen apart.
I could never let my life fall apart like my character does. That’s not in my makeup. But I could also never let myself be vulnerable and as open to change as she is. I envy her vulnerability. I’m sure I’ve BEEN as vulnerable as anyone else; but as soon as I FEEL vulnerable, unlike the character in my movie, I become aggressive instead of falling apart.
This year, VOICE made me what is probably one of the best friends I’ve ever had. Her response to the movie has me in tears every time I think about it because she made it so personal. I believe that a work of art is not completed by its maker, but instead continues to be made by its viewers.
Years ago I toured a solo show about me and a mean voice that started inside my head when I was 8 years old. In the show, I play myself and the voice fighting constantly for control. When you’ve been living like that for 40 years, you can’t help but have a sense of humor or you’ll REALLY go crazy. But my audiences were usually dead silent in what I thought were the most deadly funny parts of my show until one night at the Midnight Sun in Olympia, Washington when the 15 schizophrenic outpatients I’d sold discounted tickets to, laughed so hard that I kept having to stop the show and I forgot some of my lines. That was art continuing in the viewer. My BFF making me cry about her response to VOICE is art continuing in the viewer.
A movie that I greenscreened by myself in my livingroom about a bipolar woman in therapy whose psychoses abandon her for outer space was such catharsis that I have to let it go – I have to let it continue. Thanks to Onlineum for spurring me to expedite subtitles so that VOICE could be part of Onlineum’s launch this past week.
I am so happy that the new online museum, Onlineum, is featuring my performance art movie VOICE through November 23, 2017. ‘A bipolar woman’s psychoses begin touring outer space …’ @ http://www.onlineum.com/exhibitions/
I have been quite grateful for all the artworld rejections I’ve ever gotten for the past week.
On November 1, I got an email saying: “We really like your work. We were wondering if we may suggest screening AND SO I SAID piece, we think it would go better with the overall flow of our program.” I submitted KILLER JANE, which is 13 minutes, to this festival – the other movie is 5-1/2 minutes.
If you participate in the art world in more than one medium long enough, you will find yourself in the same sort of situation in more than one medium. I can recall exactly how upset I was the first time I submitted two sculptures to a competition and my favorite was passed over while the other won me a prize. That experience did not make any less awful the night my scene partner and I gave a staged reading of my first two-person monologue and right afterwards the artistic director of the venue said to the audience: “I think this should be a solo performance and (pointing out another actress who was in the audience) [she] should do it.” They had to scrape me off the floor that night.
And then there’s the more than once of we-love-your-work-but-we-haven’t-made-our-final-decision-yet; and you wind up not getting selected. It takes years and years and years of rejections to recognize semi-finalist or honorable mention as currency.
So with all the rejections, disappointments and in my face ego battering under my belt, I laughed and told myself: “Don’t get too excited about maybe getting into this festival – you know the drill.”
I was going to write an essay about it however it turned out. I have been trying to get into art venues in Montreal for 20 years in three of my mediums. And I wish I could be there when Burnt Experimental Video Art and Film Festival screens AND SO I SAID.