Sylvia Toy St. Louis | List of Work (Exhibition List | Videography), January 2018

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.

Advertisements

VOICE, a performance art movie (English subtitles) is playing on Onlineum

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/

Artist’s Life 101: I would be nothing if not for all my failures

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.​

Credo: A Pilgrim. A new movie project in story development

The central character of Credo: A Pilgrim is A Pilgrim, who is known to the people who know him only as The Amateur Baritone. The Baritone travels only with a few possessions, the most precious of which is an invisible box containing religious items (a rosary; a Bible; the Philokalia; a small statue of Buddha; and three talking bobble heads who are his religious advisors – a retired abbess, a Catholic priest and a Baptist preacher. He ekes out a living doing odd jobs and singing spirituals for change. The other major characters include A Churchlady, a grandmotherly, well-intentioned type who after hiring him as a gardner now cleans his clothes, feeds him and – convinced he is gay – tries to turn him straight, including introducing him to a Yoga instructor, even though she thinks Yoga is heathen and that her Yoga friend is a slut. A Churchlady’s house is his most frequent stop in his travels. The Yoga Instructor is the sixth major character; rather than try to seduce him, she is trying to teach him “soul,” a quality of which his spiritual singing is sorely lacking.

Portfolio: Video performance art, 2008-2014

A portfolio reel of video performance art created between 2008 and 2014 (Color/Stereo 34:10 mins USA). The second movie, Depression as Geography 2009, was selected for CologneOff 7.

As I plan a video essay about greenscreening and collect my thoughts, including why I greenscreen, I have begun to look at my older video works. I realized that almost as soon as I bought my first camera, I was taken with layers, beginning with shadows and reflections; and that eventually led me to keying out the visible world and replacing it with imaginary environments.

As an extremely introverted person with Asperger’s, I learned the hard lesson that if I do not consciously take my inner life with me everywhere I go, I feel awkward, uncomfortable, frustrated, unhappy and dissociated.

It seems such a paradox that staying inside my head, my comfort zone, helps keep me in the moment and grounded in the “real world.” In a way, greenscreening allows me to create a real geographic location out of my inner life.

Sylvia Toy Art Films on Etsy – New Slideshow of Production Stills

Sylvia Toy Art Films. DVDs are available on Etsy.

The Harpy Tribunal, live multimedia performances (Prospectuses)

I am interested in live performance opportunities. I have 17-years of experience as a touring theater artist, the expertise to produce stage-ready presentations, and the technical skills and software/equipment set-up to broadcast live. My current stage-ready performances are part of a series video performances and performance art movies about a goddess who awakens after 10,000 years in a coma. She is bewildered and horrified as she becomes more awake and remembers that her sisters put her into a coma as a punishment. In the live multi­media performances of The Harpy Tribunal and The Harpy Sisterhood, the actor/performer interacts with the Sisterhood portrayed on video.

the-harpy-tribunal-pt-1-by-sylvia-toy-2016


The Harpy Tribunal.

The multi-media performance is approximately 7 minutes long from entrance to exit. There are three distinct parts. The performance (a) begins with the accused Harpy angrily intoning her distress and finally collapsing in tears; (b) continues she silently waits for her sisters; and (c) ends as she silently, respectfully listens to her sisters sing their accusation. Actions in the video and live performance are ritualistic, choreographed – i.e., very formal due to the solemn theme: a trial of a goddess by her sisters for the treason of disagreeing with them and saying they were wrong to create humans.


sylviatoyindustries-harpy-the-1st-one-monologue-1


The Harpy Sisterhood.

The multi­media performance is approximately 10 minutes long from entrance to exit. There are three distinct parts. The performance begins with the accused Harpy asleep and dreaming as the background video shows her sisters rejecting her. She screams herself awake. In the second part, The Harpy silently waits for her sisters as marching steps and gong signal the gathering of the Sisterhood Harpy Tribunal.

In the third part, the Harpy silently, respectfully listens to her sisters sing their accusation but begins proclaiming her innocence. The Harpy Sisterhood ends with the Sisterhood marching out. Actions in the video and live performance are ritualistic, choreographed i.e., very formal due to the solemn theme: a trial of a goddess by her sisters for the treason of disagreeing with them and saying they were wrong to create humans.


The live performer will portray the accused Harpy. The effect should be theatrical; the live performer will not break the Fourth Wall i.e., interact with the audience any more than a real­life accused would interact with spectators or the jury in a courtroom. The ongoing story of The Harpy is, ultimately, an exploration of what “peer” status is in society and how that status is affected when a member of society rejects decisions or standards that have been agreed upon or accepted by their peers as a group. In the Harpies’ world, law and punishment are relentless in the end, the offending sister is condemned to a 10,000 year coma; when she awakens, her entire species including her sisters have become extinct. The story is also an exploration of whether in the big picture society allows itself to be affected by dissension/protest, and if so, whether the result is a positive or negative impact. I suspect the impact will be reflected in the responses and reactions of each audience member and his/her judgment not only of the Harpy, but also of the judges.