Dawson Metropolis audio and video artist up for $20,000 Yukon Prize for Visual Arts

Jeffrey Langille is one of six artists shortlisted for the $20,000 Yukon Prize for Visual Arts. (Amy Kenny/Yukon News)Jeffrey Langille is just one of six artists shortlisted for the $20,000 Yukon Prize for Visual Arts. (Amy Kenny/Yukon News)
“Working with sound and video gives me an immediate, immersive, and deep sensory engagement with materials,” says Dawson City artist Jeffrey Langille. (Courtesy/Jeffrey Langille)“Working with audio and online video provides me an immediate, immersive, and deep sensory engagement with products,” claims Dawson City artist Jeffrey Langille. (Courtesy/Jeffrey Langille)
“Chance processes give me the opportunity to defamiliarize ordinary perceptual events and to discover completely new sounds,” reads Jeffrey Langille’s artist statement for the Yukon Prize for Visual Arts. (Courtesy/Jeffrey Langille)“Chance processes give me the opportunity to defamiliarize normal perceptual activities and to learn absolutely new sounds,” reads Jeffrey Langille’s artist statement for the Yukon Prize for Visual Arts. (Courtesy/Jeffrey Langille)

If it hadn’t been for Dawson City’s winters, Jeffrey Langille’s artwork exercise might glimpse unique than it does nowadays.

1 of the six artists shortlisted for the Yukon Prize for Visible Arts, really worth $20,000, Langille moved to Dawson to do the job at the University of Visible Artwork in 2015.

That to start with winter season, he was transfixed by the ice fog mounting from the Yukon River. A filmmaker with a learn of great arts from Simon Fraser University, he shot infinite footage of the plumes coming off the drinking water — on Tremendous-8, 16-millimetre and significant-definition online video. He was struck by the visuals, but also by the seem and the lack thereof.

In the most silent moments, a raven would caw, or Langille would observe the seem of ice relocating in the h2o. It would break the real stillness, even though simultaneously contributing to it. To him, that interplay only further amplified the enormous sense of house he was now receiving from the landscape.

In putting together his completed movie, a 22-moment piece titled Elegy, some of his photographs were seven minutes extended. In them, the only detail that transpired was that fog moved throughout the display screen. Langille saw that he was pushing audiences to check out the form of gradual cinema he required to see. These days, he’s understood this kind of get the job done permits him to examine the idea of attention — how we direct it and the methods in which we give it to some thing.

How is it that there is often something new? is a 2013 movie of his that also nods to this idea. The five-moment video clip focuses on a pile of rocks as snow falls on them. Looking at, it kind of feels like a conversation you are acquiring with another person who’s basically stopped speaking. You wait for the other person to decide on up the thread of what you ended up speaking about. The for a longer period you hold out, the more billed your anticipations grow to be. You begin to fork out it’s possible far more — and nearer — notice, than if they ended up talking. You hear to the wind. The shot in no way changes.

That desire in consideration carries on to appear by means of in Langille’s a lot more new work. In the past few decades, he’s gotten into the audio part of his online video work in a way that’s led him back to music, a passion he gave up many years ago when he made the decision he didn’t have enough time to go after each it and movie.

Yet again though, extensive Dawson winters led Langille to obtain a guitar, which led to outcomes pedals, which led to synthesizers. That led to Langille discovering a community on Instagram of people who produce tape loops.

Tape loops are played on cassette recorders that have been broken and reassembled so they enjoy infinitely. The cassettes are deconstructed and Frankensteined back jointly as nicely. Langille makes or collects sounds, then physically cuts up the magnetic tape they are recorded onto, often splicing at random. He puts them again with each other in new configurations, usually of only a couple seconds extended, to be performed on a loop.

He likens the method to dumping a toy box on to the floor and taking part in with whichever falls out, but it’s a labour-intense tactic. For a even though, in advance of he recognized you could acquire pre-reduce tape for analog modifying, Langille was hand-measuring and chopping very small scraps of scotch tape to meet up with the dimensions of magnetic tape.

“I like the directness of it,” he claims. “I could most likely do what I’m undertaking with digital as well, but I guess there is form of a bit of a bias all-around the experience of purity with analog.”

Analog enables him to bodily implement changes to the tape in a way that has an immediate result on the tone listened to by listeners. Tape is impacted by the entire world all-around it, which includes temperature, in a way electronic is not. It allows Langille condition the sound in different ways than if he was generating with ones and zeros, he suggests.

The finished merchandise isn’t the type of audio you listen to on the radio. There may be choppy carnival sounds, snippets of conversation concerning men and women, or ominous Medieval hymns. Could we speak is a lengthier loop comprised of two unique guides on tape, edited together to sound like two men and women chatting. The terms of the visitors are nonsensical when volleyed back and forth. But the cadence and tone of their exchange adhere to recognizable designs of discussion. You sense like you really should be able to make sense of it, so you concentrate on it.

That’s what Langille wants — for you to attempt to uncover the sample.

“I really get off on that type of factor,” he suggests. “The concept of anything that is heading to repeat, practically like a mantra. And I shed myself […] I’m hoping that a particular person listening or watching will develop into conscious of their processes of focus.”

The Yukon Prize for Visual Arts will be announced Sept. 16.

Call Amy Kenny at [email protected]