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#103 1013 vancouver st.
Victoria, BC
Canada

ineffable is a literature & arts magazine that seeks to rouse and relish in the “unspeakable”: the erotic voice, the spiritual fever, the fiercely beautiful. We seek to provide established and up-and-coming artists with a medium for representation, displaying earnest work and creativity while withholding nothing. ineffable is an experiment in open identity and self-expression.

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Frances Adair McKenzie

We stumbled upon the other-worldly works of Frances Mckenzie displayed at a show hosted by the 50/50 in Victoria, BC. We soon became more acquainted with her multi-media work and fell in love with the surreal worlds she creates through motion-design, animation and immersive installation. In her own words, her work "evokes a din of concentrated effects that meld both high and low cultural references and technologies. With a simultaneous eye to the history of art and the culture of Pop she extends upon the precedents of feminism and digital culture only to foreground the spectacle as a D.I.Y. space of subversion and tool of empowerment."

We stumbled upon the otherworldly works of Frances Mckenzie displayed at a show hosted by the fifty fifty arts collective in Victoria, BC. We soon became more acquainted with her multimedia work and fell in love with the surreal worlds she creates through motion-design, animation, and immersive installation. In her own words, her work "evokes a din of concentrated effects that meld both high and low cultural references and technologies. With a simultaneous eye to the history of art and the culture of Pop she extends upon the precedents of feminism and digital culture only to foreground the spectacle as a DIY space of subversion and tool of empowerment."

In A Love Poem to Unnecessary Objects,  she defamiliarizes everyday objects by instilling them with the bizarre, creating an uncanny sensation in a wonderfully disturbing kind of way. 

Among other projects, Frances has been collaborating with  Alexs Schürmer, a Montreal-based multi-instrumentalist composer and producer, to form the collective Party Like It's 1699, an 18th-century inspired digital opera, taking classical music from the confines of the modern concert hall and revisiting it through a postmodern lens.

We have included a sample of Clytie Revisted below, a shorter version of Party like It's 1699 that was produced for Short & Sweet. Clytie is a milk- maiden known for her unrequited love for Helios. Eventually, she has her heart broken and dies. The gods transform her into a flower and she is forced to watch Helio's daily travels across the sky, as he nonchalantly puffs his cigarette, oblivious to the agony he inspires in her. After watching him fly above her night and day, paying her no heed, Clytie eventually wilts away and dies. 

 

Frances' work will be featured in Anteism's second augmented reality book. Augmented reality uses the printed page, hand held devices, inter-activity, and digital content to fuse the gap between digital artists and the print and publishing industry. If you love Frances' work as much as we do, you can help support Anteism's Indegogo campaign by purchasing a perk, or grabbing a copy by visiting their website here.  

Blue Skin
Orange Eyes

Frances is based in Montreal but originates from 100 Mile House, BC, and thanks her origins for a strong Dutch Protestant work ethic. She strongly agrees with Nietzsche that, “we should consider every day lost on which we have not danced at least once.”

Check out her artist website, Vimeo page, and project site for more fascinating work by Frances.

 

 

 

Words by Julia Serena. Images and videos © Frances Adair McKenzie, reproduced with permission.