Joshua Watson's Leg

<rss version="2.0"
	xmlns:content="http://purl.org/rss/1.0/modules/content/"
	xmlns:wfw="http://wellformedweb.org/CommentAPI/"
	xmlns:dc="http://purl.org/dc/elements/1.1/"
	xmlns:media="http://search.yahoo.com/mrss/"
	
	>

<channel>
	<title>Joshua Watson's Leg</title>
	<link>https://joshuawatsonsleg.com</link>
	<description>Joshua Watson's Leg</description>
	<pubDate>Sat, 24 Oct 2020 16:27:49 +0000</pubDate>
	<generator>https://joshuawatsonsleg.com</generator>
	<language>en</language>
	
		
	<item>
		<title>Front page</title>
				
		<link>https://joshuawatsonsleg.com/Front-page</link>

		<pubDate>Mon, 19 Oct 2020 18:37:03 +0000</pubDate>

		<dc:creator>Joshua Watson's Leg</dc:creator>

		<guid isPermaLink="true">https://joshuawatsonsleg.com/Front-page</guid>

		<description>
	

Joshua Watson’s Leg
(In Four Movements)

Three-Channel HD Video + Handbound Book

&#38;nbsp; &#38;nbsp;&#38;nbsp;About this Work 


by emilie crewe

created &#38;amp; produced on 
the stolen, sacred and ancestral
territories of the sḵwx̱wú7mesh, 
sel̓íl̓witulh &#38;amp; xʷməθkʷəy̓əm nations.

</description>
		
	</item>
		
		
	<item>
		<title>About</title>
				
		<link>https://joshuawatsonsleg.com/About</link>

		<pubDate>Mon, 19 Oct 2020 18:37:04 +0000</pubDate>

		<dc:creator>Joshua Watson's Leg</dc:creator>

		<guid isPermaLink="true">https://joshuawatsonsleg.com/About</guid>

		<description>

&#60;img width="2390" height="1456" width_o="2390" height_o="1456" data-src="https://freight.cargo.site/t/original/i/56786e50de1e355528220ba3322cf922f2f97da928ad46ed2d90da95f0c5c622/JW_Note-copy.png" data-mid="86491272" border="0" data-scale="81" src="https://freight.cargo.site/w/1000/i/56786e50de1e355528220ba3322cf922f2f97da928ad46ed2d90da95f0c5c622/JW_Note-copy.png" /&#62;


	A handful of years ago,I came across the above 18th century handwritten note while sorting through a bin of scrap paper at Old English Bindery in North Vancouver, BC, on the stolen, sacred and ancestral territories of the sḵwx̱wú7mesh (Squamish), sel̓íl̓witulh (Tsleil-Waututh), and xʷməθkʷəy̓əm (Musqueam) nations.&#38;nbsp; In 1773, at the time that this script was penned, these ancestral lands were void of colonial settlers, a detail that I often think of as I navigate my own sense of place here in Canada.
The artifact above is a mystical document originating from nearly 4,500 miles away, and over two centuries in the past.&#38;nbsp; When I uncovered this relic, I was working as an assistant to Richard Smart, a third-generation master bookbinder from the UK. &#38;nbsp;I held this position for a few years, all the while stowing away ideas for my own artistic practice, and holding onto this unique, macabre treasure.

	
In 2019, I began writing a fictional story based on the three names found in the text of the note:&#38;nbsp; Henry Newburn, Malin Sorsbie and Joshua Watson. &#38;nbsp;In 2020, I was awarded a grant for visual artists from the British Columbia Arts Council to adapt this narrative into a multi-channel video with an accompanying installation.&#38;nbsp; The project, titled,&#38;nbsp;Joshua Watson’s Leg (In Four Movements), is documented within this website. 
Transcript:&#38;nbsp;
this was Wrote on Sunday 24th January 1773by Malin Sorsbie, with a Bone which was taken out ofJoshua Watsons Leg the Same Day, by Henry NewburnNewcastle upon Tyne... End


&#60;img width="1537" height="184" width_o="1537" height_o="184" data-src="https://freight.cargo.site/t/original/i/ce84ebc8fe6b519829b18f7b24aa07d5e23c55ee57852f5cab8d7734ec98ef7f/ArtsCouncil-BCID-lockup-rgb-pos.png" data-mid="86519783" border="0" data-scale="30" src="https://freight.cargo.site/w/1000/i/ce84ebc8fe6b519829b18f7b24aa07d5e23c55ee57852f5cab8d7734ec98ef7f/ArtsCouncil-BCID-lockup-rgb-pos.png" /&#62;
&#60;img width="1010" height="438" width_o="1010" height_o="438" data-src="https://freight.cargo.site/t/original/i/972fd9e6acbb3a161687a0d94a66bbc75fb5314efa2975900ed2f28020beec6f/VIVO_logo_lines_large_BW.png" data-mid="92131236" border="0" data-scale="16" src="https://freight.cargo.site/w/1000/i/972fd9e6acbb3a161687a0d94a66bbc75fb5314efa2975900ed2f28020beec6f/VIVO_logo_lines_large_BW.png" /&#62;emiliecrewe@gmail.com
</description>
		
	</item>
		
		
	<item>
		<title>Video</title>
				
		<link>https://joshuawatsonsleg.com/Video</link>

		<pubDate>Fri, 23 Oct 2020 17:11:14 +0000</pubDate>

		<dc:creator>Joshua Watson's Leg</dc:creator>

		<guid isPermaLink="true">https://joshuawatsonsleg.com/Video</guid>

		<description>
&#60;img width="2600" height="993" width_o="2600" height_o="993" data-src="https://freight.cargo.site/t/original/i/57f6e7768543299860000df8ab9f0eabf1465b89324326f8c0a544ffb26a2b41/THREE_CHANNEL_INSTALLATION.jpg" data-mid="102627313" border="0"  src="https://freight.cargo.site/w/1000/i/57f6e7768543299860000df8ab9f0eabf1465b89324326f8c0a544ffb26a2b41/THREE_CHANNEL_INSTALLATION.jpg" /&#62;
Three-Channel Video Installation Mock-Up (Featuring Video Still Images from the Third Movement)
Joshua Watson’s Leg (In Four Movements) is a three-channel video installation accompanied by an assortment of pseudo-historical objects and a handbound sculptural book (w/ embedded digital screen).&#38;nbsp; The project is based off of an authentic 18th century handwritten note that was found in a bin of scrap paper at a traditional bookbindery in 2015. The artwork is intended to be shown as a large-scale exhibition with faux artifacts.&#38;nbsp; Viewers will
recognize the items within the three-channel video as the additional components
in the exhibition. By incorporating antiquated objects and relics from the video, and presenting them in a museum-like manner, the aim is to challenge the audience’s perception of history and what can be percieved as fact, versus the illusary narrative produced by the artist.


	Joshua Watson’s Leg (In Four Movements), 2021Three-channel HD Video &#124; 23’45”(In Four-Part Symphonic Form)
	Bruce Stens as Joshua WatsonRichard Smart as Henry NewburnSherry Duggal as Malin Sorsbie


Structured as a four-part symphony, Joshua Watson’s Leg (In Four Movements), follows the pseudo-historical account of a grave accident resulting in the eventual anthropodermic binding of a disturbing “coroner’s report”. Bookbinder, Henry Newburn, comes across the body of Joshua Watson in the woods. Keeping time, Newburn drags the corpse back to his nearby workshop.
Bindery apprentice, Malin Sorsbie, prepares the body for the tanning process, while subtly tucking away a fractured shard of bone in her apron.&#38;nbsp; As Henry methodically binds a leather book out of Joshua Watson’s skin, a process known as anthropodermic bibliopegy, Malin practices her calligraphy skills on scraps of paper.

Narrative Synopsis (Broken Down by Movement) 
BPM = Beats per Minute


	&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/293983f42f0b6fd8dfb0e45e2853e724e43a6d863b05220d74a9c54345fe060d/BruceForestSTILL.jpeg" data-mid="86859915" border="0"  src="https://freight.cargo.site/w/1000/i/293983f42f0b6fd8dfb0e45e2853e724e43a6d863b05220d74a9c54345fe060d/BruceForestSTILL.jpeg" /&#62;
I.&#38;nbsp; The Accident &#124; Allegro - 120 BPM &#124; Sonata FormJoshua Watson’s leg had been badly broken in the accident. A sharp bone pierced his skin, and he bled out over the course of many hours...Foraging in the local woods, bookbinder, Henry Newburn, comes across the body of Joshua Watson at the bottom of a ravine. A workable leather specimen, the craftsman carefully procures his find, dragging the cadaver through the brush to his nearby workshop.

	&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/bf14f01771f3123ac540c63c1217be2614842461e1b1b5f42dfc0ab7a540f163/MalinVIVOSTILL.jpeg" data-mid="86859931" border="0"  src="https://freight.cargo.site/w/1000/i/bf14f01771f3123ac540c63c1217be2614842461e1b1b5f42dfc0ab7a540f163/MalinVIVOSTILL.jpeg" /&#62;
II. &#38;nbsp;The Resurrection &#124; Adagio - 66 BPM &#124; Slowly, with Great ExpressionUpon arrival, the awaiting apprentice, Malin Sorsbie, patiently assists Newburn in preparing the corpse for the tanning process.&#38;nbsp; Malin nurtures Joshua Watson’s remains, delicately washing his lifeless body.

	&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/2fcef485b8f60a7a262e7a16be4998b7f0c6717286a8ea499fad82edb90b7bd7/BruceDeadSTILL-2.jpeg" data-mid="86859990" border="0"  src="https://freight.cargo.site/w/1000/i/2fcef485b8f60a7a262e7a16be4998b7f0c6717286a8ea499fad82edb90b7bd7/BruceDeadSTILL-2.jpeg" /&#62;
III. &#38;nbsp;The Undertaker’s Minuet &#124; Andante - 88 BPM &#124; Three-Quarter TimeThe dance begins in a damp, candlelit workshop. Henry Newburn strikes a match, illuminating his face as he stokes his pipe. The dried tobacco leaves gently crackle into frail embers. The air is rancid and sweet, as thick drags of dry smoke mingle with humidity.
	&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/2c5c2391ca77fc6603596d21d2e3f1639aa3c6ed8b6cb089f465d99ed379886e/JW_toolingBOOK_STILL.jpeg" data-mid="86859993" border="0"  src="https://freight.cargo.site/w/1000/i/2c5c2391ca77fc6603596d21d2e3f1639aa3c6ed8b6cb089f465d99ed379886e/JW_toolingBOOK_STILL.jpeg" /&#62;
IV. &#38;nbsp;Joshua’s Requiem &#124; Varying Tempos&#124; Sonata Rondo Form (Finale)Henry’s hands are fermenting. He waits for his partner, Joshua, whose skin is taut on a frame. Rising from his arthritic chair, he tends to his companion with earnest measurement. The wet coolness has left the hide. Placing the leather on a thick paring stone, Henry strops his knife and pushes his weight into the hide. Thin slivers of velvety suede fall to the side of the stone, as Henry brushes them away and diligently works the skin into a delicate tissue, so thin that you can almost see through it.
... Malin and Joshua join in the rollicking finale of Joshua Watson’s Leg.
</description>
		
	</item>
		
		
	<item>
		<title>Book</title>
				
		<link>https://joshuawatsonsleg.com/Book</link>

		<pubDate>Sat, 24 Oct 2020 16:27:49 +0000</pubDate>

		<dc:creator>Joshua Watson's Leg</dc:creator>

		<guid isPermaLink="true">https://joshuawatsonsleg.com/Book</guid>

		<description>
	
	
&#60;img width="4253" height="3296" width_o="4253" height_o="3296" data-src="https://freight.cargo.site/t/original/i/6615237ae760afee1e502b7fbd7f9768b592d2246af63e56d0b7a126a46d8c03/BOOK_DEATHMASK_background.jpg" data-mid="94105330" border="0"  src="https://freight.cargo.site/w/1000/i/6615237ae760afee1e502b7fbd7f9768b592d2246af63e56d0b7a126a46d8c03/BOOK_DEATHMASK_background.jpg" /&#62;

	An Account of Joshua Watson

Bound by Richard Smart &#38;amp; Emilie Crewe
Faux Anthropodermic Clamshell Box w/ 
Embedded Digital Screen (Tablet)Sheep Skin, 24k Gold LeafDeer Teeth + Skull Inlays11” x 7.6” x 1.75”
&#60;img width="3076" height="4627" width_o="3076" height_o="4627" data-src="https://freight.cargo.site/t/original/i/b8e9c6a2f601adec216d4a582d1620bb2381f42724d21a19a26bbdced0165ba2/BOOK_BACK_background.jpg" data-mid="86845494" border="0" data-scale="77" src="https://freight.cargo.site/w/1000/i/b8e9c6a2f601adec216d4a582d1620bb2381f42724d21a19a26bbdced0165ba2/BOOK_BACK_background.jpg" /&#62;

	
This pseudo-historical object materializes in the third and fourth movements of the symphonic story of&#38;nbsp;Joshua Watson’s Leg (In Four Movements). A collaborative sculpture bound by Richard Smart &#38;amp; Emilie Crewe, this item serves as a prop in the movie, as well as a work of art intended for exhibition. Following the narrative of “Joshua Watson’s Leg”, this sculpture is meant to act as a record of Joshua Watson himself. Embodying the appearance of a book bound in human skin, with teeth &#38;amp; skull inlays, this curious oddity also features an embedded digital screen that displays the death mask of the character, Joshua Watson, beset by a cluster of worms and insects.

&#60;img width="4225" height="2584" width_o="4225" height_o="2584" data-src="https://freight.cargo.site/t/original/i/13cf39c11d5df806b2d804157c7450b161889a01ba188b32a920d7a85a180a48/BOOK_FLAT_wSCREEN.jpg" data-mid="86845560" border="0"  src="https://freight.cargo.site/w/1000/i/13cf39c11d5df806b2d804157c7450b161889a01ba188b32a920d7a85a180a48/BOOK_FLAT_wSCREEN.jpg" /&#62;


</description>
		
	</item>
		
		
	<item>
		<title>Objects</title>
				
		<link>https://joshuawatsonsleg.com/Objects</link>

		<pubDate>Fri, 23 Oct 2020 17:11:27 +0000</pubDate>

		<dc:creator>Joshua Watson's Leg</dc:creator>

		<guid isPermaLink="true">https://joshuawatsonsleg.com/Objects</guid>

		<description>


	&#60;img width="5083" height="2859" width_o="5083" height_o="2859" data-src="https://freight.cargo.site/t/original/i/00f630968e406dfa3c3aae2963de14f6e054400681f4185c65c28ae4731d0421/DeathMask.jpg" data-mid="86568680" border="0"  src="https://freight.cargo.site/w/1000/i/00f630968e406dfa3c3aae2963de14f6e054400681f4185c65c28ae4731d0421/DeathMask.jpg" /&#62;

	Joshua Watson’s Death Mask
Sculpted by Emilie Crewe

Clay, Acrylic Paint, Human Hair

11.5” x 5.5” x 4.5”
	
This sculptural likeness of the character, Joshua Watson, portrayed by Canadian actor, Bruce Stens, is a pseudo-historical death mask. The object can be seen in video form embedded within the handbound sculptural book, An Account of Joshua Watson. &#38;nbsp;


	&#60;img width="5093" height="2865" width_o="5093" height_o="2865" data-src="https://freight.cargo.site/t/original/i/a7a8c545c0d8929862293b225139312f5f320606b33551c3f16c5f8576d689bd/Glasses.jpg" data-mid="86568688" border="0"  src="https://freight.cargo.site/w/1000/i/a7a8c545c0d8929862293b225139312f5f320606b33551c3f16c5f8576d689bd/Glasses.jpg" /&#62;Henry Newburn’s Glasses
Antique Victorian Era “Nose Pinch”

4.5” x 2” x .0625”
	&#60;img width="4989" height="2806" width_o="4989" height_o="2806" data-src="https://freight.cargo.site/t/original/i/983203e9fc26011fc1f29bfffe318b2efad3fa7e17fcc30f7352ec0c03e35969/Bone.jpg" data-mid="86570131" border="0"  src="https://freight.cargo.site/w/1000/i/983203e9fc26011fc1f29bfffe318b2efad3fa7e17fcc30f7352ec0c03e35969/Bone.jpg" /&#62;Joshua Watson’s “Leg Bone” Nib Pen

Shard of Cow Tibia2.5" x .75" x .375"

	&#60;img width="4963" height="2792" width_o="4963" height_o="2792" data-src="https://freight.cargo.site/t/original/i/07c4cbdc2c8969ddb7dc83efd98c3b5305b21a1dbf7f6c4b8056259e9386dbae/Pipe.jpg" data-mid="86568709" border="0"  src="https://freight.cargo.site/w/1000/i/07c4cbdc2c8969ddb7dc83efd98c3b5305b21a1dbf7f6c4b8056259e9386dbae/Pipe.jpg" /&#62;
Henry Newburn’s Pipe
Vintage Canadian Brigham Tobacco Pipe
5.5” x 2.25” x 1.5”


&#60;img width="5184" height="2916" width_o="5184" height_o="2916" data-src="https://freight.cargo.site/t/original/i/8f05ad54724e600a4b8b8970a6f4b9eaec757c23e964e2598af11884e5ab1912/Notebook.jpg" data-mid="86568707" border="0"  src="https://freight.cargo.site/w/1000/i/8f05ad54724e600a4b8b8970a6f4b9eaec757c23e964e2598af11884e5ab1912/Notebook.jpg" /&#62;
&#60;img width="5184" height="2916" width_o="5184" height_o="2916" data-src="https://freight.cargo.site/t/original/i/b4507440fb557d8f4c1ac179e9ae9be9254481380d48eb263cbd8bcfcfcd6ddb/Notebook3.jpg" data-mid="86568708" border="0"  src="https://freight.cargo.site/w/1000/i/b4507440fb557d8f4c1ac179e9ae9be9254481380d48eb263cbd8bcfcfcd6ddb/Notebook3.jpg" /&#62;
Joshua Watson’s Pocket Diary
Bound by Emilie Crewe
Calf Skin w/ Handsewn Endbands
Hand-tooled w/ “J.W.” Initials
5.75” x 3.25” x .6”
&#60;img width="5110" height="2873" width_o="5110" height_o="2873" data-src="https://freight.cargo.site/t/original/i/08995a22d468c2fa69c65d9ca69bd502731a7d6d02abb4ecb2fd7a736791ceef/MalinBook3.jpg" data-mid="86568706" border="0"  src="https://freight.cargo.site/w/1000/i/08995a22d468c2fa69c65d9ca69bd502731a7d6d02abb4ecb2fd7a736791ceef/MalinBook3.jpg" /&#62;
&#60;img width="5050" height="2840" width_o="5050" height_o="2840" data-src="https://freight.cargo.site/t/original/i/555bf716173aaa849de4bbb748dfb93263f599a1a43d752023bdafa04455b7b4/MalinBook.jpg" data-mid="86568704" border="0"  src="https://freight.cargo.site/w/1000/i/555bf716173aaa849de4bbb748dfb93263f599a1a43d752023bdafa04455b7b4/MalinBook.jpg" /&#62;
&#60;img width="4876" height="2743" width_o="4876" height_o="2743" data-src="https://freight.cargo.site/t/original/i/e435d3e8071052cc34f6030d306588a4e58e69e548f2dbd537532df5c7eddc99/MalinBook2.jpg" data-mid="86568705" border="0"  src="https://freight.cargo.site/w/1000/i/e435d3e8071052cc34f6030d306588a4e58e69e548f2dbd537532df5c7eddc99/MalinBook2.jpg" /&#62;
Malin Sorsbie’s Apprentice Folio
Bound by Emilie Crewe
Authentic 17th Century Vellum
Assorted Antique Paper
12.5” x 9.25” x .5”


	&#60;img width="3808" height="2539" width_o="3808" height_o="2539" data-src="https://freight.cargo.site/t/original/i/10867a6df533f519418bf0a41ad81d4012613917a0bcdfac114cf8c9b5b812dc/HenryNewburnPainting_1.jpg" data-mid="103743742" border="0"  src="https://freight.cargo.site/w/1000/i/10867a6df533f519418bf0a41ad81d4012613917a0bcdfac114cf8c9b5b812dc/HenryNewburnPainting_1.jpg" /&#62;
	&#60;img width="2269" height="1509" width_o="2269" height_o="1509" data-src="https://freight.cargo.site/t/original/i/a61793bbeea4475a692a41649fb5bc03954362e35a06e46372cd45377a930d34/HenryNewburnPainting_3.jpg" data-mid="103743746" border="0"  src="https://freight.cargo.site/w/1000/i/a61793bbeea4475a692a41649fb5bc03954362e35a06e46372cd45377a930d34/HenryNewburnPainting_3.jpg" /&#62;
	&#60;img width="2700" height="1800" width_o="2700" height_o="1800" data-src="https://freight.cargo.site/t/original/i/38db69bb43d12e8edb51d277d97a4733de3abe91db520648f3bebc8753b7684b/HenryNewburnPainting_CU.jpg" data-mid="103743766" border="0"  src="https://freight.cargo.site/w/1000/i/38db69bb43d12e8edb51d277d97a4733de3abe91db520648f3bebc8753b7684b/HenryNewburnPainting_CU.jpg" /&#62;
Miniature Portrait of Henry NewburnPainting by Emilie Crewe
Oil on Canvas
w/ Antique Frame + Convex Glass
2.5” x 3.25” unframed
7” x 5.25” framed


&#60;img width="2817" height="2010" width_o="2817" height_o="2010" data-src="https://freight.cargo.site/t/original/i/0e479cc53f40607660e06cbf01ac8dc47ec7224611e0e6e589f8855a029d829e/DuoCollage_WEB_3.jpg" data-mid="102629895" border="0"  src="https://freight.cargo.site/w/1000/i/0e479cc53f40607660e06cbf01ac8dc47ec7224611e0e6e589f8855a029d829e/DuoCollage_WEB_3.jpg" /&#62;
&#60;img width="2817" height="2010" width_o="2817" height_o="2010" data-src="https://freight.cargo.site/t/original/i/16bf1c0fd0b627b450b4051c6ab62d87289b4442e7f02be75df824d54fce0aee/DuoCollage_WEB_1.jpg" data-mid="102628266" border="0"  src="https://freight.cargo.site/w/1000/i/16bf1c0fd0b627b450b4051c6ab62d87289b4442e7f02be75df824d54fce0aee/DuoCollage_WEB_1.jpg" /&#62;
&#60;img width="2817" height="2010" width_o="2817" height_o="2010" data-src="https://freight.cargo.site/t/original/i/c0a80771180047757a3c8d617a4eca6c4fef6172cba775206b7cd2bd8d90be9d/DuoCollage_WEB_2.jpg" data-mid="102629577" border="0"  src="https://freight.cargo.site/w/1000/i/c0a80771180047757a3c8d617a4eca6c4fef6172cba775206b7cd2bd8d90be9d/DuoCollage_WEB_2.jpg" /&#62;
Selections From:&#38;nbsp; Der grossen Wundartzney (Great Surgery Book), 1536
Digitally Collaged + Stitched High-Resolution Photographs by Emilie Crewe, 2021

Bibliography:&#38;nbsp; Paracelsus (Philippus Aureolus Theophrastus Bombastus Von Hohenheim).  Grosse Wundartzney. Bavarian State Library, 1536.

Paracelsus, by name of Philippus Aureolus Theophrastus Bombastus von Hohenheim, (born November 11 or December 17, 1493, Einsiedeln, Switzerland—died September 24, 1541, Salzburg, Archbishopric of Salzburg [now in Austria]), German-Swiss physician and alchemist who established the role of chemistry in medicine.


&#60;img width="3600" height="2544" width_o="3600" height_o="2544" data-src="https://freight.cargo.site/t/original/i/c42267b706e16f5b97219fe05fd052c4797a65e87e24f9c72c9fb5c4a4479214/DUO_PAGES_latin_WEB_background.jpg" data-mid="103761456" border="0"  src="https://freight.cargo.site/w/1000/i/c42267b706e16f5b97219fe05fd052c4797a65e87e24f9c72c9fb5c4a4479214/DUO_PAGES_latin_WEB_background.jpg" /&#62;
&#60;img width="3600" height="2544" width_o="3600" height_o="2544" data-src="https://freight.cargo.site/t/original/i/fc74d47711a5e29dcfac588d4e0997de3596f7bc8755623501433b9caf1a9d15/DUO_PAGES_latin2_WEB_background.jpg" data-mid="103761458" border="0"  src="https://freight.cargo.site/w/1000/i/fc74d47711a5e29dcfac588d4e0997de3596f7bc8755623501433b9caf1a9d15/DUO_PAGES_latin2_WEB_background.jpg" /&#62;
Selections From:&#38;nbsp;De Vocis Auditusque Organis (The Voice and Auditory Organs), c. 1600Digitally Collaged + Stitched High-Resolution Photographs by Emilie Crewe, 2021
Bibliography:&#38;nbsp; Casseri, Giulio Cesar. De Vocis Auditusque Organis. 1600


Giulio Cesare Casseri (1552 – 8 March 1616), also written as Giulio Casser or Giulio Casserio of Piacenza. Casseri was an Italian anatomist. He is best known for the books Tabulae Anatomicae (1627) and De Vocis Auditusque Organis (c. 1600). He was the first to describe the "Circle of Willis", a circulatory anastomosis that supplies blood to the brain and surrounding structures.</description>
		
	</item>
		
		
	<item>
		<title>Process</title>
				
		<link>https://joshuawatsonsleg.com/Process</link>

		<pubDate>Fri, 23 Oct 2020 17:11:43 +0000</pubDate>

		<dc:creator>Joshua Watson's Leg</dc:creator>

		<guid isPermaLink="true">https://joshuawatsonsleg.com/Process</guid>

		<description>
	

Ideas, Process + Musical Structure


	&#60;img width="1924" height="2404" width_o="1924" height_o="2404" data-src="https://freight.cargo.site/t/original/i/fbebb9a8b6ba1d06059d8000a5d5836611ebae78de6ccc84c4c28b68b5a3bd68/Notebooks.png" data-mid="89434919" border="0"  src="https://freight.cargo.site/w/1000/i/fbebb9a8b6ba1d06059d8000a5d5836611ebae78de6ccc84c4c28b68b5a3bd68/Notebooks.png" /&#62;Ten Years of Notebooks (2007-2017)
	&#60;img width="1790" height="422" width_o="1790" height_o="422" data-src="https://freight.cargo.site/t/original/i/7f234866323833802809cc9d3990f271817f52a0b2c2976a9048cf34dc3d169f/BEGINNINGS.png" data-mid="89174622" border="0" data-scale="13" src="https://freight.cargo.site/w/1000/i/7f234866323833802809cc9d3990f271817f52a0b2c2976a9048cf34dc3d169f/BEGINNINGS.png" /&#62;
Working with video as a medium has always clicked with me.&#38;nbsp; I find the process painterly, sculptural and musical.&#38;nbsp; I come from a family of musicians, studied the violin as a kid, and still play music today.&#38;nbsp; My creative drive often gravitates toward visual art, and always has. Drawing, painting and ceramics are some of my first true loves.&#38;nbsp; Although many of my finished works involve technology and digital components, I religiously keep notebooks with drawings, sketches and project ideas.Video Art was introduced to me in my first year of art school. The time-based aspect of the medium, as well as my interdisciplinary approach to working with video, gave way to an enduring passion for moving images. Many of my early works use rhythm and repetition as structural elements, a theme that has reemgered in the last few years. 
Joshua Watson’s Leg (In Four Movements) is a multichannel video installation that was developed from a handwritten note dated in the 18th century.&#38;nbsp; I began to conceptualize the project as a traditional four-part symphony.&#38;nbsp; Recent and current works have referenced the neuroscience of music.&#38;nbsp; I am fascinated by the idea of creating moving images using post-production processes that embody the structural elements of classical music.


	&#60;img width="1085" height="172" width_o="1085" height_o="172" data-src="https://freight.cargo.site/t/original/i/eb5adfe8e215de41fcd6e648105c03055175da936a1e5f625ed67e066a2a5117/MUSICALSTRUCTURE.png" data-mid="89431037" border="0" data-scale="45" src="https://freight.cargo.site/w/1000/i/eb5adfe8e215de41fcd6e648105c03055175da936a1e5f625ed67e066a2a5117/MUSICALSTRUCTURE.png" /&#62;

The book, This is Your Brain on Music: The Science of a Human Obsession, by Daniel J. Levitin, has been a primary source of inspiration in my recent work.&#38;nbsp; My background is rooted in traditional classical music.&#38;nbsp; My father was a professional orchestral musician.&#38;nbsp; As a kid, I sat through hundreds of live concerts and hours of operas emanating from the stereo at home.&#38;nbsp; 

&#60;img width="1760" height="2882" width_o="1760" height_o="2882" data-src="https://freight.cargo.site/t/original/i/168bb2c9416e92331234718a439f2d70f4c07f5d0c30907d097fb4ad226552c6/musicbrain-2.jpg" data-mid="95315869" border="0"  src="https://freight.cargo.site/w/1000/i/168bb2c9416e92331234718a439f2d70f4c07f5d0c30907d097fb4ad226552c6/musicbrain-2.jpg" /&#62;
Although not appreciated at the time, I understand now how much this upbringing shaped my art practice, as well as my everyday thought processes and fundamentally, how my brain organizes and understands information.&#38;nbsp; 
It is said that learning music at an early age changes the structure of the brain, in particular, the corpus callosum, which is a fiber nerve bundle located beneath the cerebral cortex that connects the right and left hemispheres.&#38;nbsp; This often allows for faster sensory reaction times in musicians versus non-musicians.&#38;nbsp;

	&#60;img width="4342" height="526" width_o="4342" height_o="526" data-src="https://freight.cargo.site/t/original/i/eb1288fabe687dd6e55494b1ea6d5eaca5e60a2daba3006b6f42550aa1afddde/StaphPaper_light.png" data-mid="92805643" border="0" src="//freight.cargo.site/w/1500/q/75/i/eb1288fabe687dd6e55494b1ea6d5eaca5e60a2daba3006b6f42550aa1afddde/StaphPaper_light.png" style="width: 366.364px; height: 44.3822px; display: none;"&#62;Simon Landry, a brain and cognition researcher, has found “that musicians have faster auditory, tactile, and audio-tactile reaction times. Musicians also have an altered statistical use of multisensory information. This means that they're better at integrating the inputs from various senses.” (https://www.inc.com/john-rampton/the-benefits-of-playing-music-help-your-brain-more.html)

Joshua Watson’s Leg (In Four Movements) is organized as a four-part symphony.&#38;nbsp; Traditional symphonies from the 18th and 19th centuries often employed this form, beginning with a sonata, followed be a slow and lyrical movement, then a minuet or “scherzo” section, ending with a sonata rondo to bring the composition to a conclusion.&#38;nbsp; Within each movement, there are inherent structural components.&#38;nbsp; Using these conventional systems, the video is edited with an extreme amount of attention and awareness to rhythm, tempo and narrative form.&#38;nbsp;Highlighting musical form and structure in my video practice is motivated by a desire to create the presence of music without using literal music.&#38;nbsp; Although the use of song can be deeply moving in film and video, and is often implemented to stir a variety of emotions, it is sometimes an enforced trope.&#38;nbsp; I want my viewers to feel as though they are experiencing the sensation of music within their bodies without actually hearing music.
My intention is to evoke a sense of cadence &#38;amp; rhythm within my audience. 


	&#60;img width="2432" height="3440" width_o="2432" height_o="3440" data-src="https://freight.cargo.site/t/original/i/a2671f10421ce6d2af6fd12f164ac40f17054f1c7acf5b3ca10e0cbffcf6680d/JWL_EditingNotes-4.jpeg" data-mid="87239335" border="0"  src="https://freight.cargo.site/w/1000/i/a2671f10421ce6d2af6fd12f164ac40f17054f1c7acf5b3ca10e0cbffcf6680d/JWL_EditingNotes-4.jpeg" /&#62;
Working out symphonic form in my notebook
There is often a physical response that people have when listening to a musical composition.&#38;nbsp; When our brains take note of musical elements such as tone, timbre, rhythm and contour, we experience an array of corporeal feedback. 

 Sometimes we tap our toes or sway; sometimes nostalgia is triggered by song.&#38;nbsp; We may feel an unconscious disturbance, or even a guttural recoil.&#38;nbsp; The spectrum of neurological responses to music are what fascinate me the most. &#38;nbsp;

&#60;img width="4342" height="526" width_o="4342" height_o="526" data-src="https://freight.cargo.site/t/original/i/2f09b8641f7b94b3d0d85b5b65bb624f3ee5803c24541fff6d4b10c802b09f16/StaphPaper_light.png" data-mid="92805804" border="0"  src="https://freight.cargo.site/w/1000/i/2f09b8641f7b94b3d0d85b5b65bb624f3ee5803c24541fff6d4b10c802b09f16/StaphPaper_light.png" /&#62;


	&#60;img width="3170" height="508" width_o="3170" height_o="508" data-src="https://freight.cargo.site/t/original/i/82d76de88536b4192dd654b6dc74abdc83abae1aa5115d41f7b7b20831725fa5/editingprocess.png" data-mid="92975035" border="0" data-scale="32" src="https://freight.cargo.site/w/1000/i/82d76de88536b4192dd654b6dc74abdc83abae1aa5115d41f7b7b20831725fa5/editingprocess.png" /&#62;
My videos often begin with an affliction.&#38;nbsp; I tend to work intuitively and begin by writing stories.&#38;nbsp; Every concept that I work with starts with a tantalizing fascination of some kind, followed by a bubbling drive to materialize my ideas.&#38;nbsp; I translate the images that I see in my head into a rough shot list.&#38;nbsp; It is rare that I create a detailed storyboard, as I find that it can be limiting.&#38;nbsp; Although my video shoots are planned in advance, especially when working with actors and crew, my number one goal is to gather as much footage as possible.&#38;nbsp; 
Typically, there are a minimum of two cameras shooting at all times so that I have multiple angles to work with.&#38;nbsp; Cameras are always rolling, gathering inbetween moments and unplanned snippets that often make their way to the forefront of my editing process.&#38;nbsp; It is not unusual for me to end up with over forty hours of video content to sort through, even when the intended output is meant to be 20 minutes or less.&#38;nbsp; It is important to me to have a significant amount of footage to edit with because it is in the “editing bay” that I feel most creative.&#38;nbsp; Here, I am a painter, a sculptor, a composer and an enigmatologist of sorts. 
&#38;nbsp;After importing my footage into the editing software, I document each clip and write a brief description in a notebook.&#38;nbsp; This routine is absurd to be honest, but by having a tangible list of imagery, I can begin to visualize the output:&#38;nbsp; what clips will line up well?&#38;nbsp; How can I harmonize different visuals to create an interesting composition?&#38;nbsp; Since this project in particular is organized into three different channels of video, as an editor I take into consideration how each screen will connect to the next. &#38;nbsp;


&#60;img width="2473" height="3268" width_o="2473" height_o="3268" data-src="https://freight.cargo.site/t/original/i/7bd43c1f706c4a3cefed05ce42bb0cd9cfb96218f55c805546ee6059acba0fb9/JWL_EditingNotes-1.jpeg" data-mid="87239334" border="0"  src="https://freight.cargo.site/w/1000/i/7bd43c1f706c4a3cefed05ce42bb0cd9cfb96218f55c805546ee6059acba0fb9/JWL_EditingNotes-1.jpeg" /&#62;
&#60;img width="2420" height="3175" width_o="2420" height_o="3175" data-src="https://freight.cargo.site/t/original/i/f6572b0f32dc1d589a7ffec95f6bde77cc3103c6a73f3223cd1faee407bee302/JWL_EditingNotes.jpeg" data-mid="87239337" border="0"  src="https://freight.cargo.site/w/1000/i/f6572b0f32dc1d589a7ffec95f6bde77cc3103c6a73f3223cd1faee407bee302/JWL_EditingNotes.jpeg" /&#62;
Editing Notebook + Rondo ABACABA Form


An enigmatologist is an investigator of enigmas; a problem-solver, a decoder of puzzles.&#38;nbsp; Every video project that I undertake is a puzzle in the beginning, and over time, I begin to solve equations that eventually end up as a final artwork.&#38;nbsp; This is what my final timeline looks like:
&#60;img width="3000" height="1736" width_o="3000" height_o="1736" data-src="https://freight.cargo.site/t/original/i/b35225fb15129401c1f683f0f07d11eb8c81df77252825ec6da59cc022ac9c77/EmilieCrewe_PremiereProTimeline.jpg" data-mid="95316315" border="0"  src="https://freight.cargo.site/w/1000/i/b35225fb15129401c1f683f0f07d11eb8c81df77252825ec6da59cc022ac9c77/EmilieCrewe_PremiereProTimeline.jpg" /&#62;
Premiere Pro Timeline &#124; The pink horizontal stripe towards the bottom (amidst the green audio clips) represents four different metronome tracks that I was employing to keep a beat while editing each segment of Joshua Watson’s Leg (In Four Movements).

Joshua Watson’s Leg (In Four Movements) is divided into chapters based off of a traditional four-part symphony.&#38;nbsp; Within each movement, there is a narrative framework that follows various compositional forms, for example, ternary form, which is an ABA structure.&#38;nbsp; The movements seen in the Premiere Pro timeline above are color-coded.&#38;nbsp; The finale movement follows the rondo form of ‘ABACABA’.&#38;nbsp; The rondo ‘A’ section (purple) is set in the bindery, with the character, Henry Newburn, binding a book out of Joshua Watson’s skin.&#38;nbsp; The ‘B’ section (blue) follows Malin Sorsbie, who is practicing calligraphy.&#38;nbsp; Finally, the ‘C’ section (teal) shows the corpse of Joshua Watson overtaken by insects and partially buried in the forest.&#38;nbsp; The ‘A’ segment is the principal theme in the rondo movement, with the ‘B’ + ‘C’ epsiodes cycling through the storyline as short digressions.

	
&#60;img width="1855" height="2530" width_o="1855" height_o="2530" data-src="https://freight.cargo.site/t/original/i/0e94052c5457eb18d4e97a4e3418ab9b7b319e2acbedaee080418192b2470507/20200829_113844.jpeg" data-mid="87417502" border="0"  src="https://freight.cargo.site/w/1000/i/0e94052c5457eb18d4e97a4e3418ab9b7b319e2acbedaee080418192b2470507/20200829_113844.jpeg" /&#62;
&#60;img width="1516" height="1801" width_o="1516" height_o="1801" data-src="https://freight.cargo.site/t/original/i/7246e20a1fba419bb59d9afe172482e2192b3bd11dbacefb5ef8a62e00dce416/20200904_105434.jpeg" data-mid="87417505" border="0"  src="https://freight.cargo.site/w/1000/i/7246e20a1fba419bb59d9afe172482e2192b3bd11dbacefb5ef8a62e00dce416/20200904_105434.jpeg" /&#62;


&#60;img width="2808" height="2106" width_o="2808" height_o="2106" data-src="https://freight.cargo.site/t/original/i/866bcb3955c6c4301f81ebed3a51a7abbc195aa78eb2d6c189fdf453141254c6/20200909_111045.jpeg" data-mid="87417515" border="0"  src="https://freight.cargo.site/w/1000/i/866bcb3955c6c4301f81ebed3a51a7abbc195aa78eb2d6c189fdf453141254c6/20200909_111045.jpeg" /&#62;
&#60;img width="1355" height="1795" width_o="1355" height_o="1795" data-src="https://freight.cargo.site/t/original/i/eafeb6587d48afa5bc4b323356e077b9ab3e6a42a825d313f1ec2fe72dfa2f9f/20200912_111003.jpeg" data-mid="87417524" border="0"  src="https://freight.cargo.site/w/1000/i/eafeb6587d48afa5bc4b323356e077b9ab3e6a42a825d313f1ec2fe72dfa2f9f/20200912_111003.jpeg" /&#62;
&#60;img width="1580" height="2106" width_o="1580" height_o="2106" data-src="https://freight.cargo.site/t/original/i/a4d3d3007b0222cf1d605ea2b2a3cb7c930f10b0c7bca22645e9780719662b34/20200912_124538.jpeg" data-mid="87417526" border="0"  src="https://freight.cargo.site/w/1000/i/a4d3d3007b0222cf1d605ea2b2a3cb7c930f10b0c7bca22645e9780719662b34/20200912_124538.jpeg" /&#62;
Process images of sculpting Joshua Watson’s death mask
	&#60;img width="662" height="194" width_o="662" height_o="194" data-src="https://freight.cargo.site/t/original/i/650d6d1599d9c09961e5a466823a92389af1a108ff78de0d8dd75b7ac3b022ac/DEATHMASK.png" data-mid="89533738" border="0" data-scale="29" src="https://freight.cargo.site/w/662/i/650d6d1599d9c09961e5a466823a92389af1a108ff78de0d8dd75b7ac3b022ac/DEATHMASK.png" /&#62;
I’ve been fascinated with death masks for some time now.&#38;nbsp; I remember seeing a selection of death masks in a museum when I was a kid.&#38;nbsp; My morbid curiosity combined with my love for archives and history propelled me to create a death mask for the character, Joshua Watson, who is based on a real-life 18th century person from Newcastle Upon Tyne, UK. &#38;nbsp;
This death mask is sculpted after the actor, Bruce Stens, who portrays Joshua Watson in the video.&#38;nbsp; I have no idea what the real Joshua Watson actually looks like, but I have come across three people of the same name who were alive in 1773 in Newcastle or nearby (one a cheesemonger, one a surgeon and the other a grocer).&#38;nbsp; 
Working from Bruce’s likeness, I sculpted the mask out of clay and then added elaborate eyebrows and eyelashes from a mixutre of course paintbrush bristles and my own hair.&#38;nbsp;The finished mask was used as a prop for the sculptural binding.&#38;nbsp; I captured video of the death mask partially buried in dirt, swarming with mealworms and blue hornworms.&#38;nbsp;The footage is looped on a small flatscreen tablet that is embedded in the cover of the handbound sculptural book, &#38;nbsp;An Account of Joshua Watson.


	&#60;img width="440" height="179" width_o="440" height_o="179" data-src="https://freight.cargo.site/t/original/i/a4980b9dc0018154c9fa1389ff9bbca1e85686f7b2744b49fddc1d258c73f311/BINDING.png" data-mid="89533739" border="0" data-scale="19" src="https://freight.cargo.site/w/440/i/a4980b9dc0018154c9fa1389ff9bbca1e85686f7b2744b49fddc1d258c73f311/BINDING.png" /&#62;Joshua Watson’s Leg (In Four Movements) is intended to be exhibited as a multi-channel video installation with an accompanying sculptural book and pseudo-historical objects. What visually appears to be an antique book, is actually a clamshell box that houses a small flatscreen monitor (tablet).&#38;nbsp; The video component features Joshua Watson’s face beset with insects and organic debris.&#38;nbsp; It is meant to appear as though his face is embedded within the book.&#38;nbsp; The sculpture is an archive of the character’s story and “bound in his skin”. &#38;nbsp;
The binding process began with a sketch of the concept, followed by discussions with master bookbinder, Richard Smart (who also portrays the character, Henry Newburn, in the video).&#38;nbsp; Once the idea was finalized, I worked with Richard to gather materials for the project. &#38;nbsp;

&#60;img width="2644" height="1978" width_o="2644" height_o="1978" data-src="https://freight.cargo.site/t/original/i/706849d2aa01074c15d1a51fc2e90494c15aec1a989b472ea5d538f514dd51ba/JWL_bookMOCKUP_watercolor.jpg" data-mid="87420910" border="0"  src="https://freight.cargo.site/w/1000/i/706849d2aa01074c15d1a51fc2e90494c15aec1a989b472ea5d538f514dd51ba/JWL_bookMOCKUP_watercolor.jpg" /&#62;
Original Concept Watercolor Design by Emilie CreweThe book is bound in sheepskin, which has porous characteristics that are similar to human skin. The inlaid teeth in the spine are actually deer teeth that have been sanded and buffed and then set into the binding.&#38;nbsp; The prodruding piece of skull on the back panel of the book is also from the same deer skull that I found in the woods a few years ago.
Richard has been binding and restoring antique books all of his life.&#38;nbsp; He is a third-generation bookbinder from the UK.&#38;nbsp; His work is sought out by book dealers, collectors and institutions all over the world.
From start to finish, An Account of Joshua Watson, took two full days to complete. It began with building a set of trays designed to fit the screen inside.&#38;nbsp; The trays were covered with an antique paper that had unusual skin-like blemishes that suited the overall project.&#38;nbsp; Boards were chopped and a cardboard spine was carved to give the appearance of an actual bound book.&#38;nbsp; &#38;nbsp;
The sheepskin hide was cut to size, and then Richard pared it so that it was thin enough to bind.&#38;nbsp; Wheatpaste was used as an adhesive to bind the leather to the boards and spine.&#38;nbsp; After drying overnight, the deer teeth and skull were joined to the spine &#38;amp; back board, and the trays were set into the binding using animal hide glue.
Finally, Richard applied a red leather label and used gold leaf to tool the lettering.&#38;nbsp; All of these processes are seen in detail in the third and fourth movements of the video.
Thanks for checking out my process.
Feel free to get in touch anytime at
 emiliecrewe@gmail.com

	
&#60;img width="2808" height="2106" width_o="2808" height_o="2106" data-src="https://freight.cargo.site/t/original/i/479cb3b379af72b1f24fabf199c30323b367910293cff9ee2ba2b04e69e2d210/20200815_153032.jpeg" data-mid="87417501" border="0"  src="https://freight.cargo.site/w/1000/i/479cb3b379af72b1f24fabf199c30323b367910293cff9ee2ba2b04e69e2d210/20200815_153032.jpeg" /&#62;
&#60;img width="1544" height="1965" width_o="1544" height_o="1965" data-src="https://freight.cargo.site/t/original/i/2127d164c5d37f7054b19bdb501b480db2e4481aae9f495814a2e7c4e319af26/20200905_122330.jpeg" data-mid="87417506" border="0"  src="https://freight.cargo.site/w/1000/i/2127d164c5d37f7054b19bdb501b480db2e4481aae9f495814a2e7c4e319af26/20200905_122330.jpeg" /&#62;
&#60;img width="2808" height="2106" width_o="2808" height_o="2106" data-src="https://freight.cargo.site/t/original/i/b8c55ef78e47d491d3cb9c332d7797e4edce1e4e88f04b5656735c1fa638f552/20200905_122357.jpeg" data-mid="87417507" border="0"  src="https://freight.cargo.site/w/1000/i/b8c55ef78e47d491d3cb9c332d7797e4edce1e4e88f04b5656735c1fa638f552/20200905_122357.jpeg" /&#62;
Cardboard tray for clamshell design; Deer skull and binder’s board; Richard Smart cutting into the skull with a dremel tool

&#60;img width="2808" height="2106" width_o="2808" height_o="2106" data-src="https://freight.cargo.site/t/original/i/fb68eb475ff324cfa0902047901a66c4227fc705f632c276f6814926d45955a1/20200905_123120.jpeg" data-mid="87417508" border="0"  src="https://freight.cargo.site/w/1000/i/fb68eb475ff324cfa0902047901a66c4227fc705f632c276f6814926d45955a1/20200905_123120.jpeg" /&#62;
&#60;img width="2808" height="2106" width_o="2808" height_o="2106" data-src="https://freight.cargo.site/t/original/i/344b46cc28e1083db15f9a5948cbe9f39c02d68236baaaa634cffdcfd7087871/20200905_123509.jpeg" data-mid="87417509" border="0"  src="https://freight.cargo.site/w/1000/i/344b46cc28e1083db15f9a5948cbe9f39c02d68236baaaa634cffdcfd7087871/20200905_123509.jpeg" /&#62;
&#60;img width="2808" height="2106" width_o="2808" height_o="2106" data-src="https://freight.cargo.site/t/original/i/3e4ce09da0fd9ddd369a28bbc981ffa938ba24a1fa1a8bb3851c20b9e97ac9f9/20200905_130424.jpeg" data-mid="87417510" border="0"  src="https://freight.cargo.site/w/1000/i/3e4ce09da0fd9ddd369a28bbc981ffa938ba24a1fa1a8bb3851c20b9e97ac9f9/20200905_130424.jpeg" /&#62;
Sanding down the skull cutout to be placed into the back board of the binding; Sanding a deer tooth

&#60;img width="2808" height="2106" width_o="2808" height_o="2106" data-src="https://freight.cargo.site/t/original/i/75872c5c6d8bee1d669fe8bf2cc240406a0db01ce68bfdef079552ee63a0f5e0/20200905_133410.jpeg" data-mid="87417511" border="0"  src="https://freight.cargo.site/w/1000/i/75872c5c6d8bee1d669fe8bf2cc240406a0db01ce68bfdef079552ee63a0f5e0/20200905_133410.jpeg" /&#62;
&#60;img width="2808" height="2106" width_o="2808" height_o="2106" data-src="https://freight.cargo.site/t/original/i/e3e2ab0fbf8eb56ae7f0c5ec78572fc2f57594e7a62916702c79cfad0526e7e4/20200905_135816.jpeg" data-mid="87417512" border="0"  src="https://freight.cargo.site/w/1000/i/e3e2ab0fbf8eb56ae7f0c5ec78572fc2f57594e7a62916702c79cfad0526e7e4/20200905_135816.jpeg" /&#62;
Inserting deer teeth into the carved spine with raised bands


&#60;img width="2808" height="2106" width_o="2808" height_o="2106" data-src="https://freight.cargo.site/t/original/i/c96aba6b9396efe605c2fb71bd9243cf223ff69382e464c882ad279188140806/20200905_141939.jpeg" data-mid="87417513" border="0"  src="https://freight.cargo.site/w/1000/i/c96aba6b9396efe605c2fb71bd9243cf223ff69382e464c882ad279188140806/20200905_141939.jpeg" /&#62;
&#60;img width="2808" height="2106" width_o="2808" height_o="2106" data-src="https://freight.cargo.site/t/original/i/4b313b5eb981f8ac671daef11ef3ba235524c36467705b5c1d79704f2356cb8a/20200911_150142.jpeg" data-mid="87417518" border="0"  src="https://freight.cargo.site/w/1000/i/4b313b5eb981f8ac671daef11ef3ba235524c36467705b5c1d79704f2356cb8a/20200911_150142.jpeg" /&#62;
&#60;img width="2808" height="2106" width_o="2808" height_o="2106" data-src="https://freight.cargo.site/t/original/i/96c39281fa0309f0086b4811a0097fd8a0044c060cbe11561c3a9f71f08efe04/20200908_154431.jpeg" data-mid="87417514" border="0"  src="https://freight.cargo.site/w/1000/i/96c39281fa0309f0086b4811a0097fd8a0044c060cbe11561c3a9f71f08efe04/20200908_154431.jpeg" /&#62;
The book is bound in sheepskin; cords are wrapped around the binding while it dries


&#60;img width="1368" height="1824" width_o="1368" height_o="1824" data-src="https://freight.cargo.site/t/original/i/342edba546fc1b409217a57356461f7985a524b56173a6219bea071ea6788c9a/20200911_145128.jpeg" data-mid="87417516" border="0"  src="https://freight.cargo.site/w/1000/i/342edba546fc1b409217a57356461f7985a524b56173a6219bea071ea6788c9a/20200911_145128.jpeg" /&#62;
&#60;img width="1389" height="2664" width_o="1389" height_o="2664" data-src="https://freight.cargo.site/t/original/i/88c7da8932dac2a3efe0148d81a3df8cf9157915ef27f9265f1839fa83046211/DeathMask2_VERT-copy.png" data-mid="92907632" border="0"  src="https://freight.cargo.site/w/1000/i/88c7da8932dac2a3efe0148d81a3df8cf9157915ef27f9265f1839fa83046211/DeathMask2_VERT-copy.png" /&#62;
&#60;img width="1637" height="3002" width_o="1637" height_o="3002" data-src="https://freight.cargo.site/t/original/i/4cd3b7f59b98f8eb881ff14c62e61a910bb99ac731c3f4bd5858dc5e7b8cd032/BOOK_DEATHMASK_VERT.png" data-mid="92972518" border="0"  src="https://freight.cargo.site/w/1000/i/4cd3b7f59b98f8eb881ff14c62e61a910bb99ac731c3f4bd5858dc5e7b8cd032/BOOK_DEATHMASK_VERT.png" /&#62;
Binding (Screen test w/ my face, LOL) + Death Mask = “An Account of Joshua Watson”
</description>
		
	</item>
		
		
	<item>
		<title>Emilie Crewe</title>
				
		<link>https://joshuawatsonsleg.com/Emilie-Crewe</link>

		<pubDate>Fri, 23 Oct 2020 17:11:59 +0000</pubDate>

		<dc:creator>Joshua Watson's Leg</dc:creator>

		<guid isPermaLink="true">https://joshuawatsonsleg.com/Emilie-Crewe</guid>

		<description>


	&#60;img width="1031" height="932" width_o="1031" height_o="932" data-src="https://freight.cargo.site/t/original/i/e67cebe770153b6d93739d39f0d47652788d13d8b876507ff239a916612197bf/EmilieOnSet-copy.jpeg" data-mid="86960435" border="0"  src="https://freight.cargo.site/w/1000/i/e67cebe770153b6d93739d39f0d47652788d13d8b876507ff239a916612197bf/EmilieOnSet-copy.jpeg" /&#62;
	Emilie Crewe (she/her &#124; b. 1987, Québec City, Canada — raised in Pittsburgh, PA, USA) is an interdisciplinary artist based on unceded land known colonially as Vancouver, Canada. Her artwork often takes the form of multi-channel + single-channel video, installation, and new media. She holds an MFA from the School of the Art Institute of Chicago, and a BFA from the Nova Scotia College of Art and Design University. Her work is exhibited internationally in galleries, museums, artist-run centres, experimental film/video festivals, and as public art.Select exhibition history includes the AC Institute in New York, NY (solo), Art Souterrain Festival in Montréal, QC, Aggregate Space Gallery in Oakland, California, and the Governor's Island Art Fair in New York, NY. Screenings include The Chicago Underground Film Festival, The Labor Party at the Carnegie Museum of Art in Pittsburgh, PA, Streams &#38;amp; Channels at the Hudson Valley Museum of Contemporary Art in Peekskill, NY, OK.Video FLESH at the National Gallery of Indonesia, Alchemy Film and Moving Image Festival in Hawick, UK, and Photophobia: Contemporary Moving Image Festival via Hamilton Artists Inc + the Art Gallery of Hamilton, Ontario, Canada.In 2013/14, Emilie was one of ten Canadian artists to receive a City of Vancouver Public Art Commission as part the Reconciliation Platforms series, which was awarded the Americans for the Arts Public Network Award. Her five-channel video, The Art of Fugue, was long-listed for the 2020 Aesthetica Art Prize and was featured in the anthology book, FUTURE NOW, highlighting one-hundred international contemporary artists. Emilie’s work is supported by the Canada Council for the Arts and the British Columbia Arts Council. 

Artist’s Website


</description>
		
	</item>
		
	</channel>
</rss>