FINDING WATER
THE MACHINE OF AWESOME BRIGHT LIQUID BLUENESS

By
Christopher McLeod
B.A Studio Art, McMaster University, 2014

A THESIS ESSAY SUBMITTED IN PARTIAL FULFILLMENT OF THE
REQUIREMENTS FOR THE DEGREE OF
MASTER OF APPLIED ARTS
in
Visual Arts

EMILY CARR UNIVERSITY OF ART AND DESIGN

2016

© Christopher McLeod, 2016

ABSTRACT
The Machine of Awesome Bright Liquid Blueness project investigates the ideas of
convenience, fashion and entertainment as they relate to a specific community’s choice
around drinking water. A hybrid of participatory and dialogical art practices
incorporating an interactive sculpture along with the artist performing direct community
outreach is the foundation of what the artist refers to as a performance sculpture. A
performance sculpture utilizes an interactive sculptural apparatus as an activation or
focusing point within a larger community engagement project. The process of directly
recruiting, consulting, and collaborating with community partners is a key part of a
performance sculpture. Projects work to combine both art product and process in order to
facilitate a public through emblematic, supportive, and participatory means.
Guided by a migration of educational methods and socially engaged art practices,
a performance sculpture is multimodal in its strategy. Its projects operate with five root
concerns: examining how art and a communal experience actually operate in everyday
life; speaking a language that everyday people can understand; existing in a public space;
instigating a collective action; and creating ubiquity and embracing popular methods of
cultural production. The level and amount of these concerns will vary from project to
project and audience to audience.

	
  

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TABLE OF CONTENTS
ABSTRACT…………………………………………………….………………..

ii

TABLE OF CONTENTS …………………………………..……………………... iii
LIST OF FIGURES ……………………………………………..………………. iv
ACKNOWLEDGEMENTS ……………………………………..……………….. v
DEDICATION …………………………………………………..……………….. vi

1

Introduction ……………………………………………..……………….

1

2

Performance Sculpture as Method and Methodology……………………. 3

3

The inscription of Meaning …………………………………..………...... 15

4

Socially Engaged, Dialogical and Interactive ……………………………. 17

5

Concerns within a Performance Sculpture….…………………………….. 25

6

My Story of Water..………………………………………………….…… 31

7

Learning ………………………………………………………………….. 35

8

Outcome and reflections on the multimodal ………………..……………. 37

WORKS CITED ……………………………………………..…........................... 41
APPENDIX …………………………………………………................................ 43

	
  

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LIST OF FIGURES

1.

Outside the Charles H. Scott Gallery, July 2016 ………….. 3

2.

Interacting for water, Charles H. Scott Gallery ….…….….. 7

3.

Campaign4awesome, Concourse Gallery, July 2015 …….. 10

4.

Banner, Granville Street Bridge, July 2015………...…...… 12

5.

Banner Granville Street Bridge, July 2016………...……… 13

6.

Still from Indiegogo crowd source campaign ……………. 14

7.

Site #7. False Creek Watershed Society display………….. 20

8.

Display installed at Indigena Gallery ……………………... 22

9.

Updated Granville Island tourist Map ………………..….... 24

10.

Site #2. Icon decal and display panel …………………….. 28

11.

Site #3. False Creek Community Centre ………………….. 30

12.

Hamilton Spectator, Urban Snowman Project ……….…… 32

13.

New Granville Island water fountain map icon ….…..…… 34

	
  

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ACKNOWLEDGEMENTS
Thank you Tim, the programmer for The Machine of Awesome Bright Liquid Blueness,
your skills are second to none!
A special thank you to my advisors Patricia Kelly and Justin Langlois for pushing me to
own the space I have created.

	
  

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DEDICATION
To Hali Tsui, for her overwhelming support and encouragement.
And to the boys, Jacob and Bram, reminding me everyday why this is important.

	
  

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1. Introduction

Research into the history of drinking water informs the text and language used
within the project, and the history of bottled water is explored as a method of gaining
insight into contemporary drinking water practices. How we conceive of drinking water
fundamentally influences our relationship with it. Central to our sense of well-being,
through sickness and in health, the understanding and management of drinking water
from ancient societies until today has changed dramatically. Today, the sustainable
access to and the availability of clean water is a challenge facing all communities. With
water becoming a scarce resource, fights over drinking water have begun around the
globe. Questions of who owns it, controls it, and monitors it are actually questions
establishing power, for as journalist Charles Fishman explains, “Water poverty doesn’t
just mean your hands are dirty, or you can’t wash your cloths, or you are often thirsty.
Water poverty may mean you never learn how to read, it means you get sick more often
than you should, it means you and your children are hungry. Water poverty traps you in
a primitive day-to-day struggle. Water poverty is, quite literally, de-civilizing” (198).
The Machine of Awesome Bright Liquid Blueness strives to serve the communities in
which it resides by facilitating an opportunity for community members to establish a
consciousness of their drinking water and to become part of the discussion on who holds
the power in providing citizens with drinking water.

	
  

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The term “performance sculpture” is used here to describe an interactive
sculptural apparatus utilized as an activation or focusing point within a larger
community engagement project. The foundation of the term is rooted in a broader
dialogue with various contemporary participatory and dialogical art projects such as
Joseph Beuys 7000 Oak Trees (1982), Suzanne Lacy’s The Roof Is On Fire (1994), and
WochenKlausur’s Shelter for Drug-Addicted Women (1994). The Machine of Awesome
Bright Liquid Blueness intertwines these practices through the process of directly
recruiting, consulting, and collaborating with community partners and combines both art
product and process in order to facilitate a public through emblematic, supportive, and
participatory means. The Machine of Awesome Bright Liquid Blueness, as a
performance sculpture project, investigates the ideas of convenience, fashion and
entertainment as it relates to a community’s choice around drinking water.
Performance sculpture projects are multifaceted in their operation and strive to
incorporate what Mary Jane Jacob describes in An Unfashionable Audience as “art as an
instrument of change” (50-59). Performance sculptures operate emblematically as both
object and action to interrogate specific environmental and societal issues. The Machine
of Awesome Bright Liquid Blueness aspires to create an opportunity engage and
challenge the public and participants on issues around access and control of drinking
water in a public space. It operates supportively as the project links public, retail,
environmental, and municipal communities to the complicated issues around drinking
water. The project is participatory through audience interaction with the sculpture and
through collaboration by the aforementioned communities that, in part, determine the
final presentation of the project.

	
  

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2. Performance Sculpture as Methodology

Research and development of these projects are informed by contemporary
conceptual practices in art making and are additionally located in sociological contexts
related to ecology. The Machine of Awesome Bright Liquid Blueness exists to
investigate and explore environmental behaviours and beliefs while incorporating
aesthetic sensibility and satisfying internal necessity.1 The ecological grounding of the
work can, at times, be more explicit than ambiguous, but preserves space for the artistic
practice.
Performance sculpture projects are presented, and outreach occurs, in a public
space or a space that a general public has access to. As an example, The Machine of
Awesome Bright Liquid Blueness at the Charles H. Scott Gallery on Granville Island,
was installed facing the sliding glass doors onto Johnston Street. Access to the work
came from the street, not from inside the gallery.

Fig 1: Outside the Charles H Scott Gallery.

	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  
1	
  Internal	
  necessity referring to a need to function as an artist with all the embedded and adored clichés.	
  
	
  

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Suzanne Lacy, in Mapping the Terrain, defines public art as not residing solely
in the product, but also in the addressing of a broad audience with ideas relating to
interaction and social change. She states that the definition of public art and the criteria
used for assessing it should be built on concepts of audience, intent, dialogue, and
interactivity, and that these should be equally considered along with the artistic
processes and object materials in the evaluation of the work. She argues that the nature
of public art does not reside solely in the product, but “in the process of value finding, a
set of philosophies, and ethical action, and an aspect of a larger sociocultural agenda”
(46). It is for this reason that I spend little time within this paper discussing the making
and aesthetics of the sculpture itself. Artistic process and materials are examined and
discussed more thoroughly on my website where the project blog has provided ongoing
updates on the building of the sculpture itself. The link here:
http://www.christophermcleod.ca/p/the-machine-of-awesome-bright-liquid_9.html
takes you to the space that I have chosen to discuss the choices made in the construction
of the sculpture. Here I comment on the process, technology and materials utilized in
the building of The Machine of Awesome Bright Liquid Blueness. Finding Water, as
performance sculpture projects, focus on placing themselves within public spaces and to
Lacy’s definition of new genre public art: public art in the public, accessible (not only in
the physical sense, but also in content and subject) to the public while simultaneously
and equally operating as an ethical action.
That being said, I do not however wish to underplay the importance of the
physical object to my practice. Conceptually each project within my practice has
manifested a physical object as the focal point within those projects. Dialogue with

	
  

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potential collaborators has been the starting point, the outcome of those discussions
plays an important part in deciding the direction of a project. With The Machine of
Awesome Bright Liquid Blueness project those discussions started with Tim Mills, a
programmer/hacker/robot building computer expert. My understanding for how to
control and determine the actions of and between 6000 LED’s, a series of push buttons,
a sound system, and a water bottle refilling unit came through my collaboration with
Tim. Continually bouncing ideas, potential problems, goals, and outcomes between one
another shapes the sculpture object at its core.
Physically, the sculpture is formed through a discourse with contemporary art
considerations, concerns, and debates. Represented organically as a circle, rather than a
less complicated right angle based shape, the sculpture speaks to that which comes from
nature, the earth, and a cycle that we are all a part of. The face of the sculpture, that is
the polycarbonate that covers the LED lights is not flat, but pushes out as a convex
shape meant to expand the view for participants operating the sculpture. Standing ready
to interact, participants are offered the opportunity to reflect on more than they can
normally see as presented in the reflection of that behind them. The angle of the convex
polycarbonate was matched to the curve of the human eye thus allowing myself, as
represented by the sculpture, to watch over the actions of the audience and participants.
Contributing almost two thirds of the optical power, the cornea of the human eye stands
in as a convergence and divergence the sculpture can offer to participants. The above
details play a crucial part in satisfying that, which I stated at the beginning of this
chapter, my aesthetic sensibility and internal necessity.

	
  

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Specifically for The Machine of Awesome Bright Liquid Blueness project on
Granville Island, the sculpture’s physical site is within a gallery space, but one that is
visually and physically accessed from a public location. This interstice of public and an
art related space is specific to The Machine of Awesome Bright Liquid Blueness and
Granville Island. Each future installation of the sculpture will be unique and tailored to
the specific communities it is to engage with. As an example; the larger sociocultural
agenda for The Machine of Awesome Bright Liquid Blueness for Granville Island
focuses on access and control to public drinking water. The project recognizes Granville
Island as a place heavily visited by international tourists. A man made island centrally
located within Vancouver, it is marketed as a tourist site not to be missed when visiting
Vancouver. Filled with waterfront restaurants, galleries, theatres, shops, cafes and a
large fresh food market, Granville Island draws in some 10.5 million people a year. The
issue of bottled water, specifically access and control of drinking water, is not an
isolated one. Currently, some communities understand more than others that access to
fresh water is vital for the health and growth of a community. The residents of Flint,
Michigan, whose public water is contaminated with lead, and perhaps most people
living in drought plagued California, help bring into focus the important political and
social issue of thinking about water. Realization that access to fresh water dictates a
community’s success and health needs to be part of a broader public discussion.

	
  

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Fig 2: Interacting to get a water bottle filledfor water.

Vancouver’s easy access to free, potable, tap water qualifies it as a location
suitable for The Machine of Awesome Bright Liquid Blueness. Within such locations
bottled water is sold at rates higher than gasoline. Purchased and consumed in small
plastic bottles, the community and visitors of Granville Island are not only supporting
the privatization of water, but also erode the confidence for publically supplied clean
water. In the early 1990’s there was no such thing as a water isle at a grocery store and
public drinking fountains were easy to find. “Some people have chosen to put their
money into corporate purity instead of calling on their public officials to use tax dollars

	
  

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to address the public water supply,” states Andy Opel. Why would a city spend millions
to bring water up to such high standards, if so little is used for drinking?
In a media and image-saturated culture, spectacular advertising displays have
become an accepted norm that a public can trust to offer noncritical choices in their
daily lives. Advertising, so imbedded in the everyday, now holds the greatest power in
creating and defining meaning. For as Nato Thompson states in Seeing Power, “The
intensification of advertising and the rise of TV, film, internet, music, software, and
other content-delivery mediums have slowly – yet radically – altered the entire spectrum
through which we understand and perform our daily lives” (4). Spectacular in its
presentation, The Machine of Awesome Bright Liquid Blueness operates within this
easily accessible and understood space in order to generate its audience. Then, in its
own excessive fashion, the sculpture challenges those that come prepared with a
reusable bottle to access drinking water. Interacting and responding to the sculpture in
the required manner (as determined by the artist) is required in order to activate it and
get their bottle filled. Attempts to create new significance within the experience of
collecting drinking water, and to produce a desire for that experience, are important in
shaping the audience.
For those already converted - that is, those that are already aware of water issues
and conservation, refillable water bottle in hand - it will offer them a unique experience
filling their water bottles outside of the common strictly functional water fountain
experience. Satisfaction comes in not only knowing that refilling their reusable bottle is
the better choice, but through a situated and embodied art experience. For the
unconverted, uninitiated, and unaware, the sculpture’s ‘bling’ and initial non-

	
  

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confrontational approach invites them to find, purchase, and hold onto a refillable water
bottle in order to join in on an experience that is fun and engaging. By providing the
correct feedback, participants will find success in activating the sculpture and receiving
their free bright liquid blueness (drinking water). The work inserts the topic of drinking
water into an art experience discovered in the everyday.
Within a “performance sculpture” project the interactive sculpture is to be
monitored and documented during the exhibition through ongoing and extended artist
visits to the installation site, as well as a video camera installed to record public
interactions. The documentation will be used to reflect on the actual interactive reaction
and participation from the audience. This information will feed and fuel the updates and
changes for the sculpture’s next location. The approaches used by the artist for outreach
and ‘buy in’ will continuously be reviewed for improvement - improvement measured
not only by the number of impressions made, but also by the actual changes documented
as a result of the project. As an example, the Campaign4awesome, the introduction of
The Machine of Awesome Bright Liquid Blueness project, directly affected the
immediate repair of the public water fountain located outside of the Emily Carr
University North Campus building. These positive impacts are measured as success
within a performance sculpture project.
The Campaign4Awesome, was a project that started in March of 2015 with an
Indiegogo campaign and an artist studio event that raised almost $4000 in support of
The Machine of Awesome Bright Liquid Blueness. It concluded with an exhibition at the
entrance of the Concourse Gallery inside Emily Carr University that sat almost
uncomfortably between a legitimate kiosk selling refillable water bottles and tee shirts

	
  

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and a parody of one. Utilizing commercial advertising tactics that include large graphic
lettering not only as part of the display but also on the outside doors and windows of the
North Building, as well as a street hung banner at the entrance of Granville Island, the
Campaign4awesome was successful in selling fifty-five water bottles and two shirts.

Fig 3: Campaign4awesome.

As part of the Campaign4awesome several videos were produced as part of the
fundraising campaign and for the exhibition. These have been documented at
http://www.christophermcleod.ca/p/the-machine-of-awesome-bright-liquid.html
The video displayed as part of the Concourse exhibit can be seen here:
https://youtu.be/qdyodiEKv1s
The Campaign4awesome used business and entertainment models as a cover for
injecting furtive interventionist strategies in an attempt to bypass confirmation and
	
  

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assimilation biases. A confirmation bias is the tendency to ‘Cherry Pick’ the evidence
that can support our existing knowledge, attitudes, and beliefs. Assimilation bias is the
modification of new information in order to squeeze it into our existing schema. In,
Don’t Even Think About It: Why Our Brains Are Wired to Ignore Climate Change,
George Marshall states, “People’s tendency to avoid costs and act only in self interest
can be overruled by a sufficiently strong appeal to group identity and visible social
norm (69). The Campaign4awesome acts as a starting point in generating that “strong
appeal to group identity” for The Machine of Awesome Bright Liquid Blueness project
by announcing itself within community. It was the campaign’s intention to activate an
audience through inquiry and participation with the goal of infiltrating the social praxis.
The campaign4awesome referenced the ‘tools’ provided by the collective
Superflex. Projects like Foreigners please don’t leave us alone with the Danes a mural
and print project that publically highlighted and commented on the current public debate
around immigration and integration. The campaign4awesome used publicly placed print
and banner pieces in a similar fashion, but also included popular crowdfunding and
Instragram platforms for further penetration. The Machine of Awesome Bright Liquid
Blueness will continue with the publicly placed print and banner pieces with the
production and design of these pieces now being executed by community collaborators.

	
  

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Fig 4: 4’ x 40’ Banner suspended from the Granville Street Bridge, 2015.

	
  

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Fig 5: 4’ x 40’ Banner suspended from the Granville Street Bridge, 2016.

	
  

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Fig. 6: Still from Indiegogo crowd source campaign.

	
  

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3. The inscription of Meaning

Phenomenologically, the project embraces contemporary modes of spectacle and
methods of branding in order to establish easily recognizable processes of engagement
around issues of drinking water. The production of meaning through presence (the street
level sculpture and community outreach) has the ability to alter a moment in an
everyday experience and creates a space to celebrate making better choices when it
comes to finding and consuming water in public places. Or, as Patricia C. Phillips states
in her essay Public Construction, “The point is not just to produce another thing for
people to admire, but to create an opportunity- a situation –that enables viewers to look
back at the world with renewed perspective” (70).
The development of the interactive process and text presented to participants by
The Machine of Awesome Bright Liquid Blueness flexes between simply playful and
ironically stated. The sculpture itself uses the same technology, LED’s, as many
contemporary advertising billboards. Flashing and glowing to capture our attention, an
advertising billboard’s message is normally very clear and concise, whereas the
sculpture offers somewhat of a mixed message based on the duration of viewing. An
obvious image of a forest with a river running through it is a chance for beauty to
present itself, but at the same time illudes to the imagery used by water bottle
companies to infuse ‘nature’ and ‘purity’ into its product. The forest scene is then
interrupted with text reading, “Revitalize! Refresh! Survive!” Here I am further
enforcing notions of purity while also inserting directly the idea of survival. Advertising
makes no such connection as to possibly avoid the link of their product to a resource

	
  

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that is vital to all living creatures. If the public were to connection the fact that there
ability to pay directly effected their access to this resource, then the idea of private
control of such a resource becomes a more serious and complex issue. My attempts to
make these links subtly present themselves through the text messages displayed by the
sculpture.
“ALL YOU CAN TAKE! ALL YOU CAN DRINK!”
These words presented by the sculpture operate to enable participants to look at
how they consider drinking water with renewed buffet style perspective. This is my
attempt to be provocative with viewers, (I use the word ‘viewers’ here instead of
‘participant’ as I believe the text is taken in prior to participating with the sculpture) and
create an opportunity to dwell on who is providing them with drinking water and the
lack of ongoing consideration for this service.
The Machine of Awesome Bright Liquid Blueness plays with the power of the
sign as it is connected to commodity, (the commodification of drinking water being one
of the issues raises within the project). Sign exchange value, (the site where a
commodity produces and maintains its value based on label), as identified by
Baudrillard, works in establishing the value of the water collected by participants. This
is an attempt by the project to rework the meaning of how we collect and consume
water. Andy Opel remarks in the article, Constructing Purity, “In the case of bottled
water, the inscription of meaning is vital because there is so little difference between the
products”(70). As part of the culture industry, branding has reframed the meaning of
pure in order to add value to a product that was already publically available for free. By
connecting and utilizing pre-established corporate constructions of purity, The Machine

	
  

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of Awesome Bright Liquid Blueness examines the value of how water is collected and
consumed.
Nato Thompson refers to an infrastructure of resonance, “the set of material
conditions that produces a form of meaning. It is the collection of structure (newspapers,
social networks, academia, churches, etc.) that shape our understanding of any given
phenomenon – including ourselves.” (60) By inserting itself seamlessly into this
existing structure, a performance sculpture can become a part of that structure shaping
meaning.
4. Socially Engaged, Dialogical and Interactive
Performance sculptures draw from socially engaged, dialogical and interactive
art practices and utilize these distinct practices as a discursive space in which to discuss
the work. Projects operating as performance sculptures will blend and combine aspects
of these practices depending on the subject, space, and communities involved in
delivery. Pablo Helguera’s Socially Engaged Art, provides a lens through which to
develop and consider a performance sculpture project and will be applied to The
Machine of Awesome Bright Liquid Blueness. In Education for Socially Engaged Art,
Helguera states, “SAE (socially engaged art) functions by attaching itself to subjects and
issues that normally belong to other disciplines, moving them temporarily into a space
of ambiguity. It is this temporary transposition of subjects into the realm of art that
brings new insights to a particular problem and in turn makes them visible to other
disciplines.” (4) Research in the arts on water, employing the methods found with a
performance sculpture, seek to expand on insights and understandings of why people
choose to purchase single use bottled water when it is available for free. Style and
	
  

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fashion (resurrected in the 1970’s by Perrier), perception of quality (the triumph of
technology and the creation of chlorinated municipal water having now waned) and how
bottled water has been packaged, marketed, and sold are investigated. The project
operates to explore a community’s understanding of their relationship with drinking
water outside of conventional scientific or environmental parameters.
Helguera states, “what characterizes socially engaged art is its dependence on
social intercourse as a factor for its existence” (2). Performance sculpture projects
generate social intercourse through the installation of an interactive sculpture, as well as
the artist’s community outreach efforts and the conversations and actions generated
from that outreach. Outreach includes the recruiting, consulting, and co-ordination of
groups to become part of the project. For The Machine of Awesome Bright Liquid
Blueness on Granville Island, this includes, but is not limited to, local retailers and
restaurants, eco and community groups, as well as government. These groups are all
engaged beyond the interaction with the sculpture in an attempt to create a dialogue
among local stakeholders that will exist beyond the exhibition dates. The objective is for
these groups to come together, encourage one another, and continue to deliver actual,
not hypothetical, social action.
Invitations to participate in the project where sent to local groups. Within this
invitation, a general introduction letter is sent followed by a phone call or email. Each
group has been approached openly where the discourse with the group directly
determines their involvement in the project. Factors to be considered in each group’s
involvement include the integration and promotion of their existing programs and
initiatives. See Appendix A for example.
	
  

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Specific examples of participating community partners, in regards to The
Machine of Awesome Bright Liquid Blueness on Granville Island, include the CMHC,
the False Creek Watershed Society, and the Still Creek Watershed group. Discussions
with these groups resulted unique installation displays being created for display
installation installed on fountain site number 1 and 7 on Granville Island. The
vernacular approach of the fountain displays now not only pointed to the interactive
sculpture installed at the Charles H. Scott, but to the activates and contact information
for these two local groups. Sites were provided for these groups to present their work
within a space created as part of this performance sculpture project. The social
intercourse lays the groundwork for larger discourses to be discovered and documented
within the project. Both of these groups have now become part of the project as
collaborators by installing their organizations information into the fountain site,
promoting the interactive sculpture, and being a part of the discourse around how the
project is operating and the issues of concern.
At the same time within this project there were elements of underdeveloped
community partnerships. Specific discussions with the Council of Canadians,
Vancouver Water, and Vancouver city Councillor Adriane Carr never resulted in
collaboration. The Council of Canadians and Vancouver water were approached as
advocates and leaders in campaigning on issues of access, policies, and protection of
fresh water. Councillor Adriane Carr was contacted regarding the project and we held a
phone meeting in May to discuss her possible involvement within the project. Her
history and ongoing advocacy around water issues in Vancouver made her an ideal
partner candidate. Unfortunately no collaboration with these groups was established for

	
  

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the project on Granville Island. I believe a combination of factors such as the sculpture
not being fully articulated, as well as the timing of contact, lead to the breakdown of
possible partnerships. The experienced gained from the Granville Island project will be
documented and considered in future performance sculpture projects.

Fig. 7: Site #7. False Creek Watershed Society display and historical map.

Helguera also writes, “SEA (socially engaged art) often expands the depth of the
social relationship, at times promoting ideas such as empowerment, criticality, and
sustainability among the participants. SEA has an overt agenda, but its emphasis is less
	
  

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on the act of protest than on becoming a platform or network for the participation of
others, so that the effects of the project may outlast its ephemeral presentation” (11).
The ideas of empowerment, criticality, and sustainability were the building blocks upon
which the False Creek and Still Creek Watershed Societies involvement is based. These
groups can now use their connections to the CMHC to further develop a platform for
discussions around water access and Granville Island.
Also included in the outreach efforts are the retailers, merchants, and restaurants
of Granville Island. These groups were approached and encouraged to become part of
the event by promoting and discounting their refillable water bottles. Discourse on
drinking water, the effects of the choices made around drinking water, and how their
businesses affect those choices, were put forward and documented. Promotional
material for the sculpture will be offered to these groups and in exchange for
participation in the event, retailers, merchants and restaurants will be offered the
opportunity to develop cross promotion. As an example, on Granville Island three
retailers who sell refillable water bottles installed displays. I worked with the owners of
these businesses and asked them to become involved by displaying a sign promoting
Free Water, to offer a sale price on the bottles, and to advertise the location of the
sculpture. One owner didn’t want to discount the bottles but instead suggested donating
10% to a local water charity.

	
  

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Fig. 8: Display installed at Indigena.

Grant Kester, in Conversation Pieces, discusses a number of contemporary
artists whose practice is built around dialogue-based art, or dialogical aesthetics. These
artists focus on the conversations or dialogue exchanges as the art form itself which,
emancipated from individual or institutional viewpoints, is believed to have the
potential to allow for new meaning and understanding to take place. Grant Kester gives
artist groups such as WochenKlausur and Superflex, among others, as examples of this
type of practice.
WochenKlausur’s project, Shelter for Drug-Addicted Women, resulted in the
establishment of a safe facility for drug-addicted prostitutes to rest during the day. As
outlined on WochenKlausur’s website, this project operated under the philosophy that
WochenKlausur “sees art as an opportunity for achieving long-term improvements in
	
  

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human coexistence. Artists’ competence in finding creative solutions, traditionally
utilized in shaping materials, can just as well be applied in all areas of society”
(WochenKlausur). In creating a unique space (a boat parked in the middle of a lake), the
project brought together experts in drug issues with city councilors, police, and the
media to discuss views and exchange ideas. This philosophy of ‘art as opportunity’ can
be linked to Helguera’s concept and artistic practice addressing subjects and issues
outside of the distinct discipline of ‘art’.
The Machine of Awesome Bright Liquid Blueness, with its focus on the
environmental and social issues around drinking water, shares concerns with
WochenKlausur’s philosophy and Helguera’s practice. The engagement of the audience
through the interactive sculpture and community outreach - as well as the discussion and
exchange of ideas by the community groups participating - serve to improve on the
long-term conditions of the communities involved with the project. These aspects are
found within the project on Granville Island through the examination of the forms of
existing public engagement methods used by the local governing bodies, in this case the
CMHC. Specifically for Granville Island, a new public water fountain icon, developed
by the CMHC on my request, was added to the free tourist map. This located the spaces
where free public water could be had. These spaces already existed, but with very little
awareness, they remained quiet and inactivated. Activation of a public space that builds
awareness of the availability of free public water is the artist attempt to elevate the
significance that free drinking water is available in a public space - and to create new
meaning within those sites and the experience associated with. The rhetoric used in the
activation of these sites gives the audience a comfortable and recognizable entry point.

	
  

23	
  

Fig. 9: Updated Granville Island tourist Map.

The conversational aspect of a performance sculpture project is not found in the
interactive sculpture primarily, but in the project’s outreach. And while the dialogues
generated around the interactive sculpture are important, it is not here that the majority
of the art form is defined. The art form is more heavily weighted on the conversations
experienced and documented during the artist’s community outreach efforts. It is at this
point more specific and focused acknowledgement and understanding of the projects
audience and interlocutors takes place. Kester states, “dialogical aesthetics requires that
we strive to acknowledge the specific identity of our interlocutors and conceive them
not simply as subjects on whose behalf we might act but as co-participants in the
transformation of both self and society” (79). A performance sculpture project requires
advance research and knowledge of the communities it is to engage. It is not possible
for these projects to be exhibited on Granville Island in Vancouver, then simply be

	
  

24	
  

shipped to another location for exhibition. Each iteration of a performance sculpture will
vary depending on its location, as well as on the outcomes of each previous installation.
This acknowledgement of specific identities, changing social and political
circumstances, as well as geographical conditions, will transform each performance
sculpture even though the physical object within the project may retain specific aspects
of its previous manifestation. As an example, The Machine of Awesome Bright Liquid
Blueness will always have five thousand eight hundred and twenty seven LED’s on its
face. It will not though, produce an identical interactive experience from one location to
the next.

5. Concerns within a Performance Sculpture

The examination of how art and a communal experience operate in everyday life
appears through documentation and evaluation of specific effects of each action within
the project. This analysis is to be reviewed and considered and applied to future
installation of the project. On Granville Island, I spent time speaking with and
documenting the public interacting with the sculpture. This time also extended to the
retailers and community groups that became involved in the project. While interacting
with the public, I didn’t necessarily identify myself as the artist, and simply entered into
a dialogue with those engaged and interacting with the sculpture.
For The Machine of Awesome Bright Liquid Blueness project on Granville
Island, community outreach efforts utilized a rubric in documenting the dialogue and
level of participation with various groups and audiences. A rubric for the Wickaninnish

	
  

25	
  

Gallery, one of the retailers of refillable water bottles, can be seen in appendix B. The
rubric illustrates that overall the owner of Wickaninnish Gallery responded favorably to
the project. She was well aware of the issues surrounding bottled water and participated
fully by posting multiple displays, tweeting, and posting videos to the company website.
Through our discussions she expressed interest in having the CMHC upgrade additional
fountains. I was able to give her some contacts within the CMHC in order for her to
make that request. I also recommended she work with Indigena Galllery as the owner
there had a similar interest.
The rubric will be a tool completed and utilized to facilitate and expand upon
each future project. Information gathered through the rubric becomes useful when
discussing how a performance sculpture operates in a community with potential
financial partners, supporters, and grant reviewers. The rubric also provides me with
direct documentation of what worked well, and what did not work as well, in working
with various stakeholders within the project. Similarly, an informal rubric was used for
the Campaign4awesome that helped determine that without sufficient information or
peer referral, the public engaged very little with the project through social media.
However, through the use of the Indiegogo website and the studio events, an audience
was created that not only is followed and waited for The Machine of Awesome Bright
Liquid Blueness project to be exhibited, but also monetarily contributed to its
production.
Prioritizing accessibility and inclusiveness, The Machine of Awesome Bright
Liquid Blueness is designed to appeal to a wide audience and general public. A balanced
approach to language that is broadly available to the largest audience is utilized and

	
  

26	
  

embraced, as success within a performance sculpture project is partially measured in
volume of participation (or engagement). This appears in The Machine of Awesome
Bright Liquid Blueness project through text-based messages displayed on the front of
the sculpture. The text is partially instructional, clearly explaining how to participate
and engage with the sculpture. Additional text worked to challenge viewers
understanding of the sculpture and provide the opportunity to make connections and
build meaning into the experience. Further, a consistent motif was used through
community outreach and display installations around the island in the form of signs and
banners.
A public space also includes the businesses and restaurants found within
proximity of the sculpture’s location. In the case of Granville Island, the seven water
fountain locations are also to be considered as public access points within the project.
This will occur as public water fountain installations and performances. Also on
Granville Island, there was a banner on the Granville Island bridge announcing the
location and dates for the project. The sculpture was installed just inside the open glass
door of Charles H Scott Gallery facing (and operated from) Johnston Street.

	
  

27	
  

Fig. 10: Site #2. Icon decal and display panel.

The collective actions look to include, in their most ambitious form,
coordination of groups coming together around a theme or idea by creating public
murals or street performances both announced and not announced. It is my role within
the project to facilitate the approval of these murals and performances with the local
municipality and to lead the coordination of the groups involved. The collective or
group feeds its own dialogue around the significance of the work, action, or
performance to find points of affinity and continually build from there. For the
Granville Island installation only a limited level of collective action was achieved.
Currently, for the Granville Island installation, the CMHC was involved in the project
through their creation of the new icon and tourist map, and as well supporting and
	
  

28	
  

approving the installation of signage at each water fountain location. The CMHC has a
very specific process in place for the installation of signage on the island. The CMHC
will be keeping my icon decals installed at each water fountain location until they are
able to produce more permanent display signs. The False Creek Watershed Society,
Still Creek Watershed group, and the Council of Canadians all participated by providing
literature for the drinking fountain displays, offering some funding in producing those
displays, and by each promoting the event via their websites and social media outlets.
The creation of a higher sense of visibility and presence by embracing popular
methods of cultural production takes form through the use of spectacle and integration
of advertising strategies into the project. Ultimately, a performance sculpture works to
construct a ubiquity within a space with the notion that the more you hear/see an action
at different points within the everyday, the more real it seems and is accepted. What
becomes real is the idea that a social norm is at work, and that that norm should be
adopted. People cannot help but legitimate that which exists.

	
  

29	
  

Fig. 11: Site #3. False Creek Community Centre.

	
  

30	
  

6. My Story of Water
My story of water begins in 2010 when I was offered and accepted a research
position with Gail Krantzberg in the Engineering department at McMaster University.
My job was to develop a project that used a unique public engagement project to
communicate detailed research information to the public and to investigate how ‘art’
was being used to transform communities and bring people together around specific
issues. Dr. Krantzberg’s issue was water, specifically the Great Lakes as she is the
director of the Regeneration Institute for the Great Lakes. Here are some of the key
points discussed: develop a community revitalization program in which art is used as a
vehicle to create place, build self-esteem, and engender mutual respect. Work to deliver
a series of inter-connected programs, built through an “organic,” grassroots democratic
process, serving neighborhood youth and adults. Two projects were developed, with one
being implemented. The working title for project one was the ReIGL Speed Dating
Event and the second was known as the Urban Snowman Project. Project two was
initiated in February of 2011 just after a nice snowstorm involving about a dozen
volunteers and attracting the attention of the local newspaper. What I discovered during
this research position in engineering was that the development and delivery of an
interactive community water project needed to become the focus of my artistic practice.
I had, quite by accident, found water.

	
  

31	
  

Urban Snowman Project coverage:

Fig 12: Hamilton Spectator, Urban Snowman Project.

In my final year of my BA in Studio Arts, I was offered an opportunity to work
with a group of 4th year mechanical engineering students to create and build a project.
This interdisciplinary approach to a project was getting somewhat mixed results from
the years previous, but the idea excited me. It was within this collaboration that I could
think outside of my own skillset.

	
  

32	
  

Water still on my mind, I put forth this proposal to the art and engineering
program leaders:
Abstract

The motivation behind this project was the design of an Interactive Water Filtration
Sculpture. The sculpture would serve not only as a water filtration tool, but also an
educational tool for the general public. The general public has no sense of the steps
and energy required to produce potable water. This sculpture would serve to address
that, by clearly illustrating the various steps and energy required in an interactive and
user-friendly manner. The first stage of the project was the generation of multiple
concepts from which an optimal concept could be selected. To effectively do this a set
of clearly defined design criteria based on the specific needs and requirements of the
sculpture system were generated. Subsequently, the entire system was broken down
into its various constituents, such as the method of filtration, with each component
critically analyzed. Based on this analysis and the use of various comparison tools
such as performance matrices, the selection of an optimal concept was carried out. To
safeguard against potential unforeseeable events during the project, an alternate
concept and two alternate plans were also developed. A comprehensive project
completion plan was subsequently generated, detailing the various required steps to
produce the final tangible sculpture system within the given time period.
This was the abstract written by the engineer students as part of their submission
report document. The language required by each department, engineering and art, was
distinctively different, and it was here that as an artist, I began to learn a new language.
The Campaign4awesome and The Machine of Awesome Bright Liquid Blueness
continue my pursuit to engage the public around water, and operate in a useful way. In
this case, useful can be seen by offering to refill your reusable water bottle with free
potable water. This might sound easy because there are taps everywhere in Vancouver
that could be used to fill a reusable water bottle. The issue is, they aren’t being used for
that.

	
  

33	
  

Useful also, in what I consider an early success within The Machine of
Awesome Bright Liquid Blueness project, is the creation and addition of a new icon for
Granville Island maps and directories for drinking fountains and water bottle refilling
stations. This icon was developed as a result of my written request to add the locations
of the seven public water fountains to the maps and directories. After mentioning the
icon idea verbally on the phone to the CMHC, I included the following paragraph within
my overall project proposal submitted to them:
“I was hoping that the tourist map could be updated before next printing to include an icon
identifying the locations of the water fountains on the island. I included a separate PDF
illustrating the current fountain locations.”

From this request, and upon management approval, the graphics department within the CMHC
developed this new icon:

Fig 13: New Granville Island water fountain map icon.

	
  

34	
  

Throughout my practice and the discussions that it has generated, the
understanding that there is no life without water takes hold. My time spent with
scientists and engineers all working towards sustainable clean water for the people,
plants, and creatures of the world has shown me that there are many ways to approach
the complicated issues around clean water.
7. Learning.
Transpedagogy is defined by Helguera as “the migration of the discipline and
methods of education into art making, resulting in a distinct medium where the artwork
is constituted simultaneously of a learning experience or process and a conceptual
gesture to interpret” (3). This particular aspect of Transpedagogy is explored within
performance sculpture projects through the integration of inquiry-based, experiential
learning and stewardship frameworks.
Inquiry based learning builds on our natural curiosity about the world in which
we live. The process and delivery of a performance sculpture utilizes an inquiry-based
framework in developing the external and sculpturally internal elements of the project.
That is, collaborators (those groups that respond to the invitation) questions and ideas
will be at the centre of developing the language and interactive experience built into the
sculpture. The experiences and discussions with these groups are to be discovered and
are indeterminate. Feedback from meeting and discussions with the CMHC and the
False Creek Community Centre, as examples, will guide the decisions around
programming of the sculpture and the programs and installations happening outside in
the community. What this will ultimately look like is currently unknown, and will

	
  

35	
  

manifest differently for each community. The artist is unaware how this interactive
placard will operate until they have had some extended experiences with the groups
participating. This inquiry-based approach is meant to encourage the artist and
collaborators to investigate their roles within the greater subject of water, and to
empower their voices within the project.
For participants who rarely choose to carry a refillable bottle, this embodied
experience has the potential to transform into newly formed knowledge, knowledge that
may or may not be directly connected to the environment, but that is associated more
with entertainment and fashion. Helguera states that, “Transpedagogy wishes to change
society, while also retaining an essential dose of humour”(9). Humour and the strategy
of play as an aspect of the interaction with the sculpture link performance sculpture
methods with Transpedagogy.
Operating outside of an environmentally labeled space and action, The Machine
of Awesome Bright Liquid Blueness creates the possibility of reaching audiences who
have no such environmental interests. This audience is given an opportunity to place
their own meaning into the action of filling a reusable water bottle, or what it means not
to be able to participate lacking a reusable bottle. The immediate experience of
interacting with the sculpture and the people around it creates new signifiers in defining
what it could mean to carry a reusable water bottle.
Helguera states that the methods of education and art making are ‘constituted
simultaneously.’ Whether or not the art making is created simultaneously really depends
on when a person considers the art within a performance sculpture to be made? Is it

	
  

36	
  

embedded in the object, an interactive sculpture, or is the art making manufactured and
generated at the point of physical and dialogical interaction? This framework set out by
Helguera is useful in evaluating some of the qualities informing how a performance
sculpture is to operate.
Transpedagogy wishes to ‘change society’, and as stated earlier, performance
sculpture projects exist and are grounded by ecological concerns and this includes the
drive to modify and change societal behaviours for the betterment of the environment.
Transpedagogy remains a space to review and critique a Performance Sculpture while
recognizing the inherent deviations from Helguera’s original definition.

8. Outcome and reflections on the multimodal.

As a project that operates as a hybrid of established artistic practices utilizing
performance sculpture methods and methodology, what areas require greater attention
and consideration? Part new genre public art, socially engaged art, and transpedagogy,
does a performance sculpture project serve to satisfy ecological requirements and can it
be used to build on a practice that strives to create change within communities? This
thesis sets out to describe how through different modes of intentness, on a variety of
levels, and through the employment of multiple forms, a performance sculpture project
has the capacity to make change through cultural investigations.
Success found within the project can be seen in each of the modes. Firstly, the
interactive sculpture acted as a gateway to dialogue with the CMHC, the retailers, and
the public on Granville Island. The CMHC, as part of a cultural project was able to

	
  

37	
  

update their map and use the new icon to activate each of the water fountain sites. This
attention to the sites, along with greater awareness and use should lead to the CMHC
being more proactive in installing, updating, and maintaining their existing public
fountains. Access to public water is now part of the discussions being had by the
sustainability office of the CMHC, and has become a focus point for attention. Previous
to the project, waste management, recycling, and composting were the primary
environmental focuses of the CMHC. The artist could see improvements within the
project through a greater duration of outreach, working locally rather than remotely as
was the case with Granville Island, and an operating budget. Lobbying to the CMHC
was limited in this project and staff changes within their office reduced the overall
effectiveness of the artist outreach.
The retailers responded very well to the project and were excited to be involved.
With an extended project, the retailers could have been encouraged to request additional
public fountains as part of a local stakeholders group. With added displays and signs,
refillable sales had a noticeable increase, a great success within the project. I have been
following up with the retailers for feedback, and to discuss their interest in access to free
public water.
The water fountain installation demonstrated to most involved that activating
these spaces, promoting the use of the public fountains, is not difficult and needs not be
costly. The laminated signs not only drew attention to the fountains themselves, but also
pointed to the interactive sculpture as well as informed the public where refillable water
bottles could be purchased.

	
  

38	
  

Overall it has been recognized that the introduction of a new interactive
sculpture has a direct effect on the amount and the quality of outreach. With the
sculpture now physically complete, future iterations will have greater focus on
community outreach and expected greater results. In person contact was more effective
than email or phone contact. When working in person actions and results came much
quicker than if attempting to communicate via email or telephone. This personal contact
will be pushed for in future installations of the project. Additionally, greater outreach to
include restaurants will be included. The cross promotion concept was well received and
functioned to publically promote everyone involved. Outreach will look different
working with the sculpture completed in advance with only programming to be
finalized.
It is with the above details in mind that a performance sculpture project,
operating in a multimodal fashion, can work as a methodology to satisfy the personal
and ecological requirements in building a practice that strives to create change within
community. In the borrowing and combining of several established disciplines and
strategies, performance sculpture projects strive for a deep emersion within a connected
set of localized communities. Advertising and branding techniques found within a
consumer culture, direct community outreach, socially engaged and contemporary art
practices are accessed and utilized within my practice in an attempt, through this hybrid
of techniques, to create a space where a varied audience can become accessible. Each
audience has its own role to play within the project, from the local government making
changes to tourist purchasing a discounted refillable water bottle to use while on their
daily travels, to the retailers who discount those water bottles during high season.

	
  

39	
  

Together, through these combined actions and interventions change can happen in a
multitude of forms. The experience of being denied water through an interactive water
bottle refilling station, to the joy of receiving water from that same station, offers
participants the opportunity to interrogate an environmental and societal issue through
an artistic project. Being reminded, in their daily lives, participants unaware of being
participants, that access to clean drinking water is simple and free for us to enjoy while
being informed on how to participate further, works simultaneously within a
performance sculpture project to intervene, create dialogue, and provide opportunity to
construct meaning.

	
  

40	
  

Cited
Bigelow, Bill, and Tim Swinehart. A People's Curriculum for the Earth: Teaching
Climate Change and the Environmental Crisis. Milwaukee, Wisc.: Rethinking Schools,
2014. Print.
Bishop, Claire. Artificial Hells: Participatory Art and the Politics of Spectatorship.
London: Verso, 2012. Print.
Bishop, Claire. Participation. London: Whitechapel, 2006. Print.
Chiarotto, Lorraine. Natural Curiosity: A Resource for Teachers: Building Children's
Understanding of the World through Environmental Inquiry. Toronto, Ont.: Laboratory
School at the Dr. Eric Jackman Institute of Child Study, Ontario Institute for Studies in
Education, U of Toronto, 2011. Print.
Cronin, J. Keri, and Kirsty Robertson. Imagining Resistance: Visual Culture and
Activism in Canada. Waterloo, Ont.: Wilfrid Laurier UP, 2011. Print.
Helguera, Pablo. Education for Socially Engaged Art: A Materials and Techniques
Handbook. New York: Jorge Pinto, 2011. Print.
Jacob, Mary Jane. Mapping the Terrain: New Genre Public Art. Seattle: Bay, 1996.
Print.
Kester, Grant H. Conversation Pieces: Community and Communication in Modern Art.
Berkeley: U of California, 2004. Print.
Lacy, Suzanne. Mapping the Terrain: New Genre Public Art. Seattle: Bay, 1996. Print.
Marshall, George. Don't Even Think about It: Why Our Brains Are Wired to Ignore
Climate Change. New York: Bloomsbury, 2014. Print.
Opel, Andy. "Constructing Purity: Bottles Water and the Commodification of Nature."
Journal of American Culture Jan. 1999: 67-76. Print.
"Pablo Helguera Archive." Pablo Helguera RSS. Web. 31 Mar. 2016.
<http://pablohelguera.net/tag/transpedagogy/>.
Royte, Elizabeth. Bottlemania: Big Business, Local Springs, and the Battle over
America's Drinking Water. New York: Bloomsbury, 2009. Print.
Salzman, James. Drinking Water: A History. New York: Overlook Duckworth, 2012.
Print.

	
  

41	
  

Thompson, Nato. Seeing Power: Art and Activism in the 21st Century. Brooklyn, NY:
Melville House, 2015. Print.
Wilk, Richard. "Bottled Water: The Pure Commodity in the Age of Branding." Journal
of Consumer Culture 2 Aug. 2006: 303-25. Print.

	
  

42	
  

Appendix A

The Machine of Awesome Bright Liquid Blueness
Event Invitation
Dear Vancouver Water,
I would like to invite you to a summer water event happening July 2016 that is all about
Vancouver’s fantastic tap water featuring the interactive water sculpture, The Machine of
Awesome Bright Liquid Blueness.
Details:
The Machine of Awesome Bright Liquid Blueness is an interactive, publicly displayed sculpture
that functions as a refillable water bottle station. The sculpture communicates directly with the
public to act, discuss, and engage with their drinking water utilizing 5800 sequenced LED’s.
The LED’s transform the round face of the sculpture into a pixelated, moving and responding
placard. Participants, through touch, will need to respond and interact with the sculpture in order
to fill their refillable water bottles with awesome bright liquid blueness. (aka water) Please see
www.christophermcleod.com for ongoing details and images.
The sculpture is to be installed just inside the sliding glass doors of the Charles H. Scott Gallery
at Emily Carr University with participants accessing the work from the enclave off of Johnston
St.
I would like to invite Vancouver Water as part of the event; there is no fee involved. This is an
excellent opportunity for community outreach and education on various water initiatives by the
city of Vancouver.
Please contact me for addition details and to discuss the event.
I look forward to hearing from you.
Best,

Christopher McLeod
mail@christophermcleod.ca

	
  

43	
  

Appendix B
Categories
Communication

Level 1
- limited and
unclear

Level 2
- some clarity in
correspondence

Knowledge of
issues

- limited

- some knowledge

Pre-existing
community
engagement

- no community
engagement:
No pre-existing
engagement on
the part of the
retailer. In fact,
initial response
to the 25% sale
was concern for
loss of profit in
high season.
Upon
reflection, did
offer sale.
- did not
participate

- some
community
engagement

- stable level of
community
engagement

- partially
participated at
levels requested

- lack of
commitment to
the goals of the

- some time &
effort, but did not
achieve complete

- participated at
all levels
requested: Yes.
Also offered
feedback on
sales and
verbally
informed
customers of
the sculpture.
- excellent
amount of time
with general

Level of
Participation

Time and Effort

	
  

Level 3
- responds
clearly: Clear
and active
comm.
-considerable
knowledge

Level 4
- active and
initiated
communication
- thorough and
actively seeks
knowledge: Was
well aware – was
interested in
banning bottles
sales on the
island, increasing
education on the
issues around
bottled water,
improving public
water access and
knowledge of
access.
- stable level
community
engagement
- actively seeking
new modes of
community
engagement

- participated at
all levels
requested
- initiated their
own actions

- diligent worked
to exceed goals
of the project

44	
  

project

success.

Presentation

- careless and
hurried

- somewhat
careless and
hurried.
- legible and
somewhat
effective

Community
engagement
through project

- no community
engagement

Constructed valid
relationship to the
concept

- no evidence of
constructing
relationship

- some
community
engagement:
increase in
discourse with the
public around
issues of bottled
water.
- established
simple
relationship to
concept: Concept
was embraced.
Follow up by
artist to encourage
further action by
the retailer.

	
  

goals of the
project
completed:
Yes, was
involved in a
timely manner.
- clear and
attractive
- effective use
of presentation
materials

- stable level of
community
engagement

- constructed
clear
relationship
with concept

- evidence of
pride and
commitment to
project and
issues: Yes,
multiple displays
installed and
promoted.
- stable level
community
engagement
- actively seeking
new modes of
community
engagement
- constructed
complex
relationship with
concept

45