Common Root

YNEZ | Todd Miller + Oregon Cottage Company / previously

Chien Chu Lee

Iˊm from Taiwan. I ’ve been doing pencil carving since Oct 2010. I want to share my stunning works with you these wonderful pencil art.

Dr. Budd:  Yes?

Dorothy:  You probably don’t remember me, but you told me I wasn’t sick.  Do you remember?  You told me I was just getting old.

Dr. Budd:  I’m sorry, I really don’t–

Dorothy:  Remember.  Maybe you’re getting old.  That’s a little joke.  Well, I tell you, Dr. Budd, I really am sick.  I have chronic fatigue syndrome.  That is a real illness.  You can check with the Center for Disease Control.

Dr. Budd:  Huh.  Well, I’m sorry about that.

Dorothy:  Well, I’m glad!  At least I know I have something.

Dr. Budd:  I’m sure.  Well, nice seeing you.

Dorothy:  Not so fast.  There are some things I have to say.  There are a lot of things that I have to say.  Words can’t express what I have to say.  [tearing up]  What I went through, what you put me through—I can’t do this in a restaurant.

Dr. Budd:  Good!

Dorothy:  But I will!

Dr. Budd’s date:  Louis, who is this person?

Dr. Budd:  Look, Miss–

Dorothy:  Sit.  I sat for you long enough.  Dr. Budd, I came to you sick—sick and scared—and you dismissed me.  You didn’t have the answer, and instead of saying “I’m sorry, I don’t know what’s wrong with you,” you made me feel crazy, like I had made it all up.  You dismissed me!  You made me feel like a child, a fool, a neurotic who was wasting your precious time.  Is that your caring profession?  Is that healing?  No one deserves that kind of treatment, Dr. Budd, no one.  I suspect had I been a man, I might have been taken a bit more seriously, and not told to go to a hairdresser.

Dr. Budd:  Look, I am not going to sit here anymore–

Dr. Budd’s date:  Shut up, Louis.

Naturally Bertil Nilsson

Artist Statement:

Growing up in Sweden I spent a lot of time in the forest but my entire adult life living in the city. Through my experiments with dancers and circus artists I came back to explore nature and, maybe because of that childhood connection, it triggered a great sense of adventure in me. Naturally was born from that inspiration to explore, both the landscape and our role within it. Working with the naked figure in nature is straightforward, there is an obvious connection with our natural history. I’m interested in what happens when I introduce cultural elements – colour, shape and dance gestures – to question that relationship.

What fascinates me about dancers, is how they use and perfect such a large range of movements, from the organic to the decidedly artificial, such as pointed feet. My choice of other elements build on that contrast, both integrating into the scene and serving as a focal point. The placement and choice of colour add a symbolic layer, creating possibly unexpected interpretations. 

Naturally is also a personal journey of exploration. My interventions took on a theme of tension between order and chaos. I like to align, structure, analyse and ultimately control – in a visual sense – the world around me. The dancers with their free expression confront me with an opportunity to let go of a bit of my control and let the chaos unfold. In a way the dancer in my work also comes to embody my original childhood playfulness.