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    Turning craft into art

    Bringing the hammer: HCCC's Soundforge forges metal into artsy music

    Joel Luks
    Nov 14, 2011 | 3:15 pm
    Bringing the hammer: HCCC's Soundforge forges metal into artsy music
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    Creative inspiration can manifest from the most unexpected of sources. For metalsmith, writer and craft activist Gabriel Craig, it came from the humdrum sound of his everyday physical activity: Forging metal.

    Metalsmithing involves tuning into the sound produced while pounding away at the raw material in an effort to gauge progress to the desired result. While an artist-in-residence at the Houston Center for Contemporary Craft (HCCC), Craig was consumed with bringing such process into focus for those who may not be familiar with the craft.

    And so he became fixated on the precise moment of contact between tool and element.

    "Makers are constantly talking about the process of making their work," Craig explains. "Despite this broad focus on process, the end result is nearly always a formal sculptural object. I am very invested in craft as a living thing — craft as a verb.

    "There's something taboo about touching and playing with an art work, there's a sense of playfulness and abandon when realizing there isn't a right nor wrong."

    "Forging is an act of fabrication but also an act of percussion. From there I elected to seek out a music composer in order to help me breathe life into this project."

    That was Houston-based composer Michael Remson, also the executive director for American Festival for the Arts. The result of their collaboration is Soundforge, an interactive installation on display at HCCC through Jan. 8.

    Early on, the duo thought of many designs including a "xylobooth" where participants would enter a semi-closed device.

    It took two years for Soundforge to emerge as a collection of large gate-like structures with a nod to antique wrought iron design. Large armatures function as a frame from which bars — tuned to an F pentatonic scale — are suspended.

    Remson used Soundforge as a mallet musical instrument to craft a 15-minute soundscape that melded a persistent rhythmical pulse evoked by the physical act of forging with allusions to Balinese Gamelan and the music of minimalist composers — like John Adams, Steve Reich and Phillip Glass. The composition begins simply, develops in complexity and shifts through different tonalities within the five-note scale.

    A video of forging encourages passersby to grab one of the several handcrafted mallets arranged on the wall and play Soundforge along with Remson's opus on loop. In essence, by interacting with the work, the visitor becomes a part of the process which completes the cycle of Soundforge.

    "We wanted to create a situation where non musicians would not be intimidated to come in and make a 'mistake,'"Remson notes. "The composition isn't meant to occupy center stage. I wanted to write something to encourage people to get involved."

    Playing Soundforge elicits many reactions.

    There's something taboo about touching and playing with an art work, there's a sense of playfulness and abandon when realizing there isn't a right nor wrong, and one also reaches a Zen state when tuning into the juxtaposition of Remson's music with impromptu improvisation.

    HCCC curator Anna Walker links engagement in social media with an increasing desire for viewers to be engaged with art at higher levels.

    "There's a trend of artists exploring interactivity," Walker says. "For this piece, the idea of interactivity took on an educational role to help people bridge the gap between hammering, making music and making the piece."

    It comments on the concept of craft, on the act of crafting an object and the craft of composing a musical score. In many ways, like a Rubik's cube, it deciphers the many meanings of craft.

    "I had professor who said it best: Craft is part of a Venn diagram," Walker explains. "There's craft, there's design and there's art. Each field has its own unique history but there are ways the three disciplines overlap.

    "[At the Houston Center for Contemporary Craft], we loosely define craft when materials like metal wood, glass, fiber and clay are part of the work, while taking into account the history of how the object was made and importance of the act of making.

    "These characteristics sets craft apart from art and design, but I would encourage people to keep in mind that there are many ways these fields overlap, like a Venn diagram suggests.”

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    Movie Review

    Final Destination: Bloodlines reboots cult favorite horror franchise

    Alex Bentley
    May 15, 2025 | 4:30 pm
    Kaitlyn Santa Juana in Final Destination: Bloodlines
    Photo by Eric Milner
    Kaitlyn Santa Juana in Final Destination: Bloodlines.

    On the surface, the Final Destination films really shouldn’t work. There is no villain other than the concept of death itself, and nearly every death that occurs is foreshadowed so heavily that it removes the normal suspense that comes in horror films. And yet the franchise was successful enough to spawn five films over 11 years in the early 2000s, and now a reboot, Final Destination: Bloodlines.

    A fantastic opening sequence set in the 1960s sets both the tone and the plot of the film, in which Stefani (Kaitlyn Santa Juana) has a recurring nightmare about a disaster that her grandmother, Iris (Gabrielle Rose), helped to avert. A visit to the reclusive Iris convinces Stefani that she and her family should not exist, and that each one of them is destined to meet a grisly end in the near future.

    Met with resistance from her family members, Kaitlyn is unsurprisingly proven right as the film goes along, with different people dying in a variety of bizarre ways. A visit to William Bludworth (the late Tony Todd), a mortician who’s been the one constant in the series, provides a glimmer of hope that they can cheat death. But will they figure it out before it’s too late?

    Directed by Zach Lipovsky and Adam B. Stein, and written by Guy Busick and Lori Evans Taylor, the film does not try to reinvent the wheel for the concept. The entire point is to get as creative as possible with the death scenes, and the filmmakers take that mandate seriously, with each successive death becoming increasingly gruesome. The Rube Goldberg-like manner in which each death occurs makes the scenes come off as entertaining instead of off-putting.

    The idea of Death hunting down an entire family line due to the actions of the family elder is a solid twist on the series’ central premise, and that change keeps the film from feeling repetitive. The story also introduces the possibility that the entire series is connected due to Iris’ actions, with the character possessing a scrapbook that references well-known incidents from previous films, a fun Easter egg for longtime fans.

    The creativity of the kill sequences does not carry over to the overall story, though. Almost every character in the film only exists in order to meet a horrific end, so anything that they have going on outside of being stalked by Death is purely window dressing. Consequently, it’s hard to really care about anybody, even if they are all related to one another.

    Because characters are so easily dispatched in the film, the cast is devoid of well-known actors. This is by far Santa Juana’s biggest role to date, and she does well enough to want to see more of her in the future. Adults like Alex Zahara and Rya Kihlstedt are character actors who bring some history with them, while the younger group is composed of people still trying to make names for themselves.

    Final Destination: Bloodlines is a solid return for the franchise, even if it feels more like a one-off film rather than a justification for more stories in the future. But given how easily the concept can be adapted into new circumstances, don’t be surprised if another movie pops up in a couple of years.

    ---

    Final Destination: Bloodlines opens in theaters on May 16.

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