This exhibition is an opportunity to bring together the works of students originally from the same region and to present the aesthetic values that bind and distinguish us. The range of work is diverse and encompasses the disciplines of open media, print media, and painting. We have provided six slides of works for each student that represents work that will be selected from, or examples of previous works for those who will be creating site specific installations (Kelly Wood and Shelly Miller). We will be prepared to exhibit in Spetember 1999.
As artists, students, and undergraduate teaching assistants, we see the VAV Gallery as an excellent venue to introduce our work to other members of Concordia’s Visual Art community. We are especially excited to show at VAV as it is spacious and will accomodate a clean, uncluttered exhibition of works. Enhancing all spaces within the gallery, the adjoining room at the south west corner will house a light / sound installation by Kelly Lynne Wood and at the farthest west wall Shelly Miller’s icing work. At the south east corner of the main gallery space, a piece by Daniel Whiting; Jenny Lin’s sculpture on the floor; and at the west wall, Laurel Dellemonache’s ‘scaling’ painting installation.
EXHIBITION: SEPT 7 - 11, 1999
OPENING RECEPTION: N/A
GROUP
SHELLEY MILLER
DANIEL WHITING
KELLY LYNNE WOOD
JENNY LIN
LAUREL DELLEMONACHE
Shelley Miller
Spring 1999
Decoration is all around us. Even in the most banal places, we can find evidence of someone's touch of embellishment; an attempt to beautify. My primary interest with decoration is within the context of the domestic setting. The manner in which an environment is decorated can make the difference between a house and a home. It can decide where it is that we feel "at home".
One thing that is clear is that through the act of adorning a space, we leave our mark. This desire to stake our ground is a part of human nature. Changing wallpaper may seem insignificant at first, however, there is a great deal of power present there. This gesture becomes a powerful act when it is the only source of control that an individual has within their given environment. It can provide a voice for those who have been silenced. For many of the women responsible for the beautification and upkeep of the home, decorating is their only outlet for personal expression.
Even the idea of 'defacing' something is linked to a power issue. I make references to graffiti as a method of defacing 'clean' walls and surfaces. Graffiti artists leave their "tags" as symbols, indicative of their self. This is the same principle behind the practice of home "tagging" that I do in my work.
Shelley Miller,
Camouflage Chicken, Icing covered Teacozy, 1998.
Click to expand the image
My ideas stem from a working-class standpoint. The practice of decoration that I mimic is rooted in the tradition of "do-it-yourself" and in the homemakers' practice of "making-do" with what you've got. In an attempt to keep up with the Jones' we use our walls as an outlet for our fantasies. They act as unprimed canvas in which to create what we do not possess. I focus on the ideals that have no real substance, but are instead, only about surface. A mimisis of the real thing: an illusion. Just as one craves the richness of buttery-sweet icing on a cake, one also craves a rich lifestyle. The lower classes are always trying to become more like the upper classes. I draw upon 17th and 18th century European decorative practices, that of the Victorian and the Baroque, as this is the era that was truly about excess and grandeur. The elaborate home embellishment of these periods are the utopian pinnacle to me of 'over-the-top' decoration, especially that of feminine decoration. It was also a time when feminine decorative practices were regarded in high esteem, before the major thrust of reformation against it occurred.
I am interested in the idea of attempting to hide underlying realites or constructions, both literal and ideological. My work is always about appearance. Always about what's on the surface. About covering things up. One likes to assume that the more elaborate and intricate the decorations on a cake are, the better it will taste. Appearances are everything. But. Appearances are deceiving.
I am interested in the idea of attempting to hide underlying realites or constructions, both literal and ideological. My work is always about appearance. Always about what's on the surface. About covering things up. One likes to assume that the more elaborate and intricate the decorations on a cake are, the better it will taste. Appearances are everything. But. Appearances are deceiving.
Shelley Miller, Camouflage Chicken, Icing covered Teacozy, 1998.
Click to expand the image and swipe for additional views
Shelley Miller, Sugar Coated, detail of icing, 1999.
Shelley Miller, Sugar Coated, Room installation, Icing on wall, 1998-1999.
Shelley Miller, Icing on wallpaper 2’ x 4’ section, 1999.
Shelley Miller, Sugar Coated, detail of icing, 1999.
Shelley Miller, 1998-1999.
Shelley Miller, 1998-1999.
Daniel Whiting
1999
The color has been turned inwards rather than subdued. It is the interiority of these forms that I am interested in; the color glows from within, as a series of shells acts to encase it. The forms themselves are meant to situate themselves in their own space, with their own understanding of weight and weightlessness. Recently, the environment in which these forms reside has grown dark, with the encasement of the forms sharing their space.
Whereas I used to personify a painting as a whole - as one object - I now try to see each form as its own body, in dialogue of relationships with each other; each autonomous bodies that share the space. The space is now set up as a stage for the forms, and I try to see a drama unfolding, but a drama that is conscious of the limitations of the medium. It is not a snapshot of a captured moment, but a scene which is depicted as an unchanging whole. The forms are held in place by their construction, and the potential weight of a body is not meant to later shift, but instead to always maintain that potentiality.
List of works:
Untitled (Monologue), oil on canvas, 72x72”
Untitled, oil on canvas, 72x48”
Untitled, oil on canvas, 48x36”
Untitled (Dialogue), oil on canvas, 84x60”
Untitled, oil on canvas, 72x48”
Untitled, oil on canvas, 84x42”
1999
The color has been turned inwards rather than subdued. It is the interiority of these forms that I am interested in; the color glows from within, as a series of shells acts to encase it. The forms themselves are meant to situate themselves in their own space, with their own understanding of weight and weightlessness. Recently, the environment in which these forms reside has grown dark, with the encasement of the forms sharing their space.
Whereas I used to personify a painting as a whole - as one object - I now try to see each form as its own body, in dialogue of relationships with each other; each autonomous bodies that share the space. The space is now set up as a stage for the forms, and I try to see a drama unfolding, but a drama that is conscious of the limitations of the medium. It is not a snapshot of a captured moment, but a scene which is depicted as an unchanging whole. The forms are held in place by their construction, and the potential weight of a body is not meant to later shift, but instead to always maintain that potentiality.
List of works:
Untitled (Monologue), oil on canvas, 72x72”
Untitled, oil on canvas, 72x48”
Untitled, oil on canvas, 48x36”
Untitled (Dialogue), oil on canvas, 84x60”
Untitled, oil on canvas, 72x48”
Untitled, oil on canvas, 84x42”
Daniel Whiting, 1999. Click to expand the image and swipe for additional views
Daniel Whiting, 1999.
Daniel Whiting, 1999.
Daniel Whiting, 1999.
Daniel Whiting, 1999.
Daniel Whiting, 1999
Daniel Whiting, 1999.
Daniel Whiting, 1999.
Jenny Lin, 1999.
Jenny Lin, 1999.
Jenny Lin, 1999.
Jenny Lin, 1999.
Jenny Lin, 1999.
Kelly Lynne Wood, Two minutes in the closet, Performance, Sept. 1999.
Kelly Lynne Wood, “Untitled”, 1999.
L'espace m'a toujours rendu silencieux
(Space has always reduced me to silence)
(Jules Vales, L'enfant, p 238)
April 1999
A Light from a room at the end of a hall is glowing - inviting me to explore. I find myself wondering and imagining and I notice my mood and feelings have changed. My work triggers the desire to experience life and the wonders of its phenomenons - often using light to assist in this expression. Common existence lives on the ground floor - dreaming allows us to go further - the ability to lose ourselves in out of reach places - the inbetween spaces become magical and intreging. Rather than merely occupying a designated place my art actually constitutes that place. Places often devoid of their past function (ie: empty wardrobes, tops of stairwells, hallways.) Recreating these places so a presence is felt (almost an entity) - a powerful feeling that a certain space can give.
Our feelings always accompany direct experience, sometimes through memory (of another place, another time, a person) or through emotion - I want to help trigger these feelings so the viewer becomes alerted to them and a narrative results. All achieved within a space through light, awareness, and imagination.
Often an imagination can surpass reality. What we dream or imagine becomes real within moments pondering that which is hidden and that which is revealed. I create a story within an existing space; piece together events; begin to set the scene; let the viewer come to their own conclusions as they play out their role in art and life. Look beyond what is accessible, imagine the space beyond and between, and notice the role we play within it all. I invite the viewer to dream.
Within my photos and installations I am concerned with issues of how we perceive - not only in reaction to physical objects, but in bodily reaction to the images I create or capture - using found/discarded photos and places and reinventing their story. We can simply glance, or stay longer and contemplate while the details reveal themselves and continually take their place as we acknowledge the treasures life holds. How we decide to see, and how we exist in relation to the work, creates the reality. It is through this internal contemplation and awareness of the spectator that my work is set in motion - a quiet contemplation moving towards so much more.
Kelly Lynne Wood, “Untitled”, Reading room at Bourget, 1999.
Click to expand the image and swipe for additional views
Kelly Lynne Wood, “Untitled”, 1999.
Kelly Lynne Wood, “Untitled”, Breathing space on Coloniale, 1999.
Kelly Lynne Wood, “Untitled”, Stairwell at Bourget, 1999.
Kelly Lynne Wood, “Untitled”, 1999.
Jenny Lin
1999
My Brief Experience as a Pus-head...
One day, I thought everything was positive and good. I walked down the street with a cone of ice cream, licking occassionally, taking in with delight the air, the pleasant sounds of life, thinking “this is where it’s at... Life is good”.
Meanwhile, a killer pus was on the loose. It lurked behind trash cans, in bathroom cubicles, in the shadows of dingy and gloomy studios, and of course, in Burger King, waiting for the next unsuspecting victim to latch onto, to smother with goo, and meanwhile, working its way up the nose and into the brain. Munching and munching, brain would soon subside, skull filling completely with smelly pus. The victim, inevitably, would undergo a severe change in temperament....
I don’t know when or where it happened for me, exactly. It’s all become a blur. All I know is that I was slobbered on, and the next thing I knew, everything was rotten. I walked the streets sensing the repugnant atmosphere of a world gone sour, a world that was full of idiocies, and thinking that everything seemed to take so much out of you and in the end was so pointless anyway. I was blinded by the fact that good and bad were so similar, yet you were supposed to choose one. Everything was beyond my grasp. I wondered, “Why do anything at all?” What hope was there in a world increasingly populated by pus-heads?
The pus was alive. It throbbed inside my skull, and as I felt it in there, I suddenly sensed that it knew pleasure and pain. Infact, the “pus” as I call it, was just another being that had needs, like anyone else, and went out to tend to them. Pus knew nothing about the “right and wrong”, since these are pretty arbitrary constructions. What Pus did know was basic survival....how to stay alive and enjoy a good brain-munching....to be carried about in one body after another, to procreate and soon, a society of pus-heads would come to be....driven about in slave-hosts, as though in limousines.
After a while, I stopped thinking that there was anything wrong with being a pus-head. It was just another way of being..... it was only the initial shock of being taken over that had caused my bitter outlook on life in general. Now my body was there to serve another without any objection. There was nothing more beautiful than that.
A small fragment of my actual brain still remained, but I expected that it would soon disintegrate, and really, that seemed pretty trivial.
But no.....
Master Dristan arose from the earth....came and “saved” us all. His bottled body..... He saunters down the way sleek and sheik. He places his shaft into the nose of the victim, squeezes and releases. At once, I feel something.
Pus releases. I hear a tiny screaming, pulling and stretching in my mind. I look over and see others like me undergoing a similat separation. I’m sad to see the thick foggy goo die.
1999
My Brief Experience as a Pus-head...
One day, I thought everything was positive and good. I walked down the street with a cone of ice cream, licking occassionally, taking in with delight the air, the pleasant sounds of life, thinking “this is where it’s at... Life is good”.
Meanwhile, a killer pus was on the loose. It lurked behind trash cans, in bathroom cubicles, in the shadows of dingy and gloomy studios, and of course, in Burger King, waiting for the next unsuspecting victim to latch onto, to smother with goo, and meanwhile, working its way up the nose and into the brain. Munching and munching, brain would soon subside, skull filling completely with smelly pus. The victim, inevitably, would undergo a severe change in temperament....
I don’t know when or where it happened for me, exactly. It’s all become a blur. All I know is that I was slobbered on, and the next thing I knew, everything was rotten. I walked the streets sensing the repugnant atmosphere of a world gone sour, a world that was full of idiocies, and thinking that everything seemed to take so much out of you and in the end was so pointless anyway. I was blinded by the fact that good and bad were so similar, yet you were supposed to choose one. Everything was beyond my grasp. I wondered, “Why do anything at all?” What hope was there in a world increasingly populated by pus-heads?
The pus was alive. It throbbed inside my skull, and as I felt it in there, I suddenly sensed that it knew pleasure and pain. Infact, the “pus” as I call it, was just another being that had needs, like anyone else, and went out to tend to them. Pus knew nothing about the “right and wrong”, since these are pretty arbitrary constructions. What Pus did know was basic survival....how to stay alive and enjoy a good brain-munching....to be carried about in one body after another, to procreate and soon, a society of pus-heads would come to be....driven about in slave-hosts, as though in limousines.
After a while, I stopped thinking that there was anything wrong with being a pus-head. It was just another way of being..... it was only the initial shock of being taken over that had caused my bitter outlook on life in general. Now my body was there to serve another without any objection. There was nothing more beautiful than that.
A small fragment of my actual brain still remained, but I expected that it would soon disintegrate, and really, that seemed pretty trivial.
But no.....
Master Dristan arose from the earth....came and “saved” us all. His bottled body..... He saunters down the way sleek and sheik. He places his shaft into the nose of the victim, squeezes and releases. At once, I feel something.
Pus releases. I hear a tiny screaming, pulling and stretching in my mind. I look over and see others like me undergoing a similat separation. I’m sad to see the thick foggy goo die.
Jenny Lin, 1999.
Click to expand the image and swipe for additional views
Jenny Lin, 1999.
Jenny Lin, 1999.
Jenny Lin, 1999.
Laurel Dellemonache, 1999.
Laurel Dellemonache, 1999.
List of works:
Untitled; Sculpey, plaster, rocks, acrylic paint, foliage
The Parasite Infested Goo; Pencil Crayon, india ink
Holiday Frosty and the Confrontation with a Snarly-faced Beasthead; Sculpey, fake flower, fake grapes
Desk; Sculpey, plaster and found objects
Detail
Detail
Untitled; Sculpey, plaster, rocks, acrylic paint, foliage
The Parasite Infested Goo; Pencil Crayon, india ink
Holiday Frosty and the Confrontation with a Snarly-faced Beasthead; Sculpey, fake flower, fake grapes
Desk; Sculpey, plaster and found objects
Detail
Detail
Epilogue:
1. Victim and aggressor switch/share roles. 2. Change usually seems evil when it removes you from a position of comfort, but I guess it could be a good thing... 3. When I go to Burger King these days, I still feel like a pus-head. 4. I have never tried Dristan. 5. I realize that I’ve sort of mistaken “pus” for “mucus” and sinus-congestion, as far as Dristan is concerned, but I mean “pus” as just a slightly more suitable word than others for something thick and putrid, something in-between healing and decomposing. (Not necessarily “pus”, but something “pus-like”).
-Jenny Lin
April 14, 1999
Points in pointform....
-I think that there is a simultaneous innocence and cynicism that exists in my work, a constant trace of the love/hatred that I feel toward everything. Violence and decay are portrayed with humour and a realization that the victims in these pieces also become aggressors in their own right, and vice versa. Definitions and boundaries, to me, at least, become less about “truth” and more about “point of view”.
-I think that feeling ambivalent about things is a position closer to the “truth” anyways. Then again, what is the “truth”, and who really wants it?
-I think humour exists with “seriousness”, that you can attempt to walk the line between the two....I try to.....but it is a fruitless effort to try to truly separate them.
-Things seem to support each other, seem to be enemies and opposites, seem to support each other.
-I use some “low” art materials, designated as hobby materials, such as Sculpey and fake foliage (for model train sets), and aquarium pebbles, and decorative fake flowers. I use these materials because I have quick and easy access to them.
Example: as far as the Sculpey goes, I can bake my objects easily in my oven in 15-30 minutes.
I can be less “precious” about them.
-I take inspiration from so-called “non-art” sources, such as cartoons, comics and the dollar store. This doesn’t mean that my work is “cartoons”, “comics” and “dollarstore” paraphernalia.
-I am ambivalent about almost everything but not apathetic.
-This piece of paper will not define me eternally.
-Jenny Lin
April, 1999
1. Victim and aggressor switch/share roles. 2. Change usually seems evil when it removes you from a position of comfort, but I guess it could be a good thing... 3. When I go to Burger King these days, I still feel like a pus-head. 4. I have never tried Dristan. 5. I realize that I’ve sort of mistaken “pus” for “mucus” and sinus-congestion, as far as Dristan is concerned, but I mean “pus” as just a slightly more suitable word than others for something thick and putrid, something in-between healing and decomposing. (Not necessarily “pus”, but something “pus-like”).
-Jenny Lin
April 14, 1999
Points in pointform....
-I think that there is a simultaneous innocence and cynicism that exists in my work, a constant trace of the love/hatred that I feel toward everything. Violence and decay are portrayed with humour and a realization that the victims in these pieces also become aggressors in their own right, and vice versa. Definitions and boundaries, to me, at least, become less about “truth” and more about “point of view”.
-I think that feeling ambivalent about things is a position closer to the “truth” anyways. Then again, what is the “truth”, and who really wants it?
-I think humour exists with “seriousness”, that you can attempt to walk the line between the two....I try to.....but it is a fruitless effort to try to truly separate them.
-Things seem to support each other, seem to be enemies and opposites, seem to support each other.
-I use some “low” art materials, designated as hobby materials, such as Sculpey and fake foliage (for model train sets), and aquarium pebbles, and decorative fake flowers. I use these materials because I have quick and easy access to them.
Example: as far as the Sculpey goes, I can bake my objects easily in my oven in 15-30 minutes.
I can be less “precious” about them.
-I take inspiration from so-called “non-art” sources, such as cartoons, comics and the dollar store. This doesn’t mean that my work is “cartoons”, “comics” and “dollarstore” paraphernalia.
-I am ambivalent about almost everything but not apathetic.
-This piece of paper will not define me eternally.
-Jenny Lin
April, 1999
Laurel Dellemonache
Scaling Surface and Structure
1999
I create paintings that explore traditions that continue to influence contemporary art making. The cycle of painting is embodied here in materials from fresh canvas, primer, oil paint, silver leaf, and sludge (the residue of paint that settles to the bottom of clean up jars that artists usually discard). By exposing the life that still remains within these materials, this painting process scales, measures, and mimics the properties of accumulation and erosion. The relationship between the various elements of the surface of the painting is echoed in the underlying structure of the stretcher frame. The frame projects from the wall, serving an aesthetic function that guides the paint, contains the ambient light that surrounds it, and further reflects shadows that shift as does the viewer’s posture and perception. Isolated, and in combination, these paintings provide a terrain that reemphasizes the intricate balance between substance and imagination.
List of works:
‘Scaling’ Installation view 1; Oil, silverleaf, gesso, glue on distorted
‘Scaling’ Installation view 2; canvas stretchers, dimensions vary, 1999
‘Scaling’ detail
‘Scaling’ detail
‘Scaling’ detail
‘Scaling’ Installation view 3
Scaling Surface and Structure
1999
I create paintings that explore traditions that continue to influence contemporary art making. The cycle of painting is embodied here in materials from fresh canvas, primer, oil paint, silver leaf, and sludge (the residue of paint that settles to the bottom of clean up jars that artists usually discard). By exposing the life that still remains within these materials, this painting process scales, measures, and mimics the properties of accumulation and erosion. The relationship between the various elements of the surface of the painting is echoed in the underlying structure of the stretcher frame. The frame projects from the wall, serving an aesthetic function that guides the paint, contains the ambient light that surrounds it, and further reflects shadows that shift as does the viewer’s posture and perception. Isolated, and in combination, these paintings provide a terrain that reemphasizes the intricate balance between substance and imagination.
List of works:
‘Scaling’ Installation view 1; Oil, silverleaf, gesso, glue on distorted
‘Scaling’ Installation view 2; canvas stretchers, dimensions vary, 1999
‘Scaling’ detail
‘Scaling’ detail
‘Scaling’ detail
‘Scaling’ Installation view 3
Laurel Dellemonache, 1999. Click to expand the image and swipe for additional views
Laurel Dellemonache, 1999.
Laurel Dellemonache, 1999.
Laurel Dellemonache, 1999.
When I was very young my mother took me to see the wall of crutches at St Joseph's Oratory. She was a nurse and very religious.
I never went back.
My grandfather was a doctor.
My father was doctor.
Since I can remember, my father tried to convince me to become a doctor and do good for people.
The idea terrified me.
None of this has anything to do with my work.
This work is part of an ongoing process that involves objects I find, collect, or have somehow consumed. They have all been discarded in some way. For me it is about the nature of interaction with one’s surroundings; what we decide to keep, what we let go, how we interact, and how we resolve experience.
The starting point for this installation was about a hundred crutches, which I picked up at the Salvation Army. They were so obviously laden with meaning, yet they lay in a heap in the corner, a small step up from the garbage. That tension got me going. The crutches unlocked several themes and feelings (and objects) I had been storing up.
Juxtaposing different objects and materials creates points of tension. Points of physical stress emphasise points of emotional stress; wire on bone, plaster on bone, healing on damage, metal on wood.
The decisions of what objects to pick up, and when and how to intervene are an ongoing negotiation. Sometimes I collect things over a period of years; lost mittens in snowbanks, peach pits, bones, car parts. I’m not sure why. After reaching some critical mass, they tend to find their way into my work. I usually begin working with a particular found object after it has given me some little unexplained nudge. My intervention to it supplies a little nudge back, like prodding someone to tell a story. There is a tension in how I deal with the object, how much I am willing to change its state. The urge to pursue the obvious story in the found object negotiates with the urge to use it as raw material. The thinking usually comes out in the doing.
EXHIBITION: OCT 10 - 16, 1999
OPENING RECEPTION: N/A
DUO
JENNIFER CAROLL
JAMES MCGOVERN
James McGovern and Jennifer Carroll, 1999.
Click to expand the image
OH HAPPY DAY
crutches, plaster, speakers, gospel music
1999
POINTED STICK
crutch, stick, cement, paint
1999
DIVINE
crutch, stick, cement, paint
1999
SPARE RIBS
crutch, bones
1999
HAMSTRUNG
crutches, bones, wire
1999
PEGASUS
crutches, plaster bandage, stucco
1999
UNTITLED
crutches, paper, bed parts
1999
STOOD UP
crutch, burlap, wire, grasses
1999
UNTITLED
crutch, plaster bandage, bone, saw blade
1999
James McGovern and Jennifer Carroll, 1999.
Click to expand the image and swipe for additional views
James McGovern and Jennifer Carroll, 1999.
James McGovern and Jennifer Carroll, 1999.
James McGovern and Jennifer Carroll, 1999.
James McGovern and Jennifer Carroll, 1999.
James McGovern and Jennifer Carroll, 1999.
James McGovern and Jennifer Carroll, 1999.
Group Exhibitions
1999: VAV Gallery, Montreal
1999: VAV Gallery, Montreal
1992: McLure Gallery, Montreal
1987: McLure Gallery, Montreal
1986: McLure Gallery, Montreal
Bibliography
Montanchez, Mark “Folds and Frailties”, The Link, Montreal, 12 October 1999, p6.
James McGovern and Jennifer Carroll, 1999.
Click to expand the image and swipe for additional views
James McGovern and Jennifer Carroll, 1999.
James McGovern and Jennifer Carroll, 1999.
EXHIBITION: OCT 17 - 23, 1999
OPENING RECEPTION: OCT 19
DUO
SHANNON CAMP
DENIS ROUTHIER
CAMP ROUTHIER
THE LINK
October 19, 1999
by Marc Montanchez
This week at the VAV gallery, Denis Routhier and Shannon Camp present an exhibit where the operative word is “fun.” Appropriately entitled Camp Routhier, the show intends to recreate the sureally-displaced atmosphere of museums of natural sciences, as well as provide the same accessibility and entertainment value of those shadowy palaces of stuffed animal collections.
Camp’s use of old-school, crank-’em-up-and-let-’er-rip mechanical displays recall those unintentionally funny ‘interactive’ museum exhibits. Some pieces, such as Anthill Bird, with its tragicomic, plexiglass encased ‘specimen,’ are sure to provoke memories of those pathetic, yet somewhow awe-inspiring, cross-eyed and dessicated rodents and birds that lit up at the push of a red button.
Camp Routhier is on display from Oct 18-23. The vernissage is on tuesdat Oct 19, 7 p.m. Bring your fly swatters and rubber flip-flops.
EXHIBITION: OCT 25 - 30, 1999
OPENING RECEPTION: N/A
GROUP
KA MONG LEE
JAMES PRIOR
MARIE V. ROBITAILLE
ERIKA KIERUF
ERIN STANFIELD
ONYA HOGAN-FINLEY
CHRIS READY
CELINE B. LATERREUR
ANNA LOUISE
DAGMARA. ERIN
MARIE V.
MICHELLE
ONYA HOGAN-FINLAY
“DIVERSE PERFORMANCE IN THE GALERIE VAV GALLERY”
CONCORDIA UNIVERSITY
1395, RENE LEVESQUE BOUL. OUEST
MONTREAL, H3G 2M5
MONDAY OCTOBER 25TH TO SATURDAY OCTOBER 30TH
From the Concordia Contemporary Dance Department, we will feature, “Hush”, choreography performed by Ka Mong Lee.
Family life will be presented by “The Happy Family”, an amusing collective featuring James Prior, Mariev Robataille, Erika Kierulf and Erin Stanfield.
“Le Ballon Fantastique” will be performed on the streets and in the gallery with Onya Hogan-Finlay and Chris Ready.
Tatto Artists, Dave and Pierre will present two special days that feature a cultural and traditional history of the ancient art of tattoing and will demonstrate their skill and dexterity upon a live victim who is craving a body suit. Marnie will be available to represent these professional artists and review any body criticism.
“Des Anectdotes” by Celine B. La Terreur and sound/action women W.W.K.A (women with kitchen appliances - featuring Anna Louise, Dagmara, Erin, Mariev, Michelle and Onya) will charm and cross boundaries in terms of their subject matter and their mediums.
“PERFORMUTATION” is subject to surprise guests and spontaneity.
EN
The inspiration for my paintings comes mainly from photos which I have taken haphazardly while travelling during the past ten years. Over time, I realized that I have a fascination for rocks and geological formations, in particular those which have cracks or openings leading into subterranean spaces.
This series of paintings shows spaces or places which were long ago hidden under rock, earth and vegetation. Next, they were carved, gouged and tunnelled by people for various purposes, but used only temporarily until they lost their main attraction. Then they were abandoned, left empty.
But how empty are these spaces really?
Despite many transformations over time (manmade and organic), they house fragments of memories and mysteries, traces of lives and ideas. Threatening and enticing at the same time, they represent risks, an exploration of the unknown, and wonder.
Because the visual representation of these works is familiar, I was free to explore other artistic concerns while painting: ambiguity of scale, illusion, the juxtaposition of dark and light areas, and the combination of figurative and abstract elements in the same composition.
November 1999
EXHIBITION: OCT 31 - NOV 6, 1999
OPENING RECEPTION: N/A
DUO
SHELLEY FREEMAN
DAVID ROSS
OPENING RECEPTION: N/A
DUO
SHELLEY FREEMAN
DAVID ROSS
David Ross, 1999. Click to expand the image and swipe for additional views
David Ross, 1999.
Shelley Freeman, 1999.
Shelley Freeman, 1999.
Shelley Freeman, 1999.
Shelley Freeman, 1999.
Shelley Freeman, 1999.
La principale source d’inspiration de mes tableaux provient de photos prises au hasard de voyages effectués depuis dix ans. J’y ai progressivement développé une fascination pour les formations rocheuses et géologiques et, plus particulièrement, les fissures et ouvertures menant vers des espaces souterrains.
Les œuvres exposées dévoilent donc des espaces ou lieux longtemps enfouis sous des roches, de la terre et de la végétation, jusqu’au jour où l’homme les a taillés, creusés, canalisés et utilisés. Devenus inutiles, ils ont ensuite été laissés à l’abandon.
Mais ne reste-t-il vraiment rien dans ces espaces?
Malgré les nombreuses transformations (humaines et organiques) subies au cours des années, ces espaces renferment toujours des fragments de souvenirs et de mystéres, des traces de vies antérieures et des idées qui y ont germés. Menaçants et attirants à la fois, ils évoquent le goût du risque, de l’exploration de l’inconnu et du merveilleux.
Étant familière avec cette forme de représentation picturale, je fus en mesure, lors de cette production, d’explorer librement d’autres aspects de la création : ambiguïté de la dimension, trompe l’oeil, juxtaposition de masses lumineuses et sombres ainsi que l’interaction d’éléments figuratifs et abstraits dans une même composition.
Novembre 1999
Novembre 1999
David Ross
1999
For me a painting is like a thesis: a possible way to answer an aesthetic problem. At the end result, this thesis might be well formulated but its finality-in accepting the thesis as true-is irrelevant. The value does not lie in the truth of the thesis, but in the process of arriving to a resolved possible solution. Finality is a boundary because it cancels out other answers to the same problem. Morevover, if an answer is seen as true, one must move on to another aesthetic problem, and dealing with many different aesthetic problems is detrimental to having a directed production. In my works, this approach to painting is related to a concern for process as well as dealing with the aesthetic theme of presence and absence.
First, my concern for process rather than finality is translated in the importance given to material. The exposed wooden framework describes the structure by which the object was built. The layering and transparency of the paint refers to the different stages of work where marks/symbols were hidden and others enhanced. The images refer-in a crudely drawn way-to different structures and to the drawing technique of cross-hatching.
As an aesthetic problem my works deals with presence and absence. Material erased and exposed, is a literal way to talk about presence and absence. Conceptually, evidence of process points to presence of the maker inside his works. At the same time, it points to his absence; no longer an active part of his works, he has left evidence as a separate entity from himself representing a point in time that has now passed.
Presence and absence can also be read in the objects’ missing parts: hidden or erased symbols. Instead of imposing the finality of a statement, the intention is to lead the viewer to complete a reflection from the incomplete symbols in the works perpetuating the idea of process in the understanding of the pieces.
Finally, the idea of presence and absence in the works combining of real and illusory space. As a presence occupying real space, the exposed framework gives an object quality to the work. Illusory space is represented by the picture plane that exudes something beyond the surface; a subjective relation between object and viewer of which literal indications are absent.
In conclusion, a final concern for me is the fact that works that place importance on process are much more relevant in large number. The amount translates an interest that is ongoing. Also in this way, they present possible readings of pattern of production, which can be related to my ideas of process and finality.
1999
For me a painting is like a thesis: a possible way to answer an aesthetic problem. At the end result, this thesis might be well formulated but its finality-in accepting the thesis as true-is irrelevant. The value does not lie in the truth of the thesis, but in the process of arriving to a resolved possible solution. Finality is a boundary because it cancels out other answers to the same problem. Morevover, if an answer is seen as true, one must move on to another aesthetic problem, and dealing with many different aesthetic problems is detrimental to having a directed production. In my works, this approach to painting is related to a concern for process as well as dealing with the aesthetic theme of presence and absence.
First, my concern for process rather than finality is translated in the importance given to material. The exposed wooden framework describes the structure by which the object was built. The layering and transparency of the paint refers to the different stages of work where marks/symbols were hidden and others enhanced. The images refer-in a crudely drawn way-to different structures and to the drawing technique of cross-hatching.
As an aesthetic problem my works deals with presence and absence. Material erased and exposed, is a literal way to talk about presence and absence. Conceptually, evidence of process points to presence of the maker inside his works. At the same time, it points to his absence; no longer an active part of his works, he has left evidence as a separate entity from himself representing a point in time that has now passed.
Presence and absence can also be read in the objects’ missing parts: hidden or erased symbols. Instead of imposing the finality of a statement, the intention is to lead the viewer to complete a reflection from the incomplete symbols in the works perpetuating the idea of process in the understanding of the pieces.
Finally, the idea of presence and absence in the works combining of real and illusory space. As a presence occupying real space, the exposed framework gives an object quality to the work. Illusory space is represented by the picture plane that exudes something beyond the surface; a subjective relation between object and viewer of which literal indications are absent.
In conclusion, a final concern for me is the fact that works that place importance on process are much more relevant in large number. The amount translates an interest that is ongoing. Also in this way, they present possible readings of pattern of production, which can be related to my ideas of process and finality.
LIST OF WORKS
Untitled, 1999. Oil on canvas, 3 x 2 feet, 3 x 1.5 feet.
Untitled, 1999. Oil on canvas, 3 x 2.5 feet.
Untitled, 1999. Oil on canvas, 2.5 x 1.5 feet.
Untitled, 1999. Oil on canvas, 3 x 2.5 feet.
Untitled, 1999. Oil on canvas, 2.5 x 1 feet.
Untitled, 1999. Oil on canvas, 3 x 2 feet, 3 x 1 feet.
Untitled (detail), 1999. Oil on canvas.
Untitled, 1999. Oil on canvas, 3 x 2 feet.
Untitled, 1999. Oil on canvas, 2.5 x 3 feet.
Untitled, 1999. Oil on canvas, 1.5 x 2 feet, 2 x 1.5 feet, 2.25 x 1.5 feet.
Untitled, 1999. Oil on canvas, 3 x 1.75 feet.
David Ross, 1999.
Click to expand the image and swipe for additional views
David Ross, 1999.
David Ross, 1999.
UNDER THE SURFACE
FRINGE
by Marc Montanchez
What do the terms ‘neo-plasticism’, ‘non-figurative’, ‘non-objective’, ‘concrete’ and ‘expressionist’ have in common? They are all fancy-talk substitutes for abstract painting.
Of all the ferment and activity emanating from the contemporary arts milieu, it can be argued that painting tends to arouse more controversy, ruffle more feathers and generate more critical labeling than other art form. Our society fosters many divergent ideas and points of view which, when reflected by artists through their work, demands an engagement from the spectator or atleast a commitment towards some kind of dialogue so that the work can be fully appreaciated.
This week at the VAV gallery, artist Shelley Freeman and David Ross present “On the Surface”, a show comprised of paintings that embody the perfect balance between visually pleasing imagery and sophisticated thematic content. These works stimulate the cerebral frontier between language and the imagination.
Shelley Freeman’s large paintings were inspired by geological formations she observed in her travels over the past ten years. These paintings of abandoned mine shafts and other traces of long-forgotten human activity in harsh, non-human environments, embody the eeriness of the unknown. They speak of the possible damage incurred through theri exploration.
Freeman’s ability to combine realistic representation with manipulations of the medium itself (i.e. using heavy layers of paint to obtain a rough, relief-like effect), draws out the emotional suggestability present in these sites.
David Ross uses painting to explore potential meaning derived from the notions of presence and absence. Taking a highly conceptual idea as the basic framework, Ross’ work is fully charged with energy and obsessive concentration.
Every facet of painterly means is manipulated.
Wooden frames extend beyond the canvas and become annexed constructions of routered and marked wood.
Layers of paint are left to dry at different angles to create the effect of molten rock frozen in mid-flow.
Different stages of the painting are painted over or erased, creating a dynamic and organic process.
Whether you are an art-history major craving a meaty feast to exercise all that analytical expertise you’ve ingested, or a non-initiate in the world of abstract art looking to kickstart a life-long and sophisticated relationship with contemporary painting. “On the Surface” by Shelley Freeman and David Ross is the place to be.
At the VAV Gallery November 1-6. Vernissage is Tuesday, November 2nd at 7p.m.
Shelley Freeman, 1999.
Click to expand the image
A PERFORMANCE artWORK BY WILLIAM POPE.L
FRIDAY, FEBRUARY 11™H
AT 12:00 - 2 P.M. in the
"GALERIE VAV GALLERY"
CONCORDIA UNIVERSITY
VISUAL ARTS BUILDING
1395, rene-levesque o., montreal, (corner of crescent)
PUBLIC LECTURE BY THE ARTIST
FRIDAY, FEBRUARY 11TH
8 P.M.
IN ROOM VA-114
CONCORDIA UNIVERSITY
VISUAL ARTS BUILDING
The Studio Arts Department of the Faculty of Fine Arts of Concordia University and Galerie VAV Gallery are pleased to present William Pope. L for the first time in Montreal. William Pope. Lis a visual, Performance-Theater Artist and Educator who makes culture out of contradiction. He attended Mason Gross School at Rutgers University in New Jersey for his graduate work and studied with Ruth Maleczech and Lee Breuer of Mabou Mines at Re. Cher. Chez-Studio, in New York City.
Pope.L's visual and performance-theater work was featured in the Spring 1996 issue of "Bomb" magazine and his street-intervention ATM Piece, was given a one page spread written by C. Carr of the "The Village Voice" in Spring 1997.
In this Exhibition, the African-American artist, William Pope. L celebrates and critiques the Western High Art tradition as practiced by the White genius.
Yves Klein who made his influence known in the late 1950's and early 60's was on of these remarkable men. In his fairly short career, Klein challenged some of the basic precepts of High Art. His most radical contribution was the dematerialization of art into spirit. Klein was seeking purity. One of his best-known art works was signing the sky. Another was using women's naked bodies as living paintbrushes. Another was turning art into gold.
Pope. L, with this group of works, uses the metaphorical body of Klein on which to build his case.
Pope. L champions a part of Klein that Klein himself might reject. In doing so, Pope. L embraces White High Art while seeking its darker, nether, other side.
Pope L. constructs his Baktinian response to the purity-seeking of late 20th century High Art in the titular work of the show which is a nine-foot card board tube laid on the floor and painted black with green mint jelly coming out of both ends. Pope. L says this work is a literal representation of the inside of the space of Yves Klein's anal canal. It's a positive-negative object.
The show will also include several discreet objects/drawings displayed on wall panels in the entrance of the Gallery and an endurance performance work in which Pope. Lover a period of two hours paints his naked body with white latex paint. The performance will take place in the gallery from noon to 2 p.m. on Friday, February 11th, 2000. The artist will also give a talk on his work at 8 p.m. also on Friday, February 11th, 2000.
This event has been made possible through the generous funding of The Studio Arts Department Visiting Artist Series, The I.D.Y.S. Student Association, The Office of the Provost and Vice Rector/Research of Concordia University and co-ordinated by Julie Keller and Michelle Bush, Co-Directors of Gallery VAV Gallery of Concordia University.
Please be advised that tickets and reserved seating are not being issued for this event. Access will be granted on a first come, first serve basis. For any further information, please contact Julie Keller and Michelle Bush at 848-7388.
EXHIBITION: FEB 11
OPENING RECEPTION: FEB 11
SOLO
WILLIAM POPE. L
Notes on Yves Klein's Asshole
I will begin with a description of my recent exhibition at the VAV Gallery of Concordia University entitled: The Hole Inside The Space Inside Yves Klein's Asshole and then shift in and out at will to other trajectories.
****
The works in the exhibition consisted of a wall piece, two sculptural pieces and a performance-installation.
The wall piece was a set of 10 shelves containing everyday objects painted white and manipulated in various ways, eg. a cassette player which played a treated audio-loop of Neil Young's "Mr. Soul"; a knit hat stuffed with toys mimicking busts of Michael Jordan's head; an open jar of pickled pig's feet; an insta-camera displayed with several photos taken by the camera. The photos were of a vacation took with my ex-girlfriend, etc. The two sculptural works consisted of: 1) a barking toy dog with a dildoe for a tongue, seated on a two foot high mound of flour which covered the floor of the entrance to the gallery 2) a nine foot tube wrapped in black duct tape propped between floor and wall. The part of the tube, which met the floor, emitted globs of green jelly. Lastly, there was a performance-installation containing many tubes of black and white acrylic paint and KYjelly, colorful blankets and a child's night-light, all scattered about on a large piece of industrial black plastic. Along one wall, like wainscoting, was an African print. On another, I hung an African mask. My performance was in some sense a parody of Klein's famous performance work, Anthropometries (Paris, France. 1960) in which he directed three nude female models to cover themselves with blue paint and press themselves against prepared canvases while twenty musicians played Pierre Henry's 'Symphonie Monotone'. In my piece, I took the place of both Klein and the women. I directed myself, in front of a large audience, to don the African mask and coat my ass with white and black paint, and sometimes KYjelly, and press my buttocks against walls, the African print and even the glass walls that lined the street-side of the gallery thereby engaging all who passed. In between printings, I posed with my legs open exposing myself; freezing in position and 'staring' at audience members through the eyeless holes of the mask. At other times, I curled up in the blankets and listened to the solace of the chimes of the wind-up toy.
***
In this exhibition, I reference the bodies and bodies of work of two male gods of culture. First and primary, Yves Klein. Second, Neil Young. The former, a Frenchman. The latter, a Canadian. I reference these two guys (for example, Young's voice (audiocassette) and Klein's anal canal (a nine foot black tube)) not to canonize them but to recycle them as fodder for alternative perspectives and ways of making and being culture.
Both Young and Klein, in constructing their careers and public images quested, lusted after a transcendental outcome. Klein proposed an art of the sublime. Young fiercely fought for the sanctity and inviolable role of the artist as genius. Each built into his life work an idea, a machine, an organism, if you will, which would protect his enterprise from further articulation. That is any contradiction or difference, which might disturb his guiding idea.
Both guys framed his enterprise, his business to be outside, above and beyond history. This is a problem for me. I believe art should participate as fully as possible in the porosity, the open-endedness, the decay and randomness of experience.
I admire Klein. I admire his work. For example, his famous art gesture, "Leap Into the Void" (which exists only as a photograph) and which shows Klein suspended in space arms outstretched above a city street. The photograph proves an impossibility:
Klein is above natural laws. The laws that weigh the rest of us regular folks down. The first time I saw this photograph, I was shocked. Now the shock has worn off and I'm more interested in what is missing from this photograph, specifically Klein's tall; the impact of bone and flesh as he hit the pavement milliseconds after the photo was taken.
Neil Young intrigues me as well. I admire the 'diverse' quality of his work as he once called it. In 1983, David Geffen, head of Geffen records, disagreed with the so-called diverse quality of Young's work and sued him for breach of contract claiming Young was committing career-suicide by recording his albums in four days thus in a Slapdash manner. Young survived Geffen and in the 90's was hailed by Rolling Stone' Magazine as the most gitted rock n roller of his generation. Even with all this, I am equally interested in what is rarely mentioned regarding Young. For example, his epilepsy and his two children's cerebral palsy; likely passed to them from their father. I am curious how these life-interventions may have marked Young's diversity.
Indeed, I am as interested in what these two do not frame as in what they frame. I am interested in the dark inside the dark. I am interested in the negro inside the negro inside the caucasian.
To this end, I, an African-American male artist, have permitted myself an obsession with racialization. Put crudely racialization is a building of instrumental political, economic and social categories on the back of seemingly simple dichotomies of black and white. This organizational stereotyping machine assists Americans (and other individuals of European ancestry) to order reality. Yes, I know I'm in Montreal, the multi-cultural capital of Canada. And yes, I am aware the exit is up there and I am down here but just the same it seems to me many Montrealers believe it is self-evident that race bigotry has no home in Montreal. OK. Fine. But I ask this: just because something seems self-evident doesn't mean it should escape examination. In fact, if anything one should be even more suspicious. Certainty is a wolf in sheep's clothing.
In the middle of the 20" Century, the famous German philosopher and skeptic, Ludwig Wittgenstein asked the question: "Does black besmirch white?" in his well know work on color. Why I always wondered didn't he ask: "Does white besmirch black?" What prevented Wittgenstein from posing this question? Was it because he was white? Was it because he was gay? Was it because he played classical piano like a Kangaroo?
You decide Bottomline, pun intended, the instrumentalizing of stereotyped dichotomies is a fantasy. And very attractive. It is a wish for perfection. Something Klein could relate to.
I am not interested in perfection. I am interested in the nightmare that lurks behind the wish. I am interested in the growl, the mess, and the contradictions that the stereotype serves to keep in check.
Yes! I want to let the animal out of its cage of categories to prowl the garden, eat the apples, the snake, the laws and the fleeing villagers just minding their own business expressing someone else's individuality and calling it theirs.
I am not interested in the terrorism of categories for its own sake or for reasons of sensationalism. The constructing of reality via the creation of categories is a form of consumer catechism. Categories tell us how to partake of life. Categories consume us as well as determine how we consume. Indeed, I eat Klein and he eats me in turn. I shit Klein and he shits me back. I am a man with holes in my body. Oooh la la. Perhaps my relationship to Klein is analogous to Canada's relationship with the U.S.? That's what I like about Montrealers; their criticism of the U.S. Still, what we criticize, in a sense, we deify.
Even so, I reject Klein. Just like the Italian artist, Piero Manzoni, who with his art of
the earth opposed Klein's art of the air. Manzoni was obsessed with Klein. Like Monzoni, I both reject and celebrate Klein and artists like him and what they represent. I am a bitch about this.
I celebrate Klein by rejecting his art of stillness and oppose it with my art of process. I reject the void. To me, life has something inside it. mine the space inside the space inside the asshole of art. That space which is detined by lack not emptiness. A lack that has something inside of it. A lack defined by the things we reject. By the things we refuse. By our silence which is not really silence but simply holding our breath refusing to participate in the air of difference.
Lack is not divine. It is social. All assholes lead out into the light of sociality. Klein's problem was not: "Can art ever achieve the sublime?" It was "Why didn't he go out more often?"
Fact: If one goes outside, one will be out of doors. Meaning one may risk participating in experiences and adventures outside accepted categories.
My aim is to be out. An out-bitch. Outside. The inside of the inside. And engage the challenge; the melodrama of life with its soap opera, stupidities, concavities, quagmires multi-tiered, and porous. Life is a mess. Drink it up. Mess deserves mess. We deserve life. It's the best of our inventions. Convoluted and mutating. Always changing and insulting us with incalculable ditterence. No dichotomy can shake it. I say: I am an African-American male artist because I know it's as much true as not true. Ask the white man that once owned my great-great grandfather.
We are what we are because we are what we are not. Change is our blessing, our burden, our rock n' roll, our reality. I hold it like a lover with a temper. And to meet this challenge I work in various stratagems and rituals: performances, objects, fiction, installation, video, visiting schools like Concordia to give lectures, making pies, opening my legs, pumping my ass, painting the world white for a better tomorrow, shitting into the mouth of the future so that it may overflow into the past.
William Pope.L
Bates College, Lewiston, ME 04240, USA
February 23, 2000
EXHIBITION: MAY 8 - 13, 2000
OPENING RECEPTION: MAY 8
DUO
OANA SUTEU
IRINA SUTEU
18 March 2000
The Union Gallery presents BEYOND destination, an exhibition of collaborative works by Queen’s University and Concordia University art students, curated by Chien-ming Huang (Queen’s Union Gallery) and Michelle Bush and Julie Keller (Concordia’s VAV Gallery). The exhibition will be on view at the Union Gallery from 18 April until 16 May 2000. An opening reception will be held Saturday 22 April 2000, from 4 to 6 pm. The Union Gallery is located on the 1st floor of the Stauffer Library (corner of Union and University).
BEYOND destination is a series of collaborative works by ten pairs of artists, each pair comprised of a artist based in Kingston and one based in Montreal. Each duo has worked together to create an artwork that explores the information age by using (non-visual) technologies to communicate across the physical distance that separates them. The works are “finished” when the artists come together to install the work in the gallery. A documentation of the creative process accompanies each entry in the show. The exhibition will be on view at the VAV gallery in Montreal in late May through June, 2000.
EXHIBITION: MAY 21 - JUN 18, 2000
OPENING RECEPTION: MAY 27
CURATION
CHIEN-MING HUANG
MICHELLE BUSH
JULIE KELLER
GROUP
N/A
Beyond destination, 2000.
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Beyond destination, 2000.
Beyond destination, 2000.
Beyond destination, 2000.
Beyond destination, 2000.
Beyond destination, 2000.
Beyond destination, 2000.
Beyond destination, 2000.
Beyond destination, 2000.
Beyond destination, 2000.
Beyond destination, 2000.
Beyond destination, 2000.
Beyond destination, 2000.
Beyond destination, 2000.
A curatorial proposal for a collaborative exhibition with Concordia University.
Curators:
Michelle Bush, co-director of VAV Gallery, Concordia University
Julie Keller, co-director of VAV Gallery, Concordia University
Chien-ming Huang, 3rd year BFA student, Queen’s University
In summer 1999, the Union Gallery began to expand our reaches towards other student art community across Canada. Among all of the responses we received, the VAV Gallery of Concordia University showed a great amount of interest in continuing the interactions between the two galleries . The idea of having an exchange art exhibition was brought up and developed further by the directors of VAV Gallery, Michelle Bush and Julie Keller, along with the gallery assistant of the Union Gallery, Chien-ming Huang.
This exhibition is to be called “Beyond Destination” (tentatively). The central idea of this exhibition is based on the link to the millennium angst and information age, and the the art works will be produced through the collaborative effect of both Concordia and Queen’s students. A long-distance exchange will take place in between 10 groups of student artists (two people per group, one from Concordia and one from Queen’s). These students will be selected based on their proposals and then paired with another person with similar ideas. It is our hope that these students will demonstrate how high-tech communication can fuse with the art aesthetic from a distance by actually utilizing the technical means of long distance communication (such as internet, telephone, fax, and etc.) The exhibition will show both the finished products as well as the documentation of the process in both the VAV Gallery and Queen’s University. Each participant will only see the finished work until the exhibition takes place.
It is our hope that this exhibition can begin to bring the both art communities closer and also start a new venue for future exchange opportunities for both Concordia and Queen’s art students.
If the proposal is accepted, we will begin the call for submission process by January 2000. The call for submission will be held at both Concordia and Queen’s University. Ten student artists will be selected from each campus and then paired up for this exhibition. The exhibition will take place in the VAV Gallery first by the end of April 2000 or early May 2000. Then the exhibition will be moved back to the Union Gallery in May 2000 (if space permitted).
Thank you for your consideration.
Sincerely,
Julie Keller
Michelle Bush
Chien-ming Huang
This exhibition is to be called “Beyond Destination” (tentatively). The central idea of this exhibition is based on the link to the millennium angst and information age, and the the art works will be produced through the collaborative effect of both Concordia and Queen’s students. A long-distance exchange will take place in between 10 groups of student artists (two people per group, one from Concordia and one from Queen’s). These students will be selected based on their proposals and then paired with another person with similar ideas. It is our hope that these students will demonstrate how high-tech communication can fuse with the art aesthetic from a distance by actually utilizing the technical means of long distance communication (such as internet, telephone, fax, and etc.) The exhibition will show both the finished products as well as the documentation of the process in both the VAV Gallery and Queen’s University. Each participant will only see the finished work until the exhibition takes place.
It is our hope that this exhibition can begin to bring the both art communities closer and also start a new venue for future exchange opportunities for both Concordia and Queen’s art students.
If the proposal is accepted, we will begin the call for submission process by January 2000. The call for submission will be held at both Concordia and Queen’s University. Ten student artists will be selected from each campus and then paired up for this exhibition. The exhibition will take place in the VAV Gallery first by the end of April 2000 or early May 2000. Then the exhibition will be moved back to the Union Gallery in May 2000 (if space permitted).
Thank you for your consideration.
Sincerely,
Julie Keller
Michelle Bush
Chien-ming Huang
Beyond destination, 2000.
Click to expand the image and swipe for additional views
Beyond destination, 2000.
Beyond destination, 2000.
Beyond destination, 2000.
Beyond destination, 2000.
Undergraduate Student Exhibition at Leonard and Bina Ellen Gallery.
EXHIBITION: JUN 16 - JUL 22, 2000
OPENING RECEPTION: JUN 15
GROUP
NED ALEXANDER
MARCIA BAKER
THOMAS BEGIN
ETIENNE BELANGER
IAN CAMERON GRANT
MARIE-CLAUDE GUERETTE
STEPHEN HELSING
JULIANA KELLER-ESPANA
DAVID LAFRANCE
ANNIE LANDRY
YOLAINE LEFEBVRE
DAVID MACLEOD
HAZEL MEYER
D. BRADLEY MUIR
KYRA NERCESSIAN-REVENKO
VANESSA MARIE ROBINSON
DVID ROSS
ERIC SAUVE
HAZEL SCHWARTZ
MELANIE SHATZKY
MELISSA A. THOMPSON