VAV Gallery and Concordia University's MFA Print Media students
Meredith Carruthers, Kevin Finlayson, Molly Kalkstein, Christine Kirouac, Luke Painter, Ericka Palma, Anil Ragubance, Daniela Schlüter and Robert Truszkowski proudly present
rhizome
VAV Gallery, Concordia University
1395 Réne-Lévesque W.
June 23rd - July 4*2003
vernissage: June 24* 7-11pm
As a group we are particularly attracted to Deleuze and Guattari's rhizome because it not only reflects the intensely productive state of disarray in which we find ourselves working, but also because it is difficult if not impossible to generalize-much like the bodies of work we are currently producing.
This exhibition is designed to spark interest and discussion around notions of inter/disciplinarity and expectations of media—applications and functionality within academia, the contemporary art scene, and society at large.
... horizontal, burrowing, endlessly ramifying, constantly becoming, a network, no centre, no solid structure, points of contact, lines of flight...
rhizome
EXHIBITION: JUN 23 - JUL 4, 2003
OPENING RECEPTION: JUN 24
GROUP
MEREDITH CARRUTHERS
KEVIN FINLAYSON
MOLLY KALKSTEIN
CHRISTINE KIROUAC
LUKE PAINTER
ERICKA PALMA
ANIL RAGUBANCE
DANIELA SCHLUTER
ROBERT TRUSZKOWSKI
Rhizome, 2003. Click to expand the image and swipe for additional views
Rhizome, 2003.
Rhizome, 2003.
Rhizome, 2003.
Rhizome, 2003.
Robert Truszkowski, La Pieta: After Sam Taylor-Wood, digital video transferred to VHS, running time: 2 min. 10 sec., 2002.
Robert Truszkowski’s work is conceptual.
He enjoys digital image manipulation with computer programs such as “Photoshop.”
(Slide 7)
Meredith Carruthers, For: Lawren, With Love from: Glasgow, Super8 transferred to VHS, running time: 3 min. 45 sec.,
2003.
For: Lawren, With Love from: Glasgow is a record of a dozen Iceberg hats and eleven international students engaging with the Scottish Highlands.
This project is part of an ongoing series of films exploring relationships and intersections between: Canadian landscape and identity, Culture, imagination and representation.
Produced with the assistance of: The Galsgow School of Arts Projects fund, Gregory King-Director of Photography, Jim Lambert-Technical advisor, and The Glasgow School of Art prototype lab.
(Slide 11)
Luke Painter, untitled, mixed media, 4’ x 3’, 2003.
Luke Painter’s work is a culmination of many influences vying for space within contemporary painting.
He appropriates aspects of flat modernist painting along with post-modern references to non-functional architecture creating ambiguous fictional landscapes.
(Slide 13)
Molly Kalkstein, untitled, salted paper prints each 4” x 5”, 2003.
Molly Kalkstein, untitled, salted paper prints each 4” x 5”, 2003.
The construction of enclosed or imagined worlds.
Disassembly of found photographs and negatives, reassembled through the pinhole of a camera obscura or the lens of a mondo nuovo, printed in sun or on glass.
The uncanny fictions of memory.
(Slide 17-18)
Anil Ragubance, Person, home,
digital inkjet print,
2003.
Rhizome, 2003.
Click to expand the image and swipe for additional views
Rhizome, 2003.
Rhizome, 2003.
Rhizome, 2003.
Robert Truszkowski, La Pieta: After Sam Taylor-Wood, digital video transferred to VHS, running time: 2 min. 10 sec., 2002.
Rhizome, 2003.
Rhizome, 2003.
Meredith Carruthers, For: Lawren, With Love from: Glasgow, 2003, Super8 transferred to VHS, running time: 3 min. 45 sec.
Rhizome, 2003.
Rhizome, 2003.
Rhizome, 2003.
Rhizome, 2003.
Luke Painter, untitled (detail), 2003, mixed media, 4’ x 3’.
Rhizome, 2003.
Rhizome, 2003.
Molly Kalkstein, untitled, 2003, salted paper prints each 4” x 5”, Rhizome, 2003.
Rhizome, 2003.
Rhizome, 2003.
Rhizome, 2003.
Anil Ragubance, Person, home, 2003, digital inkjet print.
Rhizome, 2003.
Anil Ragubance, Person, home, 2003, digital inkjet print. Rhizome, 2003.
Rhizome, 2003.
Rhizome, 2003.
Rhizome, 2003.
Rhizome, 2003.
Rhizome, 2003. Click to expand the image and swipe for additional views
Rhizome, 2003.
Zoe Pawlak and J. Diamond
July 21 - August 1, 2003
Vernissage: Tuesday July 22, 7 - 11pm
Monday to Friday 10am-7pm, Saturday and Sunday 11am-5pm
The VAV gallery is pleased to present Spand an exhibition of painting, drawing and mixed media work by Zoe Pawlak and J. Diamond from July 21 - August 1, 2003. The exhibition will open on Tuesday, July 22 from 7 to 11pm.
Zoe Pawlak and J. Diamond have been working collaboratively for the past months on pieces that discuss correspondence across distance. The artist's mailed out a project that involved the participation of eight people. These individuals were invited to manipulate small paintings done by Zoe Pawlak and return them in envelopes silk-screened by J. Diamond. Reoccurring imagery of birds link the work of the two artists.
J. Diamond's recent work has been predominantly drawings done with pencil, constructed by a mark making quality similar to the work of the artists that make up The Royal Art Lodge. Their graphic simplicity in Diamond's work imply a spontaneous approach to image making. J.Diamond's drawing work is integral to her painted works on canvas in both content and application. She includes flat spaces of color referencing paintings by David Hockney.
The painting works of Zoe Pawlak combine figurative and abstract elements. The figures convey notions of struggle as they are situated in emotive environments. The figure is used as a site of discourse concerning human inability to interact with one another in fixed circumstances. Using both the real and imagined, photographic sources and studies from life, Pawlak's work is an accumulation of both seen and experienced situations.
Zoe Pawlak and J. Diamond currently live and work in Montreal. Both artists are completing their BA's at Concordia University. Though J. Diamond and Zoe Pawlak have exhibited in other Canadian cities, Spand will be their first time showing together in Montreal.
EXHIBITION: JUL 21 - AUG 1, 2003
OPENING RECEPTION: JUL 22
DUO
J. DIAMOND
ZOË PAWLAK
Zoë Pawlak
and
J. Diamond, Spand, 2003. Click to expand the image and swipe for additional views
Zoë Pawlak and J. Diamond, Spand, 2003.
Zoë Pawlak and J. Diamond, Spand, 2003.
Zoë Pawlak and J. Diamond, Spand, 2003.
Zoë Pawlak and J. Diamond, Spand, 2003.
Zoë Pawlak and J. Diamond, Spand, 2003.
Zoë Pawlak and J. Diamond, Spand, 2003.
Zoë Pawlak and J. Diamond, Spand, 2003.
Zoë Pawlak and J. Diamond, Spand, 2003.
Zoë Pawlak and J. Diamond, Spand, 2003.
Zoë Pawlak and J. Diamond, Spand, 2003.
2003
Zoë Pawlak's recent work implies a concern for color to provide a spontaneous approach to image making. Pawlak uses color to determine the moods of the characters in her oil paintings and drawing works. She includes flat spaces of color and bold lines referencing painting and drawing works by David Hockney.
The painting works of Zoe Pawlak combine figurative and abstract elements. The figures convey notions of struggle as they are situated in emotive environments. The figure is used as a site of discourse concerning human inability to interact with one another in fixed circumstances.
Using both the real and imagined, photographic sources and studies from life, Pawlak's work is an accumulation of both seen and experienced situations.
J. Diamond
2003
Obsession, compulsion and attempts at control motivate my work. Repetition of imagery marks the passing of time, while paper pathways and abstract environments reference distances traveled and destinations unknown.
I gain control of the image through repetition, and of the materials through their installation: paper strips pinned and pulled taught until the moment before they break. Flat areas of color and simple shapes reference the paintings of Hockney while the imagery is inspired by the playful naivety of The Royal Art Lodge.
Zoë Pawlak and J. Diamond, Spand, 2003. Click to expand the image and swipe for additional views
Zoë Pawlak and J. Diamond, Spand, 2003.
Zoë Pawlak and J. Diamond, Spand, 2003.
Zoë Pawlak and J. Diamond, Spand, 2003.
Zoë Pawlak and J. Diamond, Spand, 2003.
Zoë Pawlak and J. Diamond, Spand, 2003.
Zoë Pawlak and J. Diamond, Spand, 2003.
Zoë Pawlak and J. Diamond, Spand, 2003.
Zoë Pawlak and J. Diamond, Spand, 2003.
Zoë Pawlak and J. Diamond, Spand, 2003.
Zoë Pawlak and J. Diamond, Spand, 2003.
Zoë Pawlak and J. Diamond, Spand, 2003.
Zoë Pawlak and J. Diamond, Spand, 2003.
Zoë Pawlak and J. Diamond, Spand, 2003.
Zoë Pawlak and J. Diamond, Spand, 2003.
Zoë Pawlak and J. Diamond, Spand, 2003.
VAV Gallery
Carrick Dennison, Cody Stephenson and Kajin Goh
September 1 - 14, 2003
Vernissage: September 2, 7pm
VAV Gallery
1395 Rene Levesque W. Montreal, Quebec H3G 2M5
INTERSTATE is a collection of sculpture, installation and video works by Carrick Dennison, Cody Stephenson and Kajin Goh. Ranging from self-playing DNA recorders, biomorphic abstractions and propositions for playing movies to babies in utero, these works explore the idea of the transitional or interstitial as a state of being and/or method of representation.
EXHIBITION: SEPT 1 - 14, 2003
OPENING RECEPTION: SEPT 2
GROUP
CARRICK DENNISON
CODY STEPHENSON
KAJIN GOH
Carrick Dennison, Cody Stephenson and Kajin Goh, Interstate, 2003. Click to expand the image and swipe for additional views
Carrick Dennison, Cody Stephenson and Kajin Goh, Interstate, 2003.
Carrick Dennison, Cody Stephenson and Kajin Goh, Interstate, 2003.
Carrick Dennison, Cody Stephenson and Kajin Goh, Interstate, 2003.
Carrick Dennison, Cody Stephenson and Kajin Goh, Interstate, 2003.
Carrick Dennison, Cody Stephenson and Kajin Goh, Interstate, 2003.
Carrick Dennison, Cody Stephenson and Kajin Goh, Interstate, 2003.
Carrick Dennison, Cody Stephenson and Kajin Goh, Interstate, 2003.
Carrick Dennison, Cody Stephenson and Kajin Goh, Interstate, 2003.
Carrick Dennison, Cody Stephenson and Kajin Goh, Interstate, 2003.
Carrick Dennison, Cody Stephenson and Kajin Goh, Interstate, 2003.
Carrick Dennison, Cody Stephenson and Kajin Goh, Interstate, 2003.
Carrick Dennison, Cody Stephenson and Kajin Goh, Interstate, 2003.
Carrick Dennison, Cody Stephenson and Kajin Goh, Interstate, 2003.
Carrick Dennison, Cody Stephenson and Kajin Goh, Interstate, 2003.
Carrick Dennison, Cody Stephenson and Kajin Goh, Interstate, 2003.
SELECTIVE DESCRIPTION OF THE WORKS: SCULPTURE
Cody Stephenson's untitled structure stimulates contrary and simultaneous associations of the 'organic' and 'synthetic'. Its morphogenetic presence is amplified by its scale (slightly above the human), and the interplay between its tactile, chrome-smooth, ultra-reflective, light-repellent surface and its organic, inviting, almost biological symmetry appear both emblematic of the natural and the human-made.
POPE is an installation piece which operates by the use of anamorphic perspective. By walking back and forth and trying to 'read' the piece, the viewer is in fact negotiating two poles, between represented/illusory and 'real/physical space. Neither categorizations are fully realisable in this experience, which is, primarily, a meditation on mortality and the idea of aging as a form of 'exile".
Sleeping arrangement for increasing unconscious thought productivity is a hypothetical proposition: a ring of WWII-era military helmets welded together for the purposes of channeling the mental energies of its prostrate wearers. The employment of retroactive hardware for the use of harnessing unseen forces recalls the archaic science of post-war figures such as Willhelm Reich and his 'orgone accumulators'.
Untitled (Portrait Anonyme) is an instrument designed to play an anonymous strand of DNA, in non-replicating, perpetual configurations. The use of a standard-issue plastic recorder — the kind still used in gradeschool - as a stand-in for the human throat, is also a play on the idea of 'repetition and difference', while the unique 'snapshot' of an unknown person's sequencing gel is used as a template for extruding a lo-fi, (almost atonal) auditory 'portrait.
Other proposed pieces include: a stereoscopic text-display unit (I Was Dreaming I Was a Piece Of Text and Then I Woke Up and Saw You) that riffs on the idea of language, writing and embedded consciousness; Gastropod, a 'delay' in space — a structure with no empirical, fixed dimension (or viewing vantage) that recalls biomorphs and reproductive agents; and Untitled, a 'molecular' rearrangement of discombobulated insect parts.
Carrick Dennison, Cody Stephenson and Kajin Goh, Interstate, 2003. Click to expand the image and swipe for additional views
Carrick Dennison, Cody Stephenson and Kajin Goh, Interstate, 2003.
Carrick Dennison, Cody Stephenson and Kajin Goh, Interstate, 2003.
Carrick Dennison, Cody Stephenson and Kajin Goh, Interstate, 2003.
Carrick Dennison, Cody Stephenson and Kajin Goh, Interstate, 2003.
EXHIBITION: SEPT 21 - OCT 5, 2003
OPENING RECEPTION: N/A
GROUP
N/A
EN
RETRAINDO SERES is an exhibition that offers alternate views of sensuality and sexuality, via sculpture and drawing. The artists, Natalie Reis and Tiffany Main, present figurative paintings and drawings on medium to large scaled, wooden surfaces along with retractable wooden sculptures.
The works can be viewed at the VAV Gallery, during the week of October 5" to 11". The opening will be held on Tuesday, October 7', from 7 to 10 p.m. The gallery is located at 1395 René-Lévesque West, Montreal. The gallery hours are as follows:
10:00 a.m. to 11:00 p.m - Monday to Friday 10:00 a.m. to 5:00 p.m. - Saturday
All are welcome!
FR
RETRAINDO SERES est une exposition qui offre des points de vue alternatifs sur la sensualité et la sexualité par l'intermédiaire des sculptures et des dessins. Les artistes, Natalie Reis et Tiffany Main, présentent des toiles figuratives, des schémas sur de grandes surfaces en bois et des sculptures en bois escamotables.
Les oeuvres seront présentées à la Galerie VAV, durant la semaine du 5 au 11 octobre. Le vernissage aura lieu mardi, le 7 octobre, de 19h00 - 22h00. La galerie est située au 1395, René-Lévesque Ouest, Montréal. Les heures d'ouverture de la galerie sont comme le suit:
10h00 - 23h00 du lundi au vendredi 10h00 - 17h00 - samedi
Tous sont les bienvenus!
EXHIBITION: OCT 5 - 11, 2003
OPENING RECEPTION: OCT 7
DUO
NATALIE REIS
TIFFANY MAIN
(Slide 1-2)
Tiffany Main
2003
(Slide 2-6)2003
Natalie Reis
2003
Tiffany Main, Retraindo Seres, 2003. Click to expand the image and swipe for additional views
Natalie Reis and Tiffany Main, Retraindo Seres, 2003.
Natalie Reis, Retraindo Seres, 2003.
Natalie Reis, Retraindo Seres, 2003.
Natalie Reis and Tiffany Main, Retraindo Seres, 2003.
Natalie Reis and Tiffany Main, Retraindo Seres, 2003.
Sensuality has been recapitulated in art in a multitude of configurations. The works presented in RETRAINDO SERES delineate an alternate form of sensuality via sculpture and drawing. Natalie Reis presents figurative paintings and drawings on medium to large scaled, wooden surfaces. Tiffany's Main work consists of retractable wooden sculptures.
The chief material wood is meant to contract rawness, materiality and notions of the inscribed constructed surface. There is a desire to reclaim and exhibit sensuality as well as sexuality; an issue that the media, religion and society have seemingly monopolized. The intention of this exhibition is to invite viewers to contemplate their interpersonal relationships, as well as their own sense of intimacy.
(Slide 1-10)
Natalie Reis
2003
Visually, these works are composed of bodies and their fragments. This series forms a psychological site, where the corporal surfaces radiate a sexual and physical existence. The intimacy of body and place are erased, as well as the distances that people seem to desire. Nakedness is a given in this case; the figures evoke terminal nakedness and awakening consciousness.
The works reveal the process of their making and all the layers of time that it takes to create it. The under-drawing quality is somewhat reminiscent to the tradition of painting and the meanings constructed over its surface. This unusual take on presenting a painting is intended to take a rare look at the private and often secretive creative process of an artist.
At first glance, these bodies symbolize the idealized, modern, fashion model (or the Greek mythological figure it simulates), but then appear flawed because of the interdependency that one figure has over another. The work is not intended to turn women's bodies into paintings about their lives, but rather into glimpses of ones take on covert intimacy and interpersonal relationships.
(Slide 11-13)
Tiffany Main
2003
2003
My work explores aspects of life's experience that evokes growth. Specifically, the manner in which one can expand or contract their body and mind in order to incorporate experiences into their lives. My sculptures pair down the physicality of their nature, thus minimizing all the extra. The excitement of movement, such as slowing down the simple act of expanding and contracting, forces the viewer themselves to slow down and reflect.
Repetitious geometric shapes are constant in my work in conjunction with the use of industrial materials. An important aspect of my work is the space occupied and generated by the pieces, as well as the pure forms it creates. My recent work concentrates on the use of finished plywood in order to convey a sense of familiarity and warmth. An architectural history is also associated with this material, as I am to undertake all relevant issues that are reflected in my work.
Natalie Reis, Retraindo Seres, 2003. Click to expand the image and swipe for additional views
Natalie Reis, Retraindo Seres, 2003.
Natalie Reis, Retraindo Seres, 2003.
Natalie Reis, Retraindo Seres, 2003.
Natalie Reis, Retraindo Seres, 2003.
Natalie Reis, Retraindo Seres, 2003.
Natalie Reis, Retraindo Seres, 2003.
Natalie Reis, Retraindo Seres, 2003.
Natalie Reis, Retraindo Seres, 2003.
Natalie Reis, Retraindo Seres, 2003.
Tiffany Main, Retraindo Seres, 2003.
Tiffany Main, Retraindo Seres, 2003.
Tiffany Main, Retraindo Seres, 2003.
EXHIBITION: OCT 4 - 18, 2003
OPENING RECEPTION: N/A
SOLO
ANNA SPRAGUE
Anna Sprague, Give Me Time I’ll Make You Forget, 2003. Click to expand the image and swipe for additional views
Give Me Time I’ll Make You Forget, 2003.
Give Me Time I’ll Make You Forget, 2003.
Give Me Time I’ll Make You Forget, 2003.
Give Me Time I’ll Make You Forget, 2003.
Give Me Time I’ll Make You Forget, 2003.
Give Me Time I’ll Make You Forget, 2003.
Give Me Time I’ll Make You Forget, 2003.
Give Me Time I’ll Make You Forget, 2003.
Give Me Time I’ll Make You Forget, 2003.
Give Me Time I’ll Make You Forget, 2003.
Give Me Time I’ll Make You Forget, 2003.
Give Me Time I’ll Make You Forget, 2003.
Give Me Time I’ll Make You Forget, 2003.
Give Me Time I’ll Make You Forget, 2003.
Give Me Time I’ll Make You Forget, 2003.
Give Me Time I’ll Make You Forget, 2003.
EXHIBITION: OCT 27 - NOV 8, 2003
OPENING RECEPTION: N/A
GROUP
N/A
Salon Rouge, 2003. Click to expand the image and swipe for additional views
Salon Rouge, 2003.
Salon Rouge, 2003.
Salon Rouge, 2003.
Salon Rouge, 2003.
Salon Rouge, 2003.
Salon Rouge, 2003.
Salon Rouge, 2003.
Salon Rouge, 2003.
Salon Rouge, 2003.
Salon Rouge, 2003.
Salon Rouge, 2003.
Salon Rouge, 2003.
Salon Rouge, 2003.
Salon Rouge, 2003.
Salon Rouge, 2003.
Salon Rouge, 2003.
Salon Rouge, 2003.
Salon Rouge, 2003. Click to expand the image and swipe for additional views
Salon Rouge, 2003.
Salon Rouge, 2003.
Salon Rouge, 2003.
Salon Rouge, 2003.
Salon Rouge, 2003.
Salon Rouge, 2003.
Salon Rouge, 2003.
Salon Rouge, 2003.
Salon Rouge, 2003.
Salon Rouge, 2003.
Salon Rouge, 2003.
Salon Rouge, 2003.
Salon Rouge, 2003.
Salon Rouge, 2003.
The Sephardic Jews of Iraq have deep historical roots that go back thousands of years, to the time of Nebuchadnezzar and Babylon. In 1900, Iraq had been under Turkish rule for centuries. After the First World War the Ottoman Empire was carved up into separate nations. From a thriving population of 137,000 in 1945, today only a few dozen elderly Jews remain in Iraq.
***
This project had originally started as a Flash media slide show to help celebrate my mother's 70* birthday three years ago. It developed from this into a large printed format in eight-foot long panels.
I wanted to create a visual testament to the immigrant experience, especially to displacement, by showing the trajectory of an immigrant family as it leaves its country of origin, seeks a new home, and eventually grows new roots. My interest in genealogy goes back 25 years, when I started tracing my family's roots through generations of Iraqi Jews.
In researching this project, I went through envelopes, albums, and boxes of family pictures that were stashed in drawers and closets. I examined hundreds of photos, selecting images that would tell a compelling story. Choosing the appropriate images proved to be the most difficult part of the project.
It was evident that my family had a propensity for being photographed in groups, something we don't see much of here in our North American culture. Many of the older photos were taken long ago by photographers now unknown; many of the more recent ones by my father or his friends. My father used a Zeiss Ikon 6cm × 8cm bellows camera and would have loved to see this project.
These images were all digitally scanned from small prints, because the original negatives had disappeared. The prints were mostly contact printed, medium-format images. Some had withstood the test of time better than others. I have included one unrestored image in panel no. 8 to show a sample of the damage. For the most part, the images required many hours of painstaking digital restoration and cleaning. Using Photoshop 7, I digitally removed dust, scratches, discoloration, and other damage caused by decades of neglect. The images were then digitally printed on an Epson 9600 roll paper colour printer.
Credit must go to two people in particular: to Johanne Biffi, my instructor in Digital Photo 1, who taught me the tricks of the trade, to believe in the power of Photoshop, who also printed all the images on such large panels; and to Geneviève Cadieux, my instructor in Digital Photo I, who gave me the vision to develop the project into what it is today.
Sasson Khazzam
November 11, 2003
EXHIBITION: NOV 10 - 15, 2003
OPENING RECEPTION: NOV 11
SOLO
SASSON KHAZZAM
Sasson Khazzam, Displacements / Déplacements, 2003. Click to expand the image and swipe for additional views
Sasson Khazzam, Displacements / Déplacements, 2003.
Sasson Khazzam, Displacements / Déplacements, 2003.
Sasson Khazzam, Displacements / Déplacements, 2003.
Sasson Khazzam, Displacements / Déplacements, 2003.
Sasson Khazzam, Displacements / Déplacements, 2003.
Sasson Khazzam, Displacements / Déplacements, 2003.
Sasson Khazzam, Displacements / Déplacements, 2003.
Sasson Khazzam, Displacements / Déplacements, 2003.
Artists Theresa Sapergia and Lucinda Mason are pleased to announce their upcoming drawing exhibition entitled, "by a measure of magnitude". The exhibition will run from November 24'th through 29'th in the VAV Gallery at 1395 Rene Levesque West. The vernissage will take place on Tuesday, November 25'th from 7-10pm with music provided by DJ. Dave K. The event is free and open to the public.
This exhibition of monumental drawings aims to illustrate a refreshing look at some of the possibilities for contemporary drawing practices. Our resolved commitment to expanding modes of thought and expression link out ideologies and fuel our explorations of the human experience.
Lucinda Mason and Theresa Sapergia
November 2003
EXHIBITION: NOV 24 - 29, 2003
OPENING RECEPTION: N/A
DUO
THERESA SAPERGIA
LUCINDA MASON
Theresa Sapergia and Lucinda Mason, By A Measure of Magnitude, 2003. Click to expand the image and swipe for additional views
Theresa Sapergia and Lucinda Mason, By A Measure of Magnitude, 2003.
Theresa Sapergia and Lucinda Mason, By A Measure of Magnitude, 2003.
Theresa Sapergia and Lucinda Mason, By A Measure of Magnitude, 2003.
Theresa Sapergia and Lucinda Mason, By A Measure of Magnitude, 2003.
Theresa Sapergia and Lucinda Mason, By A Measure of Magnitude, 2003.
Theresa Sapergia and Lucinda Mason, By A Measure of Magnitude, 2003.
Theresa Sapergia and Lucinda Mason, By A Measure of Magnitude, 2003.
Theresa Sapergia and Lucinda Mason, By A Measure of Magnitude, 2003.
Theresa Sapergia and Lucinda Mason, By A Measure of Magnitude, 2003.
Theresa Sapergia and Lucinda Mason, By A Measure of Magnitude, 2003.
Theresa Sapergia and Lucinda Mason, By A Measure of Magnitude, 2003.
Theresa Sapergia and Lucinda Mason, By A Measure of Magnitude, 2003.
Theresa Sapergia and Lucinda Mason, By A Measure of Magnitude, 2003.
Theresa Sapergia and Lucinda Mason, By A Measure of Magnitude, 2003.
PSA Show-Take my Picture
The Photo Student Association is presenting the show Take my picture in a state of mind keeping up with the good reputation of the department of Photography inside and outside of the University. Known for its contemporary approach of photography and its acknowledgment of its distinct artistic and historical identity the students in the department produce work that touches upon social issues within the realm of aesthetic concerns in a rich multiplicity of formal and conceptual approaches.
The Photo Student Association show is a faculty wide group show, that gives to some students in the photo program the opportunity to present their work in a gallery setting. The works have been selected by a jury comprised of faculty, graduate students, and members of the executive of the photo association. A concentration has been put upon variety of style, to represent the diversity of aesthetic and the wide range of contemporary issues evident within the photo program in the hope to comprise a visual conglomeratice of images that together form the sundry that is our medium.
EXHIBITION: JAN 26 - 30, 2004
OPENING RECEPTION: JAN 27
GROUP
ARWA ABOUON
ANNABELLE AGNEW
ANNA-ÉMILIE ATTIOW-LAVOIE
IVRY BAUMGARTEN
KRISTY BROWN
MICHAEL DOERKSEN
CAITLIN DURLAK
LAURA DUTTON
DARREN ELL
JODY DANIEL FERGUSON
DONNA GURLEY
JOHANNA HELDEBRO
CHRISTOPHE JIVRAJ
ALLISON KENWARD
MARION LANDRY
DEVON LOWRY
STACY LUNDEEN
KHRYS MCBOOTS
DAVID MITCHELL
ALLISON MOORE
AURÈLE PARISIEN
SUZANNE QUÉVILLON
AMÉLIE VÉRONEAU
Take My Picture, 2004. Click to expand the image and swipe for additional views
Take My Picture, 2004.
Take My Picture, 2004.
Take My Picture, 2004.
Take My Picture, 2004.
Take My Picture, 2004.
Take My Picture, 2004. Click to expand the image and swipe for additional views
Take My Picture, 2004.
Take My Picture, 2004.
Take My Picture, 2004.
Take My Picture, 2004.
Take My Picture, 2004.
Take My Picture, 2004.
Take My Picture, 2004.
Take My Picture, 2004.
Take My Picture, 2004.
Take My Picture, 2004.
Take My Picture, 2004.
Take My Picture, 2004.
Take My Picture, 2004.
Take My Picture, 2004.
Take My Picture, 2004.
Take My Picture, 2004.
Take My Picture, 2004.
Take My Picture, 2004.
Take My Picture, 2004.
EXHIBITION: FEB 2 - 7, 2004
OPENING RECEPTION: N/A
GROUP
ELENA WILLIS
GEOFFREY MATTIE
ALANA RILEY
HEATHER TRAWICK
Getting Help, 2004. Click to expand the image
and swipe for additional views
Getting Help, 2004.
Getting Help, 2004.
Getting Help, 2004.
Getting Help, 2004.
Getting Help, 2004.
Getting Help, 2004.
Getting Help, 2004.
Getting Help, 2004.
Getting Help, 2004.
Getting Help, 2004.
Observations In Light: The Vanity Series
2003
The foremost intention for this photographic series was to employ the panoramic form to illustrate direct and peripheral views of the environment of each image. By forcing the viewer's ability to see beyond a fixed, central image, the periphery insinuates the idea of ‘seeing the whole picture’, or being granted an insight to further understanding.
Each image incorporates a performance of vanity and a perception of that vanity, which are both presented and recognized by the character and the character's alter ego. There exists an unresolved conflict of etiquette between the selves. This conflict of etiquette transpires as a disapproving judgment upon obvious acts of vanity, and/or discretion from conceit, also constitutes vain behavior.
This work is influenced by seventeenth century still-life paintings of the Vanitas genre, which generally portrayed specific objects to symbolize the transience of earthly life and pleasures. Performances of self-admiration ("Bathroom"), construction from one's own physical, mental and/or spiritual image ("Countryside"), obtaining uncompromised sexual satisfaction ("Park"), the desire for fame ("Movie Theater"), and referencing excessive pride and strength through learning and knowing ("Slide Library") is what defines this series as a contemporary Vanitas. Furthermore, these photographs were composed with a principal theme of light to signify a more direct relationship between the brevity of life and the technical aspects of photography.
Heather Trawick
2004
The projections featured in "July 4, 2003, Venice Beach & Vincente Minelli's Star" focus on the dichotomy between the spectacular and the banal. On their own they are nothing more than portraits of strangers approached at the location, but the Location becoming integral to the image itself. The still image on it's own harks back to the early days of photography, where all attempts were made to capture the "personality" of the subject. By putting this gesture into motion brings about a certain expectation for the viewer, which is never fulfilled.
The human aspect of each segment is personified by the actions of the participant. Each one was asked to act as though they were having their photo taken at a commercial studio, some reacted dutifully, others flippant to the notion of the homogeny these "mall" studios impede on their subjects. Because all of these segments were filmed when the surroundings were unfamiliar to me, it becomes the site for voyeuristic exploration of its inhabitants for both the viewer and myself.
The construction of the piece itself mimicked that of the internal working of a projector. The intention is to create the feeling of inclusion into the mechanics of the construction of the image. The framing both literal and physical is to illuminate the image, and the intentions of it.
Getting Help, 2004. Click to expand the image
EXHIBITION: FEB 15 - 21, 2004
OPENING RECEPTION: FEB 17
DUO
SOFI BRAZZEAL
ALLISON MOORE
Sofi Brazzeal and Allison Moore, Cache-cache Sagesse, 2004. Click to expand the image and swipe for additional views
Cache-cache Sagesse, 2004.
Cache-cache Sagesse, 2004.
Cache-cache Sagesse, 2004.
Cache-cache Sagesse, 2004.
Cache-cache Sagesse, 2004.
2004
I grew up traveling and moving from one country to another. From an early age the question, "Where are you from?" puzzled me. I wasn't "from" anywhere. I just was. My surroundings were always relocating and transforming. Home was inside me.
Now, as I begin to define "where I am coming from" and my relationship to the world around me, I see that everything is in motion: evolving, progressing, regressing. I am not alone without a home but a part of an enormous and ridiculous traveling circus.
In my art practice, I do not define concepts, I explore them - knowing that there is always farther to go. The pieces I create are mere experimentations along the way. Inconsistencies, failures, practicalities, and surprises are a basic part of every experience. Being open and aware of the journey ahead is my focus.
Recently, I've begun to dwell extensively on the mythical character of Wisdom as the ultimate traveler. Wisdom is not something you arrive at but constantly struggle towards. I explore wisdom, not as a stuffy, knowledge-based virtue but as a simple and "topsy-turvy" virtue inherent in anyone keenly traveling along the journey of life. Many of my recent works are derived from these musings and attempt to personify what I am observing.
Sofi Brazzeal and Allison Moore, Cache-cache Sagesse, 2004. Click to expand the image and swipe for additional views
Cache-cache Sagesse, 2004.
EXHIBITION: FEB 23 - MAR 5, 2004
OPENING RECEPTION:
DUO
MARINA ROY
NATASHA MCHARDY
Marina Roy and Natasha McHardy, Roy & McHardy, 2004. Click to expand the image and swipe for additional views
Marina Roy and Natasha McHardy, Roy & McHardy, 2004.
Marina Roy and Natasha McHardy, Roy & McHardy, 2004.
Marina Roy and Natasha McHardy, Roy & McHardy, 2004.
Marina Roy and Natasha McHardy, Roy & McHardy, 2004.
Marina Roy and Natasha McHardy, Roy & McHardy, 2004.
Marina Roy and Natasha McHardy, Roy & McHardy, 2004.
Marina Roy and Natasha McHardy, Roy & McHardy, 2004.
Marina Roy and Natasha McHardy, Roy & McHardy, 2004.
Marina Roy and Natasha McHardy, Roy & McHardy, 2004.
Marina Roy and Natasha McHardy, Roy & McHardy, 2004.
Marina Roy and Natasha McHardy, Roy & McHardy, 2004. Click to expand the image and swipe for additional views
Marina Roy and Natasha McHardy, Roy & McHardy, 2004.
Marina Roy and Natasha McHardy, Roy & McHardy, 2004.
Marina Roy and Natasha McHardy, Roy & McHardy, 2004.
Marina Roy and Natasha McHardy, Roy & McHardy, 2004.
Marina Roy and Natasha McHardy, Roy & McHardy, 2004.
Marina Roy and Natasha McHardy, Roy & McHardy, 2004.
Marina Roy and Natasha McHardy, Roy & McHardy, 2004.
EXHIBITION: MAR 22 - 27, 2004
OPENING RECEPTION: N/A
GROUP
KRISTEN BOEHM
SOFI BRAZZEAL
MELIS CARTWRIGHT
BETH CROSS
HELLE DERRICK
NANCY GUIRAGOSSINA
EDITA HADRAVSKA
DESSA HARTHAY
CHRISTINE KELLER
AUDREY LAVALÉE
CHRISTINE MCPHEE
LOIS ROWE
KRYSTYNA SZADKOWSKA
ANDREA VANDER KOOIL
AMY WONG
BARBARA TODD
MINDY YAN MILLER
The texts included here are the artist’s proposal and do not correspond to the slides presented.
The proposed VAV show will include the work described above, as well as new paintings, embroidery and prints, which will explore the same themes and continue each ongoing series (slides 5, 6, 8-12). This exhibit will incorporate a joint theme of ambiguous juxtapositions of figures with animals, figures with objects, and figures alone in fictional landscapes. Both Amber and Katie's characters are inspired by old-fashioned sources such as black and white found-photography and 1950s textbook illustrations. This allows for the play of unusual pairings and contexts.
Katie intends to produce three more pieces similar to Untitled (slide 8, 9). These object/figure paintings will include a painted portrait of a couple who met during WWII, with an embroidered compass on the right and embroidered earphones on the left. The second piece will depict a rugged old man in a forest with an embroidered bear trap underneath. The third piece will portray a grumpy old woman sitting on a porch with an embroidered brownie camera to the right. Katie will also be continuing the ‹ound "animal embrace" series (slides 10, 11 & 12), with depictions of a crocodile, a vulture and a Bengal tiger.
Amber intends to produce additional large scale paintings on masonite, (similar to slides 1,2, & 4). Specifically, one of her projects will be a series of bat portraits: square close up portraits of the heads of bats. She will also produce a series of screenprints based on the included drawings (slide 6), depicting a narrative sequence of strange old-fashioned children juxtaposed with industrial structures.
Amber and Katie also intend to produce collaborative projects: portraits of each other as animals (Katie as a cat, Amber as a baby sloth; as well as a collaborative book project based on found images, drawings, and prints to underscore the shared themes and subjects of interest to both artists. Amber and Katie's work is clearly distinct from each other in style, but has satisfying parallels which would be of great interest seen together in a gallery setting.
EXHIBITION: APR 5 - 9, 2004
OPENING RECEPTION: APR 6
GROUP
AMBER ALBRECHT
KATIE DUTTON
KATIE LYLE
JOANNA ABRAHAMOWICZ
Lost and Found, 2004. Click to expand the image and swipe for additional views
Lost and Found, 2004.
Lost and Found, 2004.
Galerie VAV Gallery - Application - Winter Session 2004
Amber Albrecht
2004
Amber works primarily in two dimensional mediums such as painting, drawing and print media. She has recently been exploring themes of solitude and absurdity, using figurative and animal imagery in ambiguous landscapes. Swamp Water Tennis Milk (slide 1) portrays the lonesome 1940s tennis player in all of his wiry glory, grimacing in the face of a vanished sun. The Goat (slide 2) is pictured sitting contentedly in a landscape reminiscent of the barrens, but somehow more sinister. The Lioness (slide 3) tries to identify with a stuffed animal totem. Adoration in Caribou (slide 4) portrays the post-apocalyptic trial by water of an apathetic child and her caribou companion.
The included monoprint (slide 5), is one of a series of four monoprints which depict the repetition of a girl-type silhouette lost in an indistinct landscape, periodically amalgamated with animal horn-like extensions on her head.
Amber's aim is to produce subtle images, just shy of fantasy or direct mockery.
Katie Dutton
2004
Katie's work is inspired by discarded photographs from long ago, and the obsolete machines and consumer products that populate today's junk stores. These curious objects are haunted, in their modest way, by former owners, or the irretrievable people captured on film. Katie's paintings and sewed drawings employ these elements to create interesting relationships between these forgotten people and their things (slides 7-9). Katie has expanded on this idea of bringing together people and objects that don't necessarily go together in her more comedic "animal embrace" series (slides 10-12). Here a young woman is pictured cuddling some of the world's most feared and ferocious beasts, beasts who ignore her and the tasty meal she represents.
Katie's aim is to produce interesting images that suggest loose connections between people, objects, and animals, and allow the viewer to create her/his own explanations for the sometimes strange relationships presented.
Lost and Found, 2004. Click to expand the image and swipe for additional views
Lost and Found, 2004.
Lost and Found, 2004.
Lost and Found, 2004.
Lost and Found, 2004.
Lost and Found, 2004.
Lost and Found, 2004.
Lost and Found, 2004.
Lost and Found, 2004.
Lost and Found, 2004.
Lost and Found, 2004.
Lost and Found, 2004.
Lost and Found, 2004.
EXHIBITION: APR 16 - MAY 15, 2004
OPENING RECEPTION: APR 15
GROUP
ARWA ABOUON
FREIDA ABTAN
IVRY BAUMGARTEN
SOFI BRAZZEAL
J. DIAMOND
MICHAEL DOERKSEN
KATIE DUTTON
DARREN ELL
SUNSHINE FRERE
ANDREA FRYETT
MANUELA JARRY
STACY LUNDEEN
KATIE LYLE
CONAN MASTERSON
ALLISON MOORE
ANTOINE MORRIS
MELANIE MORRIS
LOIS ROWE
SHERMINE SAWALHA
ITHAMAR SILVER
CODY STEPHENSON
ROBERT TURENNE
OSCAR VARESE
ELENA WILLIS
TATCIANA WOOLLAM
Show Off, 2004. Click to expand the image and swipe for additional views
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Show Off, 2004. Click to expand the image and swipe for additional views
Show Off, 2004.
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