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|November 16 to December 15, 2012
Horizon 1 to 11
"In my work I have an impulse to turn the photograph against itself, or to resist its ability to capture documentary style evidence, instead to capture more closely what the fluttering of our eyes see. This work, Horizon 1 to 11, is about a longing to be able to see what is beyondso much that the visually familiar becomes almost invisible. When I made it I used colour slides that were oversaturated in blue because of using a tungsten film in daylight (mistake; the wrong condition). So the images are of the ocean horizon, but the blue changes the focus, or spreads it. I wanted to leave this work open to interpretation, without adding sort of narrative that could take over, instead wanting to create a contemplative space. I find this especially important in photography because an image always has to be something, it always has subjects you can't hide. Here the images fall somewhere between realism and abstraction. We recognise that there is something there, but we can't really see it, the medium has become opaque. When I was making this work I started to notice what I really see, in a moment-to-moment way, and noticed how much we generalize seeing. I thought a lot about photography as a way to re-see or to reflect seeing."
Kendra Wallace, 2012
Born in 1966 in Edmonton, Alberta, Kendra Wallace lives and works in Montréal, Québec and in Le Fresse, France. She studied at NSCAD (BFA) and UQAM (MFA). For Wallace, photography reflects on the phenomena of repetition that it introduces within the gesture of seeing. Her works could be said to work against photography, at least when photography is understood as means to secure a document of the passing visual world. Wallace focuses on the fluctuating and transitory nature of the visual, pursuing subtle plays belonging to the contradictory relationship of permanence and impermanence. Her works have been presented most recently at group exhibitions in Montréal at Galerie Simon Blais, and at HBKSaar in Germany.
|Media Installations as part of the Antimatter Film Festival
October 13 to 27, 2012
Methods for Composing
(seventeen sound performances)
Adán De La Garza
Arising from his investigations into the social and political implications of audio deterrents and sonic weaponry, punk/glitch/noise music and his concept of rejected sounds, De La Garza has inserted himself into these 17 performative videos involving chance and non-musical objects which generate sound for duration-based compositions.
According to De La Garza, “the props employed for the performances in Methods for Composing Random Compositions were selected for their sonic qualities or ability to produce sound through their usage. Some of the props have more sonic warfare tendencies with the explosive qualities such as the bomb bags, rat traps or confetti poppers, while others -- such as the soap bottles or wind up teeth -- have less of a violent presence and focus more on the function of the prop and its influence over the duration of the performance.”
“The performances are determined by setting parameters for the beginning and end. The beginning consists of activating the props and the end happens when all the potential for sound has become extinct. The space in between these two parameters is where the composition takes place. I cannot control how these props function or how long it takes for them to perform their duty in the performance, which is a determining factor in the length of the performance. The objective to be accomplished is a key factor in the duration of the performances and at times is not simply determined by the props but by my physical restraints. With some of the performances, the end came about when it felt like most of the sounds had been produced but mainly due to exhaustion.”
Allowing himself a space of artistic production where failure is welcomed and control is largely ceded to circumstance, De La Garza has produced a body of work that, in its physical and audio randomness, suffuses anticipation, alarm and imminent threat with release and delight.
Adán De La Garza recently graduated with an MFA in Interdisciplinary Media Arts Practices from the University of Colorado at Boulder. He has participated in exhibitions at the Boulder Museum of Contemporary Art (Boulder, CO), The New School (New York, NY), The Future Gallery (Berlin, DE) and the Tucson Museum of Contemporary Art (Tucson, AZ). De La Garza is currently based in Nashville, TN where he teaches at Watkins College of Art, Design and Film.
Adán De La Garza’s travel to Antimatter to present and discuss his work sponsored by Watkins College of Art, Design & Film
|Also at Deluge
in the transom window (dusk to 11pm):
HD | 2012 | Austria | 2:09 | stephanrichter.info
The Ride is a reconsideration of the famous “Prater” in Vienna and its urban surroundings as a kind of bittersweet cinematic roller coaster or ghost train. In extreme fast-motion, it passes figures in the amusement park as well as the marginal inhabitants of the surrounding area.
|September 7 to October 6, 2012
Somewhere Beyond Nowhere
Since completing her MFA thesis work two years ago, Wilderness and Other Utopias photographed in Haida Gwaii, British Columbia, Tara Nicholson has integrated the peripatetic tendency prevalent in so much of contemporary art practice further into her work, using travel and temporary relationship as keys for developing a body of work based on locations in British Columbia, Alberta, Ontario, Quebec and Holland. She insinuates herself into new communities to determine local byways, campsites and landmarks, temporary shelters and ephemeral spectacles: a swimming hole in an abandoned quarry, ski-doo graveyard, a decaying papier-mâché mascot killer whale, dumped like a corpse at the edge of summer woods.
A phrase in Nicholson’s exhibition statement undertakes the contradictory conjoining of “local and remote.” This in itself is a comment on the disjunctive way that modern development thrusts fragments of suburbia into what was previously wilderness, at the same time leaving behind pockets of dilapidation in the form of desolated retreats of past-tense recreational seclusion or forsaken networks of resource extraction infrastructure. Lapsed, lost or unlikely habitation abounds in this work, from a teepee on Salt Spring Island, to a flagging Conservative campaign sign tacked to an aging industrial compressor, to a rustic tower clad in pristine Tyvek; the vacated hideaway, the forgotten boomtown, or subcultural otherworld gone to seed. In one of the images from Holland, Kuierpadtien, the torqued sheath of a worn blue water slide relays the colours of an improbably idyllic tableau of children paddling on an artificial lake. Nicholson seeks out visions that in her words, “hover between reality and fantasy,” a fluxing of nature and artifice too precious or precarious to last forever.
Nicholson relies on firsthand experience and anecdote, noting, “often I try and find a place from memory or look for things I specifically remember, textures, light or structures.” Paradoxically, she employs this well-tuned sense of place to “challenge identity,” and its attendant territoriality, citing John O’Brian and Peter White’s book, Beyond Wilderness: The Group of Seven, Canadian Identity and Contemporary Art (McGill-Queen’s University Press, 2008), which, in unravelling the nationalist mythology of Canadian landscape, examines the way notions of “northernness” and “wilderness” became part of the country’s cultural identity in the early twentieth century. Nicholson is interested in the persistence of such myths, even as her own approach echoes the restless explorations of early Canadian painting (the title of her show almost an answer to a recent survey of Emily Carr at the Art Gallery of Greater Victoria, On the Edge of Nowhere.)
Outside of the viewfinder’s capture, some moment of human interaction is often part of the picture. Nonetheless, Nicholson chooses in many (but not all) cases to exclude figures from her work. This creates an ambiguous but charged scene, recalling Hemingway’s dictum that a story should include purposeful omissions in the crafting of its narrative. Those that remain are often strikingly isolated, as in one particularly vertiginous composition of a naked woman floating in a lake overlooked by a fire-scorched horizon of dessicated pines (this turns out to be a self-portrait), or a trio of riders on an overcast beach that merges blurs in hooves and hair with roving patches of grey on the horses and sand into something inaudible, emblematic and weightless with nostalgia.
Tara Nicholson grew up in Northern British Columbia, spending time in the Okanagan and on Vancouver Island. She has attended artist residencies in Newfoundland and Banff, and exhibited work across Canada, at The Parisian Laundry Gallery, Montreal, The Jeffery Boone Gallery, Vancouver and a recent exhibition in the 2012 Calgary Banff Canmore Exposure Photography Festival. Nicholson teaches at the Vancouver Island School of Art and the University of Victoria.
|July 13 to August 11, 2012
I Have Nothing to Say and I Am Saying It
"I use collaged paper to compose what could be called geometric abstraction, but I sometimes think of it as heretical geometry: formalism combined with the psychedelic.
Paper is a kind of everyman material, both modest and dynamic, capable of anything. Dangerously exacting, it lets me work quickly and intuitively, moving shapes around until the right note has been struck. Even though I use collage techniques, my work, with its strong hues and sleek surfaces, relates more to pop serigraph than traditional cut-and-paste.
My work is utopian in nature, rational, harmonious, and balanced. Rather than narratives or emotional gestures, I'm presenting a kind of transcendentalism. Blazing colour is contained within precision and structure, and the effect is something that is loud and silent at the same time. The colour sings, but the content is mute. This is why I take a quote from experimental musician John Cage as the title of this exhibition: Cage famously took himself out of the equation, suggesting any meaning must be found and understood only by the viewer."
- Sarah Gee, June, 2012
Sarah Gee is an artist living and working in Vancouver BC. Primarily working with collaged paper, her geometric compositions are kaleidoscopic, harmonious and pensive. Concerned with regularity and equilibrium, her work strives toward a kind of transcendental austerity augmented by dazzling color. Continually experimenting, she has recently completed a series of scorched-paper images as well as large-scale discs abstracting a city block into a series of sequential color bands.
|June 22 to July 7, 2012
RPM: The Lost Art of LP Covers
A Fundraising Show & Sale - 20th Anniversary Edition
The art of the record sleeve, remixed and remastered!
Remember the LP cover? Twelve inches of eye-popping, groin-stirring, world- rocking graphics, titles, and liner notes rolled into one precisely measured object of desire? Well, the infamous RPM fundraising exhibition is back by popular demand.
RPM features the work of dozens of local, national and international emerging and established artists employing a variety of concepts to interpret this endangered species in a wide range of media. These creations will go on sale to the public for $60 each at the the gala opening on Friday, June 22nd. The exhibition and sale continues through Saturday, July 7th.
|May 18 to June 16, 2012
The Woodpile Collective
For the large scale installation Carrion, The Woodpile Collective transforms Deluge Contemporary Art into a multimedia outpost broadcasting from an abandoned tent in the primeval west coast rainforest. Dense calligraphic codes, mutable cartography and the tracery of strange habitation combine with emanations of mysterious flora and fauna in transmissions from the past and future.
The Woodpile Collective (Blythe Hailey, Sean McLaughlin, Shawn O'Keefe) creates works that are both fantastic and familiar. Citing varied influences from traditional and contemporary art production especially the confluence of abstraction and decomposition to be found where nature abuts urban culture the process of their collaboration is free-flowing and always open to one another's mediation. As the collective steps up to the canvas it paints as one: six hands and three minds grappling in the moment and processing each other's marks. Its artistic output unfolds as a conversation between friends. The Woodpile Collective's work can be found in both conventional gallery settings, public and private collections, and unexpected public art drops throughout the city of Victoria and beyond.
|March 9 to April 15, 2012
Room upgrade for Pacific Northwest afternoon
"We are ourselves and our circumstances. My work employs an urban vernacular of surface, colour, light and space, to examine human existence." RY 2012
Trained as a painter, Robert Youds has expanded his engagement with the medium over the past two decades to include the materiality of the designed environment, including aluminum, Plexiglas, LED and fluorescent lights and digital signs. The BC-based artist’s use of artificial light has given rise to seductive and meditative explorations of perception that he refers to as “structures” and “light paintings” while critic Barry Schwabsky has described them as “light pictorialized.”
|January 27 to February 25, 2012
Models for the Public Sphere
Tar Sands, Aircraft, Holocaust...
"Model-making and drawing have been critical to my practice since the beginning. Formal commission proposals for sculptural projects normally include scale models to afford a realistic sense of the potential work, and over the years I have accumulated a number of these from unsuccessful initiatives. For some time my art practice has focused on possible large-scale public projects, concentrating on the socially productive potential of reconfigured objects designed for specific locations. The capacity of these speculative projects to re-direct attention and initiate reflective commentary on imperatives of critical moment within the public sphere seems enormously useful and necessary at this time. As my interest in the role of public art and its actual function has sharpened, model-making has become the conceptual tool of choice for working through and physically preparing these ideas as scaled-down experimental prototypes. They are perfectly realizable but personally unaffordable full-scale projects, using actual objects in reconsidered contexts. Often inspired by issues of urgent global concern for which commission possibilities do not yet exist, they can be heuristic, didactic, polemical, rhetorical, tendentious or provocative, and always directed toward public discourse and dialogue."
Greg Snider is a sculptor and installation artist living and working in Vancouver, BC. His practice is considered a form of critical realism, primarily directed toward problems of representing labour and work in the public sphere; a recent public art commission for the City of Vancouver (Project for a Public Works Yard, 2004), produced in collaboration with city workers and contractors developing the new National Street Works Yard in Strathcona, is an example. Through his interest in the working body in space and its relation to physical objects, he has had opportunities to produce stage design and objects for performance in interdisciplinary contexts with theatre, dance and music.
From 1981-2009 he taught in the School for the Contemporary Arts at Simon Fraser University, in visual art studios, critical theory seminars, technical theatre, and social art history. He has written criticism and served as Curator of Contemporary Art for the Art Gallery of Greater Victoria, and for Open Space Gallery, in Victoria, BC.
In 2002 he independently produced and curated GLYPTOMANIA, a large-scale indoor exhibition of 14 contemporary BC sculptors. He has been the recipient of numerous grants, including Canada Council Senior Arts Grants, and is represented in a number of public and private collections in Canada, including the Art Gallery of Greater Victoria and the National Gallery of Canada.
Article in Preview the Gallery Guide