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December 2 to 17, 2005

Gifted

At a time of the year when clichés invoking goodwill and cheer fly about like to many snowflakes, Gifted is a group exhibition which asks participating artists to propose a new, less cynical seasonal language while re-examining their personal and highly idiosyncratic ideas of illumination, transcendence and desire. Participating artists include Bob Wise, J. McLaughlin, Charlotte Campbell, Eva Campbell, Jacob Dewey, Inga Romer, Kelly Jazvac, Ingrid Percy, Patrick Howlett, Karina Kalvaitis, Bob Preston, Emi Honda, Robert Randall, Ilze Bebrise, Chris Gillespie and Ty Danylchuck.

October 21 to November 26, 2005

Stellerine

Karina Kalvaitis

Taking manatees as its subject, Stellerine is an exhibition of graphite drawings and mixed-media sculpture. Steller’s sea cows were first documented off the Pacific West Coast in 1743 – only to be hunted to extinction 30 years later. In Kalvaitis’ stark and elegant drawings, Stellerine float, hesitate and react to events and objects – bizarre self-embellishments, encampments of tiny circus tents, mysterious black holes in the sea, and other creatures which inexplicably materialise, out of context, in their realm.

Kalvaitis has also created small, free-standing sculptural habitats contained within glass bell jars which echo the airless underwater world of the drawings; their existence perhaps to be found in another dimension beyond the dark and enigmatic portals these animals encounter.

Taken together, this work captures a stillness before some small, strange but inevitable emotional drama is played out – conjuring a world stripped of artifice and culture but equally as impenetrable as our own, underscoring our all too human vulnerability in the midst of ongoing isolation, a frustrated desire for contact and increasing alienation from nature.

Karina Kalvaitis lives and works in Victoria, BC. Kalvaitis graduated from the Alberta College of Art and Design in 1996 and her work has been shown in galleries and artist-run centres in Alberta and British Columbia, most recently in Shapeshifter Hotspot Now at Open Space.
September 16 to 24, 2005

la imagen que extrana al tiempo
[the image outside of time]

Silvana Agostini / Mauricio Alejo / Hector Falcon

This installation featured a collection of video work by three young Mexican artists who have, at one time or another worked prominently in the medium of photography, but who have lately incorporated video into their art practice. Concerned with notions of distance, emptiness, mutable realities and critiquing the dominant Western canon of aesthetics, la imagen que extrana al tiempo is an a/v meditation on the elasticity of space and time. Sound is a fundamental element throughout this work, engaging in a dialogue with image through formal explorations of ordinary objects, perception (altered and otherwise), dream and trance states.

The artists have exhibited extensively throughout Mexico as well as internationally at such venues as the Centro de la Imagen, White Columns, the Museo del Barrio, Galleria OMR, Museo di Arte e Disegno Ravegna, Museo Carrillo Gil, Fotofest Houston, Museo de Arte Tamayo, the Kyoto Art Centre, and the Feria Internacional de Arte (Caracas).
September 16 to 24, 2005

Boris Firquet / Eltractor

Boris Firquet, imagiste extraordinare, founded Quebec City’s improvisational A/V performance group Eltractor in 1997. With the addition of musicians and data processing specialists David Michaud and Fabrice Montel, Eltractor has performed their inimitable brand of techno-based experimental electro-acoustic music to Firquet’s singular imagery throughout eastern Canada and internationally. However, they remain largely unknown west of Toronto. This exhibition focuses on Firquet’s brilliant and dizzying video work. Concerned primarily with the nature of perception and underscored by notions of evolution and entropy, Firquet dissects the human and digital machines, restructuring the warped imagery into a delirious and unrelenting information exchange between sound and image. Pirating material from numerous sources and animating anything that is capable of being animated – cataract surgery, architectural renderings, feeding bats, electrical schematics – Firquet, creates, destroys and then re-creates the video structure in order to provoke a visceral reaction from his audience as much as an emotional one.

Boris Firquet’s work has been exhibited in Valparaiso, Tokyo, Berlin, Lisbon and Mexico City, as well as nationally at the Rendez-Vous Du Cinéma Québécois and The Images Festival.
September 16 to 24, 2005

subrosa

Karø Goldt

Abstraction as sublimation: What subrosa demonstrates is how the complexity of an image can be greatly increased by a simple act of reduction or abstraction.

The accompanying track is precisely harmonized with this subliminal display of the colors’ spectrum. A continuous drone is shot through with microstructural rhythms, which results in an incessant shredding of the sound and image’s dimensionality. The stripes constantly shift along the horizontal axis while the illusion of a relentless vertical movement is created at the same time. - Christian Höller
September 15 to 24, 2005

Antimatter
Underground Film Festival

In a break with tradition, the eighth annual edition of Antimatter opens with a free outdoor screening at the University of Victoria. The eerie nocturnal landscape of the Visual Arts sculpture yard will be the backdrop for works pulsating forth from the avant garde of Mexican video art. Visually graphic, elemental, stylish yet visceral, dark yet hopeful, this Foreign Matter program delivers unapologetic critiques of globalization and feel-good-post-NAFTA rhetoric alongside abstract and experimental anti-narratives of a deeply personal nature—all fuelled by hypnotic audio tracks.

Comprising 22 programs of film and video, and three installations featuring a staggering 219 individual works, Antimatter has grown into the premier showcase of experimental film in the west where the highest standards of curatorial practice are employed to build thematic programs of innovative film and video selected from international submissions. In addition, the festival’s annual Foreign Matter series has become the incubator for hundreds of short films, heretofore unseen by North American audiences. Reciprocally, Antimatter delivers curated programs of new Canadian work to international audiences through our Foreign Matter tours, which this year travelled to the Philippines, Turkey and Portugal, as well as to six cities throughout Mexico

Antimatter 2005 boasts four Foreign Matter programs, hailing from Hong Kong, Belgium, the UK and Mexico, commissioned and curated especially for the festival.

Expatriate Canadian filmmaker Christina Battle takes an in depth look at the world of Micro Labs, compiling a program of celluloid rarities originating from labs in Asnieres-sur-Seine, Toronto and San Francisco. More than merely a place to develop film, the spirit of the DIY micro-lab provides for a collaborative environment where film artists are able to delve deeper into the confines of their chosen mediums. Antimatter is the only Western Canadian stop on this tour.

Antimatter will offer the Victoria premiere of Carolyn Martel’s extraordinary and highly praised film The Phantom of the Operator. With an eye for the quirky and humorous, Martel assembles a dazzling array of clips – from more than one hundred remarkable, rarely seen industrial, advertising and scientific management films produced in North America between 1903 and 1989 by Bell and Western Electric – and transforms them into a dreamlike montage documentary about the invisible army of early telephone operators: shooting stars in a universe of infinite progress.

Antimatter website
Robert Randall: Some Nice Birds August 12 to 27, 2005

RPM: The Lost Art of LP Covers
A fundraising show and sale

Remember the LP cover? Two square feet of eye-popping, groin-stirring, world-rocking graphics, titles, and liner notes rolled into one precisely measured object of desire? Well it's back!

Featuring the work of over 30 established artists from the regional and national art scenes, Deluge presents RPM: The Lost Art of LP Covers at the new Yates Street gallery. These creations go on sale to the public for $45 each at the the gala opening on Friday, August 12.



Image: Some Nice Birds, Robert Randall, 2005
June 24 to July 31, 2005

Supra

Ingrid Mary Percy

Supra is a new series of drawings by Ingrid Mary Percy that proposes a relationship between scientific imaging and abstraction via popular culture. Made using a low-tech children’s toy (a Spirograph), the drawings challenge the authority of science and present a fantastical world of filigree, embedded in geometric forms that evoke microbial organisms and invisible systems.

In the 21st century pathogenic microbes inhabit our psyches and imaginations as much as they do our bodies. The drawings in Supra allow viewers to see these natural forms and systems as complex, independent and beautiful structures, detached from the disturbing implications and consequences of their existence in the natural world.

“Terra Nova,” a series of limited edition silk-screen prints distinct from, but nonetheless arising from the concerns of Supra will also be exhibited. Percy, while artist-in-residence at Terra Nova National Park in Glovertown, Newfoundland, researched natural plant forms, and distilled this information into powerful and disorienting abstractions where the worlds of genetic replication and design collide.

Ingrid Mary Percy studied visual art at the Emily Car Institute of Art and Design in Vancouver (BFA, MFA, 1995) and at the University of Victoria (MFA, 1997). Her work has been exhibited in group and solo exhibitions internationally for over ten years. She currently teaches painting and drawing in the Department of Visual Art at the University of Victoria.