|19 | 18 | 17 | 16 | 15 | 14 | 13 | 12 | 11 | 10 | 09 | 08 | 07 | 06 | 05 | Prev|
|November 25 to December 17, 2011
surface to air
Steven Brekelmans | Heather Carey | Jessica Karuhanga
Christopher Lindsay | Yang Liu | Dong-Kyoon Nam
Sasha Opeiko | Paola Savasta | Anne Steves | Matt Trahan
Organized by the curatorial collective This Side Up for Deluge Contemporary Art, the exhibition surface to air features the work of ten young international artists presently convened in Victoria, BC. Working in diverse media such as paint, metal, wood and thread, within a framework of considered materiality, the artists in this exhibition explore the optics of restriction and expansion as applied to space and surface. Through nuanced direction and quiet revelation, the work in surface to air asks the viewer to engage the power and depths of solitary constituents which, through their interactions, seek to evolve into a cognitive, yet ever-expanding whole.
|Image: Yang Liu, from the series With Melting Snow|
|Media Installations as part of the Antimatter Film Festival
October 15 to 22, 2011
Dawn & Dusk
Dusk: A mother mourns the death of her husband while her son questions his existence. Dawn: A mother mourns the death of her child, while her husband tries to deal with the death and the misshapen newborn.
Working out of Amsterdam, Erwin Olaf explores issues of gender, sensuality, humor, despair and grace in his photo-based and video works to wide aclaim. Recently Olaf has created autonomous video works like Separation, Rain and Grief, starring models who also appear in the accompanying photo series. In the films they play a different character, as though his moving images provide a parallel history to his colour photographs. These short films have been selected for film festivals all over the world. Over the years many of Olaf`s worksfrom his unabashed nude portraiture and intense symbolism to the unflinching gaze in his blood-drenched images of staged violencehave provoked controversy. Not surprisingly, this ability to attract attention has seen his work embraced by the advertising world. In 2006 he was awarded Photographer of the Year in the International Color Awards. In 2007 Kunstbeeld magazine chose him Artist of the Year. On October 31, 2011, Olaf will be awarded the Johannes Vermeer Award, the Netherlands’ state prize for the arts.
Also at Deluge
Wrestling with my Father
The exhibition is composed of two videos, Wrestling with my Father and The Men, which explore the power of mute gesture, POV and ideas of connectivity in the implication of narrative. In Wrestling with my Father, Fairbanks, a second generation wrestler, has documented, from a ringside vantage point, his father’s unconscious, kinetic reactions to his son’s performance: an interactive choreography of expectation, shared experience and DNA. In The Men, Fairbanks films a grappling exchange from his embedded mask camera: the result a barrage of alluring truncated images embued with the possibility of menace.
Within this extraordinarily simple set up are whole worlds of humour, pathos and intrigue. Fairbanks enlists the fighter’s perspective to create an immersive and engaging experience of intimacy and violence and their relationship to each other. Montreal Mirror
Charles Fairbanks, a native of Nebraska, attended Stanford on a wrestling scholarship where he studied Art and the History of Science. Upon completion of his graduate studies at the University of Michigan, Fairbanks travelled to Mexico where he fought professionally as the luchador “One-eyed Cat” (a reference to the camera built into his mask, which he has used to film much of his current oeuvre) and where he was visiting professor at UNCACH in Tuxtla Gutiérrez, Chiapas. In 2010 Fairbanks was chosen by Werner Herzog as a participant in the inaugural edition of his Rogue Film School. Fairbanks’ work has been screened and exhibited at Tepoztlán Institute for Transnational History of the Americas, Slamdance, Detroit’s Edwin Gallery, el Festival Internacional de Cine de Morelia, Black Maria, CPH:DOX, Images, IndieLisboa and in a cockfighting stadium in Chiapas.
At Studio 16 1/2, Fan Tan Alley
October 15 to 22, 2011
Circles of Confusion
Circles of Confusion is a generative image and sound based installation composed of dual Super 8 film-loop projections integrated with dual optically-sensitive sine-wave oscillators. Similar to a Theremin, these scratch built oscillator circuits are controlled by light dependent sensors that modulate audible pitch and volume. Integrated into the projection system, the function of these Opto-Theremins is the real-time synthesis of discrete but complimentary dyadic sine-waveforms that are directly proportional to the intensity of the projected lighthand processed film images that are inverse matched but not mirrored pairs. Entropic by nature and not readily reproducible, this Super 8 film material exists in a state of continuous variability. The generative and reactionary conditions of Circles of Confusion create a hyper-awareness of the boundaries that exist between two distinct processes of sensory perception and blur the conventional divisions between them by suggesting that they are at once complementary and transmutable.
Kyle Whitehead is a media artist working with small-format film, alternative photographic processes and lo-fi electronics. He prefers a careful and considered approach to image making; which should not be confused with best practices, as his work is about embracing the potential of an indeterminate process. What he wants is the definitive by chanceleveraging lo-fi or DIY technologies often with unusual or startling effect. He is a graduate of Alberta College of Art and Design and currently resides in Calgary where he spends most of his time in the dark.
Whitehead will be in attendance at the opening to present and discuss Circles of Confusion.
At the Ministry of Casual Living, 1442 Haultain St
October 15 to 22, 2011
In an abandoned space, a tableau vivant takes place and proposes a portrait from a nomadic inspiration: how the body becomes conveyor, but at the same time habitat. This short film is a wander within a suspended picture, a route within an imaginary community settled into the time of an image.
A native of Quebec City, Jacynthe Carrier works mainly in photography and in video. Holder of a Baccalauréat de l’Université du Québec à Montreal, she is now completing an MFA at Concordia University. Her artistic approach questions our way of occupying and of altering the contemporary territory. Her work has been presented at the Art Biennial of Quebec city (2008), the Photography Centre VU (2009), Centre Caravanserail in Rimouski (2009) and Galerie de l’UQAM (2010). In 2009, she received Le Prix Videre Relève underlining the recent production of an emerging artist in the region of Quebec.
|September 2 to October 1, 2011
The Undiscovered Continent
In the current exhibition the narrative synthesis common to my working methods has been eschewed in favour of a visual synthesis. With the result being that these works are more experiential to a certain degree -- knowledge of references external to the work are not required. This approach to visual synthesis, far from being universal (ie. serial), is developed specifically within a given work. The appearance of the work is the result of a specific set of solutions developed in response to specific (pictorial) problems. Each work begins with a committed mark or series of marks, which is then altered, reflected on and questioned, with the one caveat being that it cannot be caused to entirely disappear. Since each work begins with a specific mark (or series of marks), unique to it, the course taken thereafter will also be unique to that work. Regarding the "problems" mentioned above (and it should go without saying that the word "problem" should be seen here in a positive light, as problems generate content) they are general, and are the usual ones with painting, having to do with figure/ground relationships, the framing edge as container or window, surface vs. support, etc.
It's my hope that what is gained in all of this (for both maker and viewer) is a heightened sense of how forms can relate to one another, as well as awareness of how an attitude (or attitudes) inflects those forms. Attitude here can mean being sincere as well as faking it, faking sincerity and being sincerely false. Exhaustion of forms can produce a richness of inflections, or ways of inhabiting those forms, which amounts to my use of the word attitude. The French phrase savoir-faire might also be useful here. The choice or issue, then, is whether or not communication can take place via the framework established by the work.
If attitude is indeed part of the content of these works, then we can also entertain the idea of affect, in both its positive and negative uses. Affect relates to genuine emotion, and is also seen as being the conscious manipulation of emotion, or false emotion. I believe that these works live, work and play within this gap.
-- Mark Neufeld, 2011
|July 29 to August 27, 2011
The Green Years
Katie Lyle's work stems from an interest in portraiture, the act of painting, archetypes and images of femininity. The impulse and process apparent in The Green Years echo a loose collection of external referents. Paint application and visual language are tied to notions of personal desire tempered with discord. Brash, clumsy brush strokes sit next to ordered painterly ones; delicate features top exaggerated collaged limbs. Through this dialogue between image and application, Lyle illicits an obscured familiarity -- the composite figures anonymous yet known, intimate but ageless.
As with classical portraiture, Lyle's paintings seduce the viewer through a kind of recognition, with the subject acting as surrogate for both viewer and artist. However, her translation of photographic sources into paint obscures the individuality of the subject in favour of layered cultural signifiers -- hair, clothing, pose, ground. These paintings are concerned with the conflicted intimacy of imprecise recognition, and the uncomfortable but compelling terrain between knowing and not knowing.
In creating these paintings, Lyle corresponded with women in their twenties and interviewed female family members. The distinctly personal specificity of this research -- of oral history and apocryphal experience -- informs her ongoing work.
Katie Lyle grew up in Ontario and received her BFA from Concordia University (2005) and her MFA from the University of Victoria (2009). She has worked as a sessional instructor of drawing and painting at the University of Victoria and has exhibited across Canada. Lyle lives in Vancouver and currently works at Western Front.
|June 2 to 5, 2011
International Contemporary Art in Vancouver
The Waldorf Hotel
1489 East Hastings Vancouver, BC
Deluge Contemporary Art will participate in THE FAIR: International Contemporary Art In Vancouver at the historic Waldorf Hotel. Unlike traditional art fair formats THE FAIR allows participant galleries to elaborate on the public/private spaces of hotel rooms as ad-hoc exhibitions.
Featured artists include:
Leigh Bridges, Canada
Tamsin Clark, Canada
Arian Dylan, Mexico
Lee Hutzulak, Canada
Daniel Laskarin, Canada
Neter, Mexico (Alex Bolio, Christian Castañeda, Marcos Castro, Greta Gamboa, Mariana Magdaleno, Carlos Olvera, Jimena Schlaepfer, Axel Velazquez, Cynthia Yee)
Mark Neufeld, Canada
Jennet Thomas, UK
For visitor information, exhibitors and hours, please visit THE FAIR Website
|Polaroids: Tamsin Clarkrt Gallery Greater Victoria|
|April 29 to May 28, 2011
Candy Floss Pink: A Landscape
Candy Floss Pink, the ninth installation in Michelle Allard's Office Paper series, involves the reorganization of ubiquitous shipping, storage and data based materials. A smaller work conceived of and realized in-situ for Deluge, Candy Floss Pink forms a visual and conceptual play between modes of accumulation -- what stays; and dispersal -- what moves, while ceding to natural processes, turning the gallery into a hive of production. Previous installations have been exhibited in France, Japan and Canada.
Michelle Allard is visual artist based in Vancouver BC, with an MFA from the University of Guelph (2002). Having received numerous production grants from the BC Arts Council and the Canada Council for the Arts, Allard has exhibited her work nationally and internationally at galleries and artist run centres such as Atelier Tilde B, Paris (2009), Richmond Art Gallery (2007/08), Mercer Union (2006), and has taken part in artist residencies in Canada, France and northern Japan. Allard's most recent activities are a solo exhibition Materialscape at the Kitchener Waterloo Art Gallery (2011), a window installation at Convenience Gallery in Toronto, the prestigious Paris residency awarded by the Canada Council in 2009 and the award live/work studio provided by the City of Vancouver (2009-2012). Upcoming projects include a residency in Spain and a solo residency/exhibition at OU Galerie, Marseilles France (2012).
|March 11 to April 9, 2011
New Land Paintings
In its title, Stephanie Aitken's exhibition New Land Paintings references John Cage's New River Watercolors, produced largely through chance operations: a lacunae of classical representation. With her new series, Aitken seeks to "configure paintings that entice yet forbid entry, furthuring the natural function of pictorial push and pull" operating in the medium. Disavowing fidelity to any specific source imagery, Aitken re-remembers the bogs and clear cuts, the conventionally scenic as well as the burned and degraded zones of the BC Coastal landscape through a "felt-sense" of place. Though they are a dense accretion of memory, ambiguity and abstraction, Aitken has named these paintings for specific locales. Compelled in part by the native art inspired mid-century pseudo abstraction of Jack Shadbolt and Margaret Peterson -- and the use of "compositional devices" to create a quality of resistance -- Aitken's landscapes possess a density of surface residing within a kind of symbolist certainty.
Stephanie Aitken completed her MFA at the University of Victoria in 1994. Recent exhibitions include Added Value at Platform Centre in Winnipeg in 2010, Headlands at Helen Pitt Gallery ARC, Vancouver, 2005 and Mount Analog at Eye Level Gallery, Halifax, 2007. A recipient of grant awards from The Canada Council and The BC Arts Council, Aitken has had critical notice of her work published in The Vancouver Review, The Walrus and C Magazine. She resides in Vancouver where she teaches at the University of British Columbia and Emily Carr University. This is her third exhibition with Deluge Contemporary Art (Veins of Dust, Something to Adore).
Carrington Lagoon, Stephanie Aitken, oil on linen, 76x91cm, 2010
|February 18 to March 5, 2011
RPM: The Lost Art of LP Covers
A fundraising show and sale
The art of the record sleeve, remixed and remastered by more than 50 artists.
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, the infamous RPM fundraising exhibition is back by popular demand.
RPM features the work of 50+ 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 $45 each at the gala opening on Friday, February 18th. The exhibition and sale continues through Saturday, March 5th.
Untitled, Alisdair MacRae, wood, 17x18cm
|January 14 to February 12, 2011
Mike Andrew McLean
Etymologically, photography means writing or drawing with light, and as such it is a mad-scientific endeavour. Light as a physical phenomenon both reveals our surroundings and obscures our sight, and traditional photographic processes reflect this polarisation. In allowing for correct exposure, light immediately darkens film. Images result from a correlated duel with this immaterial ingredient: measured parts avoidance, allowance and alteration.
This series represents an exploration of the subject of whiteness -- not necessarily white pictures, but a study of how things become white when photographed. Though some of the images represent objects that are indeed chromatically void, other subjects become white only when photographed in a monochromatic process, such as a propane flame on a two burner camp-stove or a vintage wicker lampshade in a nondescript budget motel.
Beyond their whiteness, many of the physical subjects of these photographs are material things in the process of disappearing: a bar of soap, an observatory now unused, a boarded law office. Similarly, analogue photography is approaching obsolescence. The images in this series were all made using a rarefied form of production: 4x5 sheet film exposed through a camera manufactured half a century ago, then hand processed, printed and toned. But the subjects and the method fit the form. It is through photographs that we are allowed to see -- again and with staunch fidelity -- that which no longer exists.
Mike Andrew McLean received his BFA in Media Arts from the Nova Scotia College of Art and Design in Halifax. Since 2004 he has lived on Vancouver Island, where he completed his MFA at the University of Victoria. McLean’s work has recently been shown in the group exhibition Sentimental Journeys at the Contemporary Art Gallery in Vancouver, and in the solo exhibition Range: Mountain National Parks Photographs (LAB 9.1) at the Art Gallery of Greater Victoria. Upcoming solo exhibitions include the Southern Alberta Art Gallery in Lethbridge, Chernoff Fine Art in Vancouver and Kamloops Art Gallery. McLean is currently a Sessional Lecturer in the Department of Visual Arts at the University of Victoria.