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|November 11 to December 10, 2016
Approaching her practice with curiosity and a desire to explore the complexity and allure of contemporary visual culture, Vanderzwet is drawn to source imagery often fraught with what she terms “bubble gum” qualities. Her work is bright and cheeky, loud and alluring, energetic and humorous, but it never loses touch with the the quotidian and familiar. The surfaces of her paintings and large scale mediated collages flirt with the edges of recognition, engaging in a playful negotiation of material, composition and subject matter which is sometimes fully realized and at other times falls into abstraction. Vanderzwet’s layered compositions offer the viewer the possibility of untangling her unabashed and engaging surfaces while simultaneously creating further intrigue through her sure-handed manipulation of colour, material and form.
Rachel Vanderzwet has an MFA in Visual Arts from the University of Victoria as well as a BFA from University of Guelph and a Diploma in Graphic Design and Art Fundamentals from Niagara College. She has shown nationally in Toronto, Halifax, Guelph, Victoria and Vancouver and regularly exhibits with Robert Lynds Gallery in Vancouver.
|October 14 to 29, 2016
Antimatter [media art]
Screenings | Installations | Performances
Dedicated to the exhibition and nurturing of diverse forms of media art, Antimatter is one of the premier showcases of experimentation in film, video, audio and emerging timebased forms. Encompassing screenings, installations, performances and media hybrids, Antimatter provides a noncompetitive setting in Victoria, British Columbia, free from commercial and industry agendas.
|October 14 to 29, 2016
curated by Deborah de Boer & Todd Eacrett
When the man/machine interface becomes the continuum where art is made how do we gauge success or failure? How do we (re)engage with the new poetics of representation? The five artists whose works comprise this exhibition are part of the vanguard harnessing concepts of analog to digital conversion/corruption, datamoshing, glitch and the visual representation of pure data to create a new consideration of the machine aesthetic in the digital age. Experimenting with various streams of information as the progenitor of visuals, these films and videos mine and corrupt data, embracing its possible and tangible failure, oscillations, distortions and points of compression to create fleeting figuration, inverted landscapes and narrative retellings of historical pasts. In kernel panic, the inherent weaknesses of “intelligent design” are hacked to resurrect digital information as a universal language of contemporary and future creation.
Lauren Cook | 5:30 | USA | 2016
Painted 16mm film undergoes a monstrous transformation becoming neither analog nor digital. A film about uncanny valleys and the spaces in between.
Lauren Cook is an associate professor of filmmaking and game design at the University of Hartford. Her films have screened at festivals, museums and alleys internationally including Dallas Museum of Contemporary Art, Toronto Images Festival, the Vilm Alley at Parson’s Hall Project Space, Cucalorus, Athens International Film Festival and the emerging filmmakers showcase at the Cannes Film Festival.
Karissa Hahn & Andrew Kim | 10:30 | USA | 2016
A video is a stream of information, and this moving image relies upon the relationship of static frames which are algorithmically determined. In the language of video compression, the (I) frames are the reference points between which movement is interpolated. Manual deletion or misplacement of (I) frames results in a video glitch known as a datamosh…the stream of nformation d srupted, d sorgan zed…nterupeted…lost…the ( ) frame removed, rejected…BUT, reclaimed, the (I) frame, the burning bolts of the machine, are at once reasserted in this dance macabre...
(I)FRAME is a mechanical ballet set to the original tempo that characterizes motion on screen at 24 (I) frames a second. Shot at the 2015 DARPA Robotics Challenge in Pomona, CA.
Karissa Hahn and Andrew Kim are visual artists based out of Los Angeles. Their work deals with the material properties of celluloid and investigates the hybridization of media. Their films and videos have been presented at various international and underground festivals.
Greg Marshall | 2:10 | Canada | 2016
This video presents data visualization from nine collected news stories on military drone attacks drawn from a much larger archive. Each of the news stories is transformed from words and coded into hexadecimal colour grids which are then reformatted and extruded into three dimensional space.
Greg Marshall is an interdisciplinary media artist working in art video, animation, documentary, installation, object and image making. His work often examines the structures and effects of war, as his first documentary focused on personal histories related to Canada’s involvement in the cold war through the NORAD agreement.
Eric Parren | 13:40 | USA | 2015
The synthesis of analog video and analog audio is based on oscillations. Audio uses oscillators at a lower frequency than video, but in general creating the signal for analog audio and video is based on the same principals. Drifting is a study of these oscillations and was created using vintage video synthesis equipment coupled with contemporary audio synthesis modules.
In the mid 70s engineer Bill Hearn built the Hearn Videolab after a conversation with video art pioneers Bill Etra and Steve Rutt. The design of the Videolab was based on Don Buchla’s architecture for modular audio synthesizers which he pioneered a decade earlier. The Videolab is a modular voltage controlled video synthesis system that can be used to process and produce a wide range of video. For Drifting the focus was on the synthesis capabilities of the system by combining multiple oscillators to create patterns. These patterns were routed through other video processing modules, such as the Jones Colorizer.
By simultaneously routing the video signal into and out of a contemporary Eurorack modular audio synthesizer, feedback and modulation patterns emerged that introduced unpredictability into the signal flow. The unstable nature of the analog systemproducing its inherent driftingbecame a defining characteristic of the audiovisual instrument. The film was recorded as an in-studio live performance at the Signal Culture artist in residency.
Eric Parren (NL/USA) is an interdisciplinary artist operating out of Los Angeles. He studied at the Interfaculty ArtScience of the Royal Academy of Art as well as the Royal Conservatory in The Hague and received his MFA of the University of California Los Angeles in 2012. Parren’s output is situated at the intersection of art, science and technology, investigating the human connection to the ideas and technologies that shape our future, such as artificial intelligence, synthetic biology and space exploration. Parren is a member of the art collective Macular and hosts the experimental music show La Force Sauvage on KChung Radio. He has been exhibited at galleries and festivals throughout Europe, North America and Asia.
Lydia Nsiah | 5:00 | Austria | 2016
distortion uses the aesthetic potential of digital encoding techniques on the basis of found avant-gardistic and ephemeral film footage. Since these films are copy-protected, their digital reproductions are encoded. By copying the moving images they become transformed into distorted forms and patterns, which are condensed by Nsiah’s rhythmic montage and distilled by Billy Roisz’ soundtrack.
Lydia Nsiah has pursued Fine Arts, Film and Media Studies in Vienna, Berlin, Montreal and Amsterdam. An artist and researcher, she is currently a PhD candidate at the Academy of Fine Arts in Vienna, where her focus is fringe phenomena in film, photography and installation.
|in the Deluge transom window, Wed Sun, dusk 10pm:
Dina Yanni | 4:35 | Austria | 2016
Cleopatra Burst appropriates 11 Cleopatra movies and compresses each film to 24 seconds. By progressively organizing the films based on their original frame count, the speed seems to accelerate and the movement becomes increasingly rapid as more and more images are omitted. While the Cleopatras alternate in disparate historical experiences of time, space and identity, their relation becomes apparently linked through imagery that either produces or challenges knowledge about the “Orient.” Embedded in comedy, epic historical Technicolor movies, blaxploitation, sexploitation and anime, we see the Cleopatra icon as well as the environment associated with it bouncing to and fro between stereotype, fetishization, and counter-narrative. Audio mixed from LFO’s “Freak” links the visual overstimulation to a performance of “otherness” and its conflicts over ownership, appropriation and reinvention. Inspired by Chris Bors’ 24 Second Psycho.
Dina Yanni is a researcher and video artist whose work is heavily influenced by celluloid film, critical theory and an obsession with the Cleopatra figure in popular culture. She creates video work using appropriated footage and experimental editing to reveal, reevaluate and reframe power structures discovered in the original materials. Yanni holds a PhD in Political Science and an MA in Film Production and currently works out of Vienna and Amsterdam.
|at Legacy Art Gallery, 630 Yates Street
Rui Hu | 9:45 | USA | 2014 | World Premiere
In this two-channel video work, I used Google street view to capture images of 117 7-Eleven stores around the world and two different playback speeds to display them. On the left, the one-image-per-frame speed creates a flickering animation with an almost static 7-Eleven logo and unrecognizable surroundings. On the right, individual frames are displayed in a slideshow mode, and the focus shifts to the sometimes strange or eerie scene that the digital device captured. The 7-Eleven chain, open 24/7, was a childhood memory of excitement and safety, and an example of a dual identity of the global and the local.
Rui Hu is an artist currently based in Los Angeles, USA. Working with time-based media, image, object and text, he is interested in the syntheses of the virtual and the physical. His work has been screened and exhibited at venues including International Film Festival Rotterdam,, Netherlands; Australian Centre for the Moving Image, Melbourne, VIVO Media Arts, Vancouver, Flux Factory, Long Island City and the Raindance Film Festival in London, UK. He studied film at New York University and media arts at University of California, Los Angeles.
|at Ministry of Casual Living, Odeon Alley, 764 Yates Street
to know a thing
Daniel Laskarin | 19902016 | Canada
I had this steel block on my work table. I spent about a month writing about itnot constantly, but most days I’d do some work on it. Finally, I distilled the writing down to a text that took about an hour to read aloud. Recorded this. Set up the block and the sound recording.
My interest is in the ways that we know this thing: linguistically, verbally, wrapping it in language and something like a rational conscious description, or by contrast, immediately, sensorily, perceptually. In the latter there are no words, in the former there are only words. It’s a sort of Kantian split between noumenon and phenomenon.
After a career as a helicopter pilot/engineer, Daniel Laskarin turned to the visual arts as a field of equal, if dissimilar, danger. His practice is object based, materially and philosophically rooted; much of his work investigates the ways in which art may give sensory experience to consciousness, creating a bridge between substance and ineffability. Understanding that the “expanded field” is blown utterly apart, his work makes things that stay together, that find their own order in a condition of disorder, and that at the same time refuse that which orders everything. His diverse media incorporates photography and video, optics, robotics systems, installation and sound. He has been involved with set design, public image projections and large-scale public commissions in Vancouver and Seattle. He has exhibited in Canada and internationally, and teaches at the Department of Visual Arts at the University of Victoria.
|at the fifty fifty arts collective, 2516 Douglas Street
October 20 to November 6, hours: thefiftyfifty.net
The Principle of Original Horizontality
Brandon Poole | 2016 | Canada
Hard knotless timber lies under the plaster and lath. Tar-covered and paper-wrapped cabling runs through the studs. A pair of neighbouring Art Moderne houses are simultaneously under renovation. The interiors have been gutted: the wiring, the plumbing, the “torch-on” and the tiling, have all been removed. The structures have been stripped-down to their bones and so, like the ship of Theseus, rebuilding becomes a question of identity. Rot is removed. Walls are replaced with beams. The buildings are opened up and seismically upgraded.
The Principle of Original Horizontality, a video and sculpture exhibition, examines the transitional phase of these two buildings: their shifting contexts and identities; their histories and poetics; their angles of repose.
Brandon Poole is a 4th year Visual Art Honours student at the University of Victoria. Having previously trained as a carpenter and electrician, as well as having studied photojournalism and philosophy, he works with sculpture, installation, and video to explore themes of power, memory and architecture. Poole was recently shortlisted for the Presentation House Gallery’s Philip B. Lind Emerging Artist Prize.
The Principle of Original Horizontality is a co-presentation with the fifty fifty arts collective.
|September 9 to October 8, 2016
Deluge Contemporary Art is proud to present its second exhibition by renowned sculptor Mowry Baden. Toroidal Yodel is an extension of the artist’s ongoing interest in haptic sculpture. “I am not interested in haptic sculptures that are merely extensions of visual scenarios,” Baden has stated, “and I don’t want to burden the viewer with any exotic conditions. I want the viewer to experience the sculpture as directly as possible.” Toroidal Yodel is a work in which Baden has employed vortices torus-like (or donut-shaped) slugs of air that swirl around a trans-spacial axis to hurl palpable but invisible donuts of air at people interacting with it. Because the number, direction and velocity of these air slugs can be controlled via computer, the technology has provided the artist vast opportunities for experimentation. Describing each moving torus as a “micro event,” Baden has imagined a “program of micro events as long as a sonata.”
According to Baden,“We are never passive receivers. Coupled with its sensory extensions, the brain is always in a predictive mode. The skin has thousands of receptors that link to the brain. This suggests a one-way flow of information. But in reality, the brain is continuously positing scenarios and does so with sufficient force to confirm, and at times override, sensory data. When we experience turbulence in the meeting of these two forces, we call the experience an illusion or a phantom.”
Baden’s Toroidal Yodel has harnessed new ways to stimulate our sense of touch a particularly illusion-free sensory channel to allow phantoms to inhabit it.
Born in Los Angeles in 1936 and educated at Pomona College and Stanford University, Mowry Baden has lived and worked in Canada since 1971. He has practiced sculpture for over 50 years and has taught sculpture at Raymond College, Pomona College, UBC and the University of Victoria, from which he retired in 1997.
Articulating an internal awareness of movement has always been the most important element in his work. In the course of his practice, he has developed various methods of de-emphasizing vision and interfering with habitual human gestures. He has built harnesses, furniture, rooms, pathways and catwalks, all with the goal of impinging upon the viewer’s movements and awakening a physical self-awareness that was previously unconscious.
Baden tries to provoke a perceptual crisis that assaults the viewer’s confidence in the information that comes through the senses. His practice has always involved materials, just like any artist who makes objects. Ideally, however, he is less interested in the object than in the experience. He wants the viewer to enter the object (or the space) and have an experience that is visceral, internal and sensorially cross-circuited.
Mowry Baden acknowledges the support of the Canada Council for the Arts and the John Simon Guggenheim Memorial Foundation.
|Photo: Mark Alldritt|
|June 17 to July 16, 2016
Deluge Contemporary Art is proud to present an exhibition of new works by polymathic Canadian artist Jeremy Borsoshis first solo show since 2012. Comprising a room sized installation, the eponymous Immaculate Debris is supported by two media works and an excerpt from an ongoing photo-based series. A vast accretion of arcane objects collected over decades, Immaculate Debris features 150 unique items in duplicate, whose readings are recontextualized through their display. These once quotidian things, appearing and disappearing alongside each other, impart a kind of visual amnesia and disoriented memory through the form of an “antithetical” archive. Borsos is interested in the limits of unconscious memory and the function of obsession and aphasia: how the purpose-built process of cognition and forgetting can be assembled and reassembled in endless permutations. In The Great Aims Society, Borsos has superimposed the narrative of an anonymous collective past over footage assembled from numerous silent home movies, using actors to dub in the lacunae of speech. Drive By invites viewers into a small, mid-century cardboard shack to witness automobiles endlessly enter and exit the frame as they scramble our sense of time, place and space. The vandalization of memory is explored in the subjects of Lens Obstruction, a “minefield of wrong turns” embracing erasure and obliteration as antidotes to the canonical and expected.
Jeremy Borsos lives and works on Mayne Island, BC and in Athens, Greece. After working in the motion picture industry in multiple capacities Borsos enrolled at the Emily Carr School of Art in Vancouver in 1983 after which he relocated to New York to study classical media at the Art Students League, returning to Canada in 1987. He has exhibited extensively throughout Canada as well as internationally and his workin writing, photography, installation, painting and videois represented in numerous private and public collections.
Monograph by Michael Turner
|May 7 to June 4, 2016
Forsyth Evans Brown
Matthew Brown works with painting and drawing. He completed his BFA at the University of Victoria and MFA at Concordia University, Montreal. Brown has exhibited throughout Canada, including The Vancouver Art Gallery, MOCCA (Toronto), Clint Roenisch Gallery (Toronto), and Tracey Lawrence Gallery (Vancouver). His work has been reviewed in Contemporary, Border Crossings, Canadian Art and Frieze magazines and he was twice a finalist in the RBC Painting Competition.
Gary Evans was born in Weston Super Mare, England and resides in Alliston, Ontario. Evans work in contemporary painting challenges traditional notions of perception and experience of the Canadian landscape. Of his more than 20 solo exhibitions highlights include the exhibition Seeing Things: The Paintings of Gary Evans, curated by Stuart Reid, which toured across Canada between 2000 and 2002, as well as a survey of paintings, Station, at The Art Gallery ff Windsor in 2008. Evans’ work can be seen in the upcoming Further Afield, a concise survey of painting and new collages at the MacLaren Art Centre in Barrie in July 2016. Evans is a graduate of the Ontario College of Art and Design and an instructor at the School of Design & Visual Art at Georgian College.
Michelle Forsyth holds an MFA from Rutgers University (New Brunswick, NJ) and a BFA from the University of Victoria. Her work has been included in exhibitions at venues including Mulherin + Pollard, (New York), Zaum Projects (Lisbon, Portugal), Pentimenti Gallery (Philadelphia), Auxiliary Projects (Brooklyn), The Hunterdon Museum of Art (Clinton, NJ), The Charleston Heights Arts Center (Las Vegas), Mercer Union (Toronto) and Deluge Contemporary Art. Forsyth has been the recipient of grants from the Canada Council for the Arts, Artist Trust (Seattle) and was awarded the Larry Sommers Memorial Fellowship (Seattle Print Arts). She currently serves on the board of CARFAC Ontario and has taught at Pratt Institute (New York), Brooklyn College, University of Southern Maine (Gorham), Washington State University (Pullman) and is currently an associate professor at OCAD University (Toronto).
|March 26 to April 30, 2016
Aleksander Johan Andreassen (Norway)
Ulf Lundin (Sweden)
Mirka Morales (USA)
Daliah Ziper (Germany)
Curated by Deborah de Boer and Todd Eacrett
Temporal Anxiety comprises a media installation of four works examining the passage, perception and fluidity of time through natural and man-made cycles; from literal stop-motion condensing reality to extended shots questioning the nature of linear temporality.
Andreassen, off camera, is the interlocutor in a loaded conversation with his aging mother, whose days are spent in a passive fog of inactivity. She considers the absence of velocity or impetus in her life, installed in front of a television in the family home. Her son mourns the active love of a mother against the sounds of a ticking clock and images stuttering on the screen that holds her in thrall. Past and future arrive at a chemical détenteno longer mediating what is seen or not seen, said or not said.
59 observes the structure and goings on in a Swedish office building. The camera zooms in and out as scenes shift from tightly shot micro-dramas of unobserved workers to wide panoramic views. The building becomes a kind of stand-in for film itself; each of the hundreds of windows a frame illuminating small suggestive narratives over the proscribed period of the title, fomenting a deft and silent tension between natural observed activity and voyeuristic impulse.
Working from ideas of reciprocity law (the inverse relationship of intensity to time), Morales captures and reanimates cycles of nature into a kind of elemental filmic divination. This “as above so below”the formation and dissipation of everythingis captured in an emulsion that refuses to work in sync with time, the Reciprocity Failure of the film's title.
Über Sehen plays with the nature of perception itself. What do we privilege when looking at something acutely and what do we miss in the process of doing so? The sonic nature of illumination is as much a player in this piece as light itself: a 50 cycle hum oscillates behind our eyes as we struggle to know what we are seeing, moving from the luminous to dark, from detail to abstraction and back.
Aleksander Johan Andreassen is a Norwegian artist and filmmaker. His work, which explores perspectives on normalcy, spirituality, passivity and belongingess, has been screened at exhibitions and film festivals worldwide. Andreassen has done video design for theatre plays as well as cinematography for stop motion film. He holds a BFA from Bergen Academy of Art and Design in Bergen, Norway and an MFA from Konstfack University College of Arts, Crafts and Design in Stockholm, Sweden.
Ulf Lundin was born in Alingsås, Sweden and received his MFA from the School of Photography at the University of Gothenburg. He now lives in Stockholm and works as an artist, primarily in the fields of video and photography. Recent group exhibitions include Framing Bodies, Hasselblad Center, Göteborg (2015), MAC International, The MAC, Belfast (2014), Paparazzi! Photographers, Stars and Artists, Shirn Kunsthalle, Frankfurt (2014) and Centre Pompidou Metz (2014) and Antimatter (Media Art), Victoria (2014). Recent solo presentations include Here You Are, one-night event in the window of Galleri Magnus Karlsson in Stockholm, 5-9 at KKW Kunstkraftwerk, Leipzig (2015) and 5-9, Galleri Magnus Karlsson, Stockholm. Lundin is represented by Galleri Magnus Karlsson in Stockholm.
Mirka Morales is a San Francisco-based media artist, originally from Puerto Rico. Because of where she grew up, she’s driven by a fiercely anti-colonial spirit, although her films are extremely personal and only indirectly political. Working in 16mm film and digital formats, lucid dreams are created from an intimate, poetic, DIY perspective. Images unfold organically, from an experiential point-of-view, using a variety of cinematic techniques, including time-lapse, stop-motion animation and live action. Recent short films include Reciprocity Failure, Imum Coeli (bottom of the sky) and Elfmädchen. Her work has screened at festivals, galleries, museums and cinematheques, such as the Chicago Underground Film Festival, Antimatter, Sundance Film Forward at the Museo de Puerto Rico, Anthology Film Archives, Museum of Contemporary Art Detroit and Burning Man. Morales is currently working on a long form experimental narrative, titled 13th Street Division.
Daliah Ziper started the Über Sehen project after graduating from Central Saint Martins, University of the Arts London. The photographic series was released in a two-volume book at Frankfurt Book Fair 2014, exhibited at I Never Read - Independent Art Book Fair Basel 2015 and published in the Austrian Magazine Stadtform. Her experimental film of the same title premiered at Simulatan Video and Media Art Festival (Romania) and screened at Antimatter [Media Art], Balkan Beyond Borders Short Film Festival (Greece) and at The Deutsche Filmmuseum in Frankfurt (Germany). In 2014, Ziper was Artist in Residence in Tetovo, Macedonia, where the work she developed was presented in the solo exhibition Dissolving City. Her second solo show in Tirana presented two photographic series Behind Facades and Geometric Trees (2015) supported by the Germany Embassy Tirana and the European Cultural Foundation. She is currently working on her second short film, Hotel Kummer, and exhibiting a series of cameraless photography in the exhibition Off Hanauer 147 in Frankfurt.
|Über Sehen, Daliah Ziper, 2014, HD video, 10:00
|Reciprocity Failure, Mirka Morales, 2015, 16mm on HD video, 8:00|
|5-9, Ulf Lundin, 2013, HD video, 27:18|
|stille dag / silent day, Aleksander Johan Andreassen, 2012, HD video, 8:22|
|January 29 to February 27, 2016
hide in plain sight
James Lindsay | Lance Austin Olsen
Deluge Contemporary Art is proud to present Hide In Plain Sight, an exhibition of new work by James Lindsay and Lance Austin Olsen. The exhibition is the result of the independent investigations of each while operating as a kind of interrogatory of each other. Contemporaries who have evolved highly developed visual languages through five decades of continuous artistic activity and experimentation with abstraction, both share a deep and venerable connection to Victoria: Olsen as a longtime denizen of James Bay and Lindsay as one of the original artists to base themselves in Chinatown. Hide In Plain Sight comprises a series of paintings by Lindsay (using as a point of departure a discarded canvas found in his Chinatown environs) and two painted triptychs and a number of monochromatic drawings by Olsen, as well as a small portion of the vast accretion of objects from Lindsay’s studio/living space installed below an early seascape by Myfanwy Spencer.
Lindsay: “Lance, is it strange or enigmatic to be here doing what you are doing? When you look at your work (in the show) do you recognize yourself? Is that the self you have always known…or is your self adaptable to new situations, new interpretations, new work? Do you feel a narrowing of focus as you proceed through these years of maturity? Or do you feel the urge to broaden, use new strategies, new lexicons, new medications?”
Olsen: “It is strange and enigmatic; I feel so often that I am floating through a dream world particularly when I look back and events seem so unreal and fuzzily focused. I do see myself when I look at current works however it does not take much time when it seems impossible that I produced any of the work. I have always viewed my work as footsteps through my life and as such felt that it was much more important to do the work than to worry about sales or recognition. I think that I know who I am as much as one ever can. I have always thought that it was important to keep the painting faith as that is something both difficult and worthwhile. At the same time working with sound has opened up a huge world that is both related and different. One feeds the other. I have always had a fear of developing a personal style or logo and then spending years polishing it, so exploration within tight parameters has been my way. I don't worry about what it all 'means.' As TS Eliot noted, 'Meaning is the meat that the burglar throws to the dog while he robs your house.'”
Olsen: “I have always been acutely aware of your work and happy that we have both stuck it out in this wonderful place. I was curious as to how you came to collecting so many different things, and how this has affected your approach to your work. I was also fascinated to find that you had got into sound, music performance, etc at about the same time that I did, but with a totally different direction. Did this move your paintings into new directions or did these activities remain separate entities? I know that for myself I am sent all kinds of sound and music CDs from other artists but I never listen to them in the same way that I no longer read art magazines (since) it tends to get in my way at this late date in my life. How about you?"
Lindsay: “I’ve been collecting a long time and am in love with many of my things. They have been sheltered by me for more than 50 years, some of them...preserved safely though there have been some losses, some declines, some cultural change (an elephant ivory necklace was very desirable 50 years ago but is now taboo, excluded from the market). I'm aware that my collecting is a medical condition, but I have cultivated the condition to make it manageableI have no cats. The enigma of the moment is the two old white men at Deluge...common 50 years ago, super rare today! But never before have I faced the question of total divestment as I do at this time. Either the collection goes or I go. Fact is, we both go. Dust. I'm hoping the collected works on the wall, from the precursor paintings with recycled imagery, and with Myfanwy Spencer as part of the accretion of cultural objects, it will say a lot about time and place. The Time and Place that I speak of is pretty much one that I share with Lance. So much looking forward to seeing the differences, evolutionary principle, niche.”
Lance Austin Olsen has represented Canada in a number of biennials with his large-scale paintings and drawings. His working method is uniform across all of his mediums: a surface is endlessly reworked, with each subsequent piece forming a record or narrative of ongoing discovery. Through this process, or matrix, the viewer experiences an inextricable link between the activity of producing the work as well as the sense that they are seeing but one element in a lifelong pursuit.
James Lindsay has lived and worked as an artist in Victoria since 1974. His works are represented in public and private collections including The Art Gallery of Greater Victoria, The Canada Council Art Bank, The Province of British Columbia Art Collection, and the University of Victoria Legacy Art Galleries.
|April (detail), Lance Austin Olsen, 2015, acrylic and pencil on rag paper, 96x44"|
|Interior Space, James Lindsay, 2014, oil on canvas, 24x36"|