Back to Top
META PAINTING WITH ALLAN SWITZER

An essay on Vancouver-Based Allan Switzer’s exhibition at Winsor Gallery. Written by Sunshine Frere, shared on Artotate.

SEE ME FEEL ME

META PAINTING WITH ALLAN SWITZER


Time moves in one direction, memory in another.-William Gibson

A song is the most intangible thing in the world.- Jimmie Davis


Winsor Gallery (est. 2002)is opening its new space on East 1st Avenue with work by Vancouver-based artist Allan Switzer. From December 7, 2012 – January 12, 2013, visitors will encounter See Me Feel Me, Switzer’s new body of transfixing work. Throughout 2011-2012 the artist honed and developed a style of painting that is personified via constant stochastic visual stimulus and tantric lyrical iterations.

See Me Feel Me represents a body of painting that is exponentially meta. Yet, Switzer hasn’t simply produced paintings about painting(s), he has made an affective body of work that philosophically, and aesthetically explores: what the viewer can ask of a painting about paintings, what the painter can ask the viewer to ask of a painting about paintings, and what the painting itself can ask of the viewer and the painter.  

Desperate Measures, 2012, acrylic on linen, 72 x 96” 

From first glance, Switzer’s painting is overwhelming, the deeper one dives into its hyper-visual fold, the more disorienting the effect. Synchronous bursts of vivid colours and abstraction, give way to layering, grids, and movement. At the same time all of this action is perceived, the paintings also reveal a sense of extreme clarity and isolated perfection.

As eyes randomly wander over the layers of abstraction, the mind seeks to make sense of the colourful shapes. After a moment of observation, these forms become words, and soon thereafter, looped and contrasting song lyrics are deciphered. The symbolism held within these lyrics evokes waves of nostalgia, from there, a didactic curiosity is also triggered. Are the lyrics meant for the viewer, the painting, or the patron who acquires the work? Perhaps these are the tantric realisations of the artist as he exorcises sentiments from his own life and artistic process directly into the painting. In order to truly seeSwitzer’s work one must first look at it meta-contextually, through its topography, colourful composition, lyricism and through time itself.

Similar to the historical canon of painting that carries with it many interwoven layers of technique, process, and skill, the Switzer practically begins working on the surface of his paintings with a perfect build up of base paint creating the best possible underlay. The artist’s materials serve as direct reference to older eras of painting, linen, gesso and rabbit-skin glue is strategically incorporated into into each painting’s base composite, supplies that pay direct homage to the painting process. Even before he begins this complex system of layering colour to surface, the artist has already laboured for hours and hours, developing a taut and vitreous base layer of gesso. He creates a surface that is so smooth and free of imperfection that it could be confused for a white coat of polyurethane.

Switzer working on a painting in his studio.

Next, Switzer tirelessly grids, maps and tapes, paints, un-tapes, and re-tapes his paintings. Each new layer of colour-blocking involves countless re-applications. Switzer’s paintings typically build up four to eight different colours of paint, as well as multitudinous layers of each colour on colour. Within each oeuvre he intuitively creates an undulating abstracted meta-topography. A surface that is only fully revealed once the artist decides that the final coat of paint has been applied, and all excess tape has been removed. As the work is constantly masked, even the artist does not know what image will fully resemble until the final reveal.

The super-perfection of Switer’s painting surface also subsequently reveals chance anomalies found within its multiple layers. These small imperfections create an idiosyncratic style and topography for each painting. The artist has stated that he is married to the sense of production, a thorough investigation of the surface of any of his paintings reveals this intense focus. The impurities of this complex topography demonstrate the varying viscosity of each paint colour, the tools the artist used in application, the artists hand in the work, and even, painting’s past. Even though deemed completed by the artist, topographically Switzer’s paintings do not provide a final resolution to the viewer. The aggregate colour layers chaotically interrupt the smooth undercoated surface. Each surface interrupt demands a lot of its viewers, and there are hundreds, if not thousands of these, on each painting’s surface.

Viewing these works, the eye is not sure where to begin, nor where to finish; the text, embedded within an abstracted colourfield, is a difficult read. Font and colour take on affective qualities, and serve as a challenge to the viewer. A statement further affirmed by the fact that when prompted on the significance of the colour palette for each work, Switzer only reveals that he enjoys experimenting with colour, and that he mixes his own colour. Compositionally, the artist’s use of colour and font contradicts, and compliments. Evidence that perhaps the artist is intends the viewer to read the work on a subconscious and sensorial level.

Ultimately the colour and font of Switzer’s paintings create optical interference: stochastic overload. The abstracted text lines of the painting literally vibrate on the canvas, they seem to flicker, moving back and forth, up and down. The uncanny wave-like movement in Switzer’s work mimics a similar visual affect found within old analogue televisions, that of the screen flickeri. Switzer’s paintings are fascinating because there is no live signal feed that his paintings are distorting, yet, he has created a retroactive media affect within a stand-alone painting. Distortion and feedback, items in any rock-star’s tool-kit, but also in Switzer’s painter bag of tricks.

The bright colour palette of the work also harkens back to an older more psychedelic era in time, the late 60’s and early 70’s. All of the affective font and colour qualities found within this painting series are strategic elements employed by the artist to create ambiguity. Within the development of this strategy the artist inadvertently created a new painting technique: Meta-font colour-blocking. The high contrast colouring in conjunction with the bold font patterning of these paintings successfully obscures and abstracts. The technique pays homage to a myriad of painters before Switzer’s timeii, and also explores new territory in painting.

Once the aura of the ocular has somewhat subsided, viewers of Switzer’s paintings often begin to explore the lyrical component in the work. In true meta-form, Switzer conjures emotional inoculations on our collective memories. Just as the painting’s surface, colours and font visually and affectively prompt the viewer to move in and out of focus, the jumbled yet familiar song lyrics of each work pushes and pulls the viewer through a tense and complex narrative quest for meaning. The blended phrases from multiple familiar rock-ballads turn the canvas into a hybridized super-song. Pregnant with narrative antibodies, mixed and cut in complimentary and contrasting contexts. They provoke nostalgic interpretations that range from sentiments of truth, love, and sincerity, to severity, confusion, craving and loss. Meaning is inter-dependant with where or who one envisions these lyrics are coming from. On one hand, one could venture these lyrics potentially represent a direct message from artist to viewer, on the other, a beyond the brush message from the painting itself.

The lyrics in Switzer’s paintings not only refer back to songs of an older era, one can find resonance within the pop and rock songs of today. The artist is no stranger to symbolism, cyphers and discordant/harmonious counterpoints. It is no coincidence that the narratives unfolding within each work also provide multiple points of entry to references and ideas found the artist’s older worksiii, and also within the history of painting.

The evolution of the blended lyrics and meta-composition in this series is representative of the artist’s constant quest and search for the intangible in his practice. The lyrics Switzer worked with in late 2011 were simple contrasting pairings: Give Peace a Chance, Destroy Your Enemy. They grew into a complex and less tangible abstract expressions, further evolving within each sequential painting. Shifting the lyrical content from more staid concepts into the realm of real-time thought. The works became more representative of a process as opposed to a previous state of being, reflective of living as opposed to moments lived. They grew closer to affect as opposed to being representative of an effect:


BABY THE TRUTH IS OUT SO DON’T DENY IT

TO THINK I BELEIVED ALL YOUR LIES

YOU’LL NEVER BREAK THIS HEART OF STONE

LOVE ME HOLD ME CAUSE I’M FREE

(Text from Switzer’s painting Desperate Measures, 2012)


Similar to the lyrical development of the artists work, Switzer’s meta-font colour-blocking grew into even more complicated abstraction with each new work in the series. The last work for the See Me Feel Me exhibition, The Pleasure of the Everyday (2012), provides the viewer with a climax of the artist’s compositional exploration. In this work he distorts the text by pulling it out of its linear presentation and shifting it into a three-dimensional, spherical space.The increasing complexity of each composition parallels the artists struggle to progressively create work that speaks to its audience, its beholder and its own history.

You Can’t Always, 2012, acrylic on linen, 72 x 96” 

In the context of this new exhibition, in this new space on the eve of what the Mayan’s predicted as the end of an era, these colourful, vibrant and intoxicating works weave memento-mori narratives that extend far across rings of painterly time. Switzer’s See Me Feel Me paintings contribute rich thought and substance towards the ongoing historical dialogue between viewer, the painted and painter. They are meta-paintings, they are an open ended love letter to painting proper.  


POLKA DOTS AND STARS

As part of the artist’s new body of work, Switzer also produced a series of approximately 20 painted drawings titled Polka Dots and Stars. These smaller framed works were created in tandem with his aforementioned painting series. These works are figurative and pictorial, and they, like Switzer’s paintings, are also evocative of nostalgic and hazy 70’s memories.

The Stars in the series are small painted/drawn studies that investigate the capacity of lyrics as celestial beings operating on a different scale of time. Bold black words with hints of colour, these stars visually exist on a level of immediacy, similar to how lyrics from songs are felt and experienced in the present. The repetition within each drawing enables each star to to also transcend its own immediacy, and the context of the tantric lyrical repetition throughout the series set ignites the braided thread of present, past and future. The striking composition, and the cyclical nature of the stars is synchronous with the Polka Dots from the same series.

The Polka Dots are circular drawings that appear to act visually and metaphorically as a porthole into a specific memory and time. These drawings reference abstract moments: what the turkish carpet from a rolling stones concert looked like, or a glimpse of iconic figures from the age of rock. When one sees the series installed together on a wall, the repetition of shapes, themes and lyrics instantly conjure the game of memory. One is compelled to match up particular patterns and pieces. These painting/drawings also become an inherent visual memory card lexicon of the 70’s. The viewer is invited to fade in and out of memories from another place and time. The context of the imagery is suggestive of an era, but several of the images also hold within themselves direct references to personal experiences of Switzer from that time. Within this installation Switzer’s work reflects upon signifiers, the visible versus the intangible, and how the virtual unfolds within the topography of memory, reality and the present.

These works could be seen as a tantricundertaking for the artist. A series where he attempts to dissolve the dichotomy of the spiritual and the mundane through the cataloging of the minutiae within personal and collective memories. The work from the Polka Dots and Stars seriescohesively pulls together fragments and themes on history, time, and the cyclical nature of the cosmos. Exploration of the series effectively compels the viewer to realise the transcendent in the immanent.

THE TWO MIKES

The Two Mikes, 1984/2012, archival pigment print, Image size 42” x 62” Framed,Edition of 3

The final work in Switzer’s See Me Feel Me exhibition, The Two Mikes serves as a photographic talismanthat coheres the collective effort of the works into a sum of the whole that is greater than its parts. Switzer cunningly provided the title as somewhat obscure double entendre. This shot was taken by the artist at a Michael Jackson concert in 1984. It is representative of many of the key elements found within Switzer’s practice and current body of work. It is a piece that captures time, memory, and emotion, one can virtually feel the excitement in the smokey air, and the energy within this monumental amphitheatre.

The Two Mikes also intimately explores another critical component to the See Me Feel Me exhibition, that of invisibility. Apart from the reference in the title, it is quite obscure who is on stage, the artist is invisible. When discussing his forthcoming exhibition, Switzer mentioned how he thought his own artistic practice for a certain recent period of time was also invisible, he was making work alongside his contemporaries but unlike his contemporaries, it was not being seen in context, it was mostly shown in his studio. This past year has been an incredibly productive year for the artist. He was able to devote much of his time to his studio practice, the results of which, led to an expansive survey of work. Switzer embarked on an exhausting quest of painting the intangible, discovering new forms in meta-painting, and realising new ways of seeing and feeling the invisible.

i By using magnets to distort particular elements of the signal of analogue television, Fluxus artist Nam-June Paik experimented with the undulating effect of signal, noise, and television imagery throughout the 70’s.

ii Switzer’s paintings reference many painting styles from the 60’s and 70’s: Op Artists such as Bridget Riley, Mono Chrome Painters such as Yves Klein, Hard-Edge Painters such as Ellsworth Kelly, Colourfield Painters such as Morris Louis, Geometric Abstraction Painters such as Josef Albers, and Pop Art painters such as Robert Rauschenberg, Claes Oldenburg, and Jim Dine. With reference to colour-blocking, the work also appears to share a dialogue with the colour-blocking techniques of First Nations Haida painters such as: Robert Davidson or Trace Yeomans.

iiiSwitzer’s previous work with painting and patterning directly influenced this new text based off-shoot. As did his previous cypher painting series. 

DAY 30 - 30 DAYS PROJECT

30 Day Project - One-Liners

I am pleased to say the project is now complete… Stay tuned for Papergirl July and August Musings on the notion of the Giftervention.

A full survey of the One-Liners can be found below, but if you want to see what each one is specifically referencing, simply scroll down and scroll down some more! 

Here is the Breakdown:

  1. Distilled pinpoints of clarity, colour splashed landscapes void of periphery but abundant in sense of place; the paintings of Trevor Kiernander simultaneously provoke and still the senses, creating a complex map of explosive thought patterns which resemble the urban landscape that the artist is so expert at isolating.

  2. And the Beat Goes On, And So it Should…

  3. Cosmically floral last breath of life. 

  4. Reflective, reflexive, still and serene, Avantika Bawa places the with, within and without achieving minimalism in its purest and most subliminal refreshing state. 

  5. Noospheric undulations of thought and process mulled into one, to experience it is to conceive. 

  6. Multifaceted viewing, Locke fuses fragments of sculpture, text, painting, and interactivity with notions of the gaze, resulting in a cohesive collection of locution.

  7. The tripodic and fragmented sculptural oeuvres of Richard Henriquez are as ever elusive a double rainbow; the awe and wonderstruck that ensues from such chance encounters is firmly rooted in a soil rich with elements of curiosity, and nostalgia. 

  8. Concrete investigations on Paint-things; each Malereian entity found at Transition Gallery is involved in its own identity crises and existential investigation: am i a painting or am i something else, in what reality do i exist?

  9. Time to commemorate time. 

  10. Ganani’s work is triumphant in its spectacle and intimacy exploits; the layers and predetermined schematics of interaction superimposed onto the visceral platform of visual video bodies creates an ephemeral layering, one that simultaneously solicits curiosity, frustration, and restlessness. 

  11. FLASH: impulse: I love I Love You. No, really, I really do. 

  12. anonymity,  ingress the cimmerians. they seek compliance

  13. Way too repetitive, way too repetitive.

  14. ICE FIGHT ABSTRACTION? FUCK YEAH!

  15. Glamour’ishly’ dry… It’s like dazzle, without the razzle, and we all need a bit of razzmataz.

  16. Shadow play; Harasymowicz’s Wolf Man exhibition imbrues trace elements of process and memory into tangible analytical form.

  17. Peter offers up controlled compositions of entropic hybridized (in)organic entities; his  imagery punches viewers in the face with tacit colour speculation and corporeal sensory overload.   

  18. Life Lines: an investigation into the ephemeral and ethereal layering of life’s cacophony by grasping at it’s more tangible linearity. 

  19. Domesticated dogs demonstrate devotion to owners, reciprocation required.  Domesticated dogs dive into the wilderness wishing for ways of days long gone.

  20. Porcelain detritus become a map of the past, the map spans each object’s physicality, and historicity, our memory of it as it is, as it was, and most importantly, our interpretation anew. 

  21. Godoy’s powerful and intentional vacuous aesthetic presentation (how very LA of him) leaves the mind serene, allowing for an overflow of thought rejuvenation, and sentient renewal. 

  22. Some Metaphorical and Mental Assembly Required…

  23. Multiple nods to artists of other eras, and works of other eras, Kalberg appears to be attempting to disrupt the time space continuum of art. 

  24. Isolated moments, faded memories, Jodoin pulls memory threads through our hearts, leaving not only long-lasting retinal impressions but also evocative anamnesis.

  25. In order to make a version, aversion of a version of my one-liner review, I deemed it appropriate for appropriated appropriation: irony is about humour and serious play. it is also a rhetorical strategy and a political method …  - Donna Haraway, cyborg manifesto

  26. Abstract wanderings and mystic musings, life and death are intertwined.

  27. Heightening the awareness of our surroundings, our limitations, and our consumptive exploitations Moveable Feast is a positive pollination of mind, body and environment complete with nourishing ideas, challenges to our limited perspectives. 

  28. A space dedicated to contemporary art without the funding restrictions like so many of its calibre, Esker Foundation: New Contemporaries - starts out bold, starts out young, starts out fresh, an excellent survey of recent Albertan graduates. 

  29.   Tracing matter, material, and memory; testing time, translation and terseness.

  30.   A Tricontagonal Critique of 30 Days of Art in June. Multifaceted and complete.

DAY 29 - REVIEW 29 - 30 DAYS PROJECT

Tracing matter, material, and memory; testing time, translation and terseness.

KT KILGOUR - july 6 - 21 - BLIM 

*All Images courtesy of KT Kilgour

Thread Projector
interactive installation where viewers play with threads cut from my loom to create temporary compositions.  Projector is a lenticular overhead that projects materials in 3D.

"Reflection"
Tapestry Weaving, Wool, 30”x30”

Setts 1 & 2
Overshot Weaving with Duct Tape 7 Cotton, 24”x24”

May Contain
Jacquard Weaving, Cotton, 32” x 48”

May Contain
Jacquard Weaving, Cotton, 32” x 48”

Setts 1 & 2
Overshot Weaving with Duct Tape 7 Cotton, 24”x24”

Setts 1 
Overshot Weaving with Duct Tape 7 Cotton, 24”x24”

Untitled
Canvas with 300 rows of Duct Tape, 48”x48”

Chevron, Diamond and Twill brings together woven works by KT Kilgour. Often process and material based, KT has concentrated on creating contemporary weaving that flutters with history and tradition.

KT will install her sound piece, Industrial Weaving for Music on the opening night.

KT Kilgour was born in Aberystwyth, Wales and immigrated to Canada as a young child. Daughter to a weaver and recording engineer, KT grew up amidst the analog processes of craft and music. In 2009, KT graduated from the Textile Arts program at Capilano University where she studied the traditional textile process. Wanting to explore the conceptual processes within craft she continued on to study Visual Arts at Emily Carr University with a focus on textile sculpture. KT graduated this spring with a Bachelor of Fine Arts. As a skilled weaver KT engages with textiles as personal expression. Her current practice bridges theories of craft and feminism through labour, process, perception and technology. The extension of the body through the loom has led her to question how other structures function in our environment in relation to the human conditions of control, perception and embodiment.

Call 604 872 8180 or info@blim.ca for more information.

Chevron, diamond, and Twill by Kaytee Kilgour

DAY 28 - 30 DAYS PROJECT

A space dedicated to contemporary art without the funding restrictions like so many of its calibre, Esker Foundation: New Contemporaries - starts out bold, starts out young, starts out fresh, an excellent survey of recent Albertan graduates. 

Jennifer Akkermans

Daniel J. Kirk

The New Alberta Contemporaries

JUNE 15 – AUGUST 29, 2012

The New Alberta Contemporaries is the inaugural exhibition for the Esker Foundation. One of its primary objectives is to celebrate the creative potential of recent fine arts graduates from all the degree granting institutions across Alberta. The 47 artists were chosen for the ability with which their practice moves across disciplines in the emerging post-disciplinary and post studio age.

The New Alberta Contemporaries exhibition is a snapshot of a cultural moment in the province of Alberta. It is neither representative nor thematic, although a series of “themes” have emerged. While one will not see the grand geopolitical issues that play out on the international stage in the exhibition, one will instead see elements of the artists’ personal histories becoming staging grounds for exciting explorations in areas such as landscape/geography, gender, sexuality, the body, memories, and ecology

With the range of materials and theoretical approaches employed by the artists, the works can be seen as a series of possible conversations between artists, interweaving various common approaches found in their work. The exhibition is a travel story of sorts—across Alberta’s institutions and faculties of art, artists’ studios, and galleries alike—providing a window into the future of contemporary art in the province. Variety and commonalities have been found in the “temperaments” of the various institutions and the balance they have attained between studio practice, theory, and scientific research.

For the next ten weeks, the Esker Foundation will become a platform for this burgeoning class of art graduates, assisting them in developing their practice and allowing them to professionally exhibit their work at a time when both the market and government funding are shrinking.

- Caterina Pizanias

PARTICIPATING ARTISTS

DAY 27 - 30 DAYS PROJECT

Heightening the awareness of our surroundings, our limitations, and our consumptive exploitations Moveable Feast is a positive pollination of mind, body and environment complete with nourishing ideas, challenges to our limited perspectives. 

The Moveable Feast: Planting for Pollinators

May – October, 2012

This summer the Burnaby Art Gallery presents The Moveable Feast, a public project by Vancouver artist Holly Schmidt. The Moveable Feast is a series of workshops, edible events, free youth programs, and a vegetable garden beside Ceperley House in Deer Lake Park. The Moveable Feast responds to the current global mobility of food in the context of rapidly dwindling food varieties.

The first workshop of the summer, Planting for Pollinators will take place on Saturday, July 14th from 2:00-4:00 pm.Explore the garden from the perspective of a pollinator with artist and beekeeper, Lori Weidenhammer. Learn to invite pollinators into your neighbourhood by creating pollinator friendly habitat for bees, butterflies and beetles. Tour through the garden to see what pollinators are at work and take a selection of seeds home to start your own garden.

Follow Holly’s project blog and check out more information regarding upcoming programs at www.moveablefeastburnaby.ca

The Burnaby Art Gallery gratefully acknowledges the support of the British Columbia Arts Council.


To register for this event contact the Burnaby Art Gallery at 604-297-4422.

Cost: $20.00

DAY 26 - ARTOTATE

Abstract wanderings and mystic musings, life and death are intertwined.


Zoloflot, 1985

A Moment of Eternal Noise

IMAGE

SOUND

TEXT

Day 25 - 30 Days Project

In order to make a version, aversion of a version of my one-liner review, I deemed it appropriate for appropriated appropriation: irony is about humour and serious play. it is also a rhetorical strategy and a political method …  - Donna Haraway, cyborg manifesto

topdown bottomup presents
sophia bartholomew
with kate barbaria, nelly césar, evan french, and you

June 22- July 10

“the reason i’m painting this way is because i want to be a machine.” because i want to be a factory. an assembly line of readymades: appropriated garments and regurgitated texts. words from conversations, from jokes, from art, lectures, fiction, facebook, feminist theory, politics, film, self sabotage, scrutiny, music. and a different t-shirt. everyday. for three hundred and eighty two consecutive days. a daily dance; an exercise; a hyperbole; an open door. phenomena of transmutation.

come. loan a t-shirt (more than one hundred and sixty models currently available) and leave the shirt off your back (a stand in, a stunt double – a placeholder in the archive).

make a version, and a version, and aversion of yourself.

vancouver-based artists nelly césar, evan french, and somewhat-nomadically-based artist kate barbaria will intervene with or borrow from the project during the show’s two week duration.

possibly-cheeky, post-media, project-driven-artist sophia bartholomew is recently undergraduated from ubc’s visual arts program. she is a fiction in the way that every name is a fiction. she is an imposter in her own role.

www.topdownbottomup.ca

aversionofyourself.tumblr.com
sophiabartholomew.com

Artist Statement: in part, the project has been a provisional model for conceptualizing theories of subjectivity and social relations, with a particular interest in judith butler’s emphasis on identity as “constructing” rather than constructed (a continuous performative act rather than a predetermined fact).

as an extended act of material consumption, aversion is also a means to investigate a cultural climate in which incessant consumption is ‘individualized’ and thought to define us as subjects, almost exclusively: hoping hyperbole will highlight the absurdity of this ideology.

through the project’s physical archive – from which t-shirt ‘documents’ can be loaned, ‘viewer-generated content,’ and collaboration with other artists, the project seeks to remain open to interpretation and appropriation.

to access the archive, contact me at bartholomew.sophia at gmail.com. if you loan a shirt from the archive, you can contribute photos to the online archive here.

” irony is about contradictions that do not resolve into larger wholes, even dialectically, about the tension of holding incompatible things together because they both are necessary and true. irony is about humour and serious play. it is also a rhetorical strategy and a political method … ” (donna haraway, cyborg manifesto)

DAY 24 - 30 DAYS PROJECT

Isolated moments, faded memories, Jodoin pulls memory threads through our hearts, leaving not only long-lasting retinal impressions but also evocative anamnesis.

close your eyes  - June 29 – August 26, 2012 - Richmond Art Gallery

Sophie Jodoin, From the series Small Dramas & Little Nothings, onté and collage on mylar, 2008, 9.5” X 7.5”

Remnant 2, Sophie Jodoin, black gesso on magazine page, 2011, 8” x 6”

Sophie Jodoin, From the series Small Dramas & Little Nothings, onté and collage on mylar, 2008, 9.5” X 7.5”


close your eyes covers a span of four years and consists of three body of works by Montreal artist Sophie Jodoin: Small Dramas & Little NothingsCharred and Vigils. Materially, it includes black and white drawings, collages, video, a sculptural piece and tables with artifacts. 

Jodoin’s work has the capacity to draw the viewer in to its intimate dramas through the sensitive and proficient handling of her thought provoking subjects. Equally conceptual and representational, her drawn series of works can take up to two years to realize. close your eyes is conceived as a long continuous thread echoing the course of one’s life—a collection of narratives and struggles encountered by simply living.

This exhibition is a rare opportunity to view Jodoin’s work on the west coast and it has been scheduled to coincide with the Fourth Annual Vancouver DRAWN Festival, an event that promotes drawing as an important visual medium.  
www.sophiejodoin.com

DAY 23 - 30 DAYS PROJECT

Multiple nods to artists of other eras, and works of other eras, Kalberg appears to be attempting to disrupt the time space continuum of art. 


Monte Clark Gallery - Holger Kalberg

Karl Holderberg

Holger Kalberg
Untitled (Modular Sculpture)
acrylic, rubber and string, dimensions variable

Holger Kalberg

Holger Kalberg
Prop 4
oil on canvas, 44 x 40 inches

Holger Kalberg

Holger Kalberg
Prop 3
oil on canvas, 55 x 70 inches

Monte Clark Gallery - Holger Kalberg

June 14, 2012 to July 14, 2012

Holger Kalberg’s new exhibition explores the legacies of modernism, offering critical and reflective works within the intersecting conceptual fields of abstraction, non-figurative, and concrete art.

The paintings and sculptures are a combination of new and transformed versions of earlier works. They avoid both purely geometric abstraction as well as representational imagery. Each piece is edited and layered, referring to the process of production and the compulsive act of making and therefore responding to one of the paradigms of modernism: the self-referencing of its materiality. The paintings and objects result from a dialogue with the material that is defined by an awareness of the history of its application.

Kalberg has incorporated sculpture and installation into the exhibition to create an environment of separate objects which refers to a moment in history; not a melancholic looking back, but rather an evaluation and questioning of strategies, an observation of a moment in time. It is more about the production, the hand, studio and the idea of creating an object causing a response. The different works in the space set up a dialogue, questioning the notion of originality, the studio, and the object. The broadening of the lexicon from painting and collage to sculpture and installation reflects Kalberg’s increasing interest into the notion of the role of the artist, individuality, and the studio practice.

Holger Kalberg was born in Germany and currently lives and works in Winnipeg, Manitoba.  Kalberg studied at the Emily Carr Institute of Architecture and Design, Vancouver (BFA 2001) and the Chelsea School of Art, London, UK (MFA 2007). His work was recently featured in a solo exhibition at the Agnes Etherington Art Centre in Kingston, Ontario. 

DAY 22 - 30 DAYS PROJECT

Some Metaphorical and Mental Assembly Required…



Cut and Paste - Equinox Gallery 

Cut and Paste Equinox Gallery

Christopher Kukura slices and then reassembles photographs of purebred dogs.

Peter Gazendam, Me Me Me Me Me Me Me, (detail), 2012, 4x6 c-prints, dimensions variable

Equinox Gallery is very pleased to present a new group exhibition: Cut and Paste. Opening on June 2nd at the Equinox Project Space, Cut and Paste presents works by over 30 Canadian artists whose processes are connected by an impetus to cut, tear, separate, juxtapose, contradict, assemble, and reassemble.

The term collage is derived from the French verb “coller,” which means “to glue,” however the medium and process of collage has broadened and come to include three-dimensional assemblage, digital stitching, video layering and more. As a creative strategy, collage often attempts to deviate from deliberate and reasoned constructions of meaning, relying instead on the use of residual imagery and objects to create narrative detours and fantastic new forms. The artists in the exhibition are: Vikky Alexander, Roy Arden, Michael Batty, Raymond Boisjoly, Paul Butler, Sarah Cale, Gathie Falk, Geoffrey Farmer, Charles Gagnon, Lynda Gammon, Peter Gazendam, Rodney Graham, Randy Grskovic, Holger Kalberg, Christopher Kukura, Tiziana La Melia, Lyse Lemieux, Elizabeth McIntosh, Jason McLean, Al McWilliams, Ron Moppett, Office Supplies Incorporated, Toni Onley, Jean Paul Riopelle, Jack Shadbolt, Krisdy Shindler, Gordon Smith, Derek Sullivan, Jonathan Syme, Takao Tanabe, Harold Town, Allison Tweedie, Renée Van Halm, Etienne Zack, and Elizabeth Zvonar.

THEME BY PARTI