Object Translations:
March 15, 2024
March 15, 2024
Comfort Zone:
Feb 10 - March 10, 2024
Opening Feb 10, 1 - 5 pm
My Name Is Scot
Subtly alluding to the chaos of street sweeps, dismantled tent-cities, or a half- struck Hollywood North film set, the work also provides actual, intimate spaces or scenarios for contemplating of the complexities of being invisible, witnessed, or scripted by the judgments of others within
public space.
Finding themselves surrounded by the material, spatial, temporal or virtual rejectamenta of the DTES neighbourhood, viewers may consider their own presence, and the behaviours, intentions and ideas that they use to daily navigate the real and imagined (or sometimes, unimaginable) world around them. A world where poverty, politics and the practicalities of staying alive, increasingly make personal space a contested state.
The installation to engages the viewer in an experiential consideration of the actions, forces and feelings that define or deny our sense of place in the world. Viewers are asked to recognize and re-examine the connections between local disenfranchisement and global displacement.
Feb 10 - March 10, 2024
Opening Feb 10, 1 - 5 pm
My Name Is Scot
Subtly alluding to the chaos of street sweeps, dismantled tent-cities, or a half- struck Hollywood North film set, the work also provides actual, intimate spaces or scenarios for contemplating of the complexities of being invisible, witnessed, or scripted by the judgments of others within
public space.
Finding themselves surrounded by the material, spatial, temporal or virtual rejectamenta of the DTES neighbourhood, viewers may consider their own presence, and the behaviours, intentions and ideas that they use to daily navigate the real and imagined (or sometimes, unimaginable) world around them. A world where poverty, politics and the practicalities of staying alive, increasingly make personal space a contested state.
The installation to engages the viewer in an experiential consideration of the actions, forces and feelings that define or deny our sense of place in the world. Viewers are asked to recognize and re-examine the connections between local disenfranchisement and global displacement.
Persistence of Vision / Portmanteaus:
Oct 14 - Nov 12, 2023
Opening Oct 14th, 2-6pm
Wade Comer
Persistence of Vision exhibits select images from three series using in-camera techniques to examine the way the camera allows us to see differently.
Portmanteaus is a portrait series repurposing found images based on wordplay, and plays with the idea of celebrity, popular culture, and our ability to recognize patterns.
Oct 14 - Nov 12, 2023
Opening Oct 14th, 2-6pm
Wade Comer
Persistence of Vision exhibits select images from three series using in-camera techniques to examine the way the camera allows us to see differently.
Portmanteaus is a portrait series repurposing found images based on wordplay, and plays with the idea of celebrity, popular culture, and our ability to recognize patterns.
All My Friends Are Dead
Quin Martins & Others
June 16 – July 15, 2023
How does one write or make art about the drug poisoning crisis?
All My Friends Are Dead! is an exhibition about collecting to postpone or prevent loss. It’s about grasping at the found object or text before it dissolves between the fingers and vanishes. In a neighbourhood where community members have suffered immense loss, it seems vital to collect what remains. In forming a collection of artworks and ephemera, Quin’s work (which is also the Community’s work) hits on a profound sense of collective grief through self-expression. This is as much an exploration of letting go as it is holding on.
Quin Martins is a Vancouver-based interdisciplinary artist whose practice is informed by having lived experience with mental health and substance use. His lifelong interest in collecting found objects and in outsider art has led to an art practice which cherishes materials and imagery typically thought of as not having much intrinsic value. Martins holds a BFA in visual arts from Emily Carr University of Art + Design, was a 2022 Artist in Residence at the Buinho Creative Hub, Portugal, and recently had his writing and photography published in SAD magazine.
Quin Martins & Others
June 16 – July 15, 2023
How does one write or make art about the drug poisoning crisis?
All My Friends Are Dead! is an exhibition about collecting to postpone or prevent loss. It’s about grasping at the found object or text before it dissolves between the fingers and vanishes. In a neighbourhood where community members have suffered immense loss, it seems vital to collect what remains. In forming a collection of artworks and ephemera, Quin’s work (which is also the Community’s work) hits on a profound sense of collective grief through self-expression. This is as much an exploration of letting go as it is holding on.
Quin Martins is a Vancouver-based interdisciplinary artist whose practice is informed by having lived experience with mental health and substance use. His lifelong interest in collecting found objects and in outsider art has led to an art practice which cherishes materials and imagery typically thought of as not having much intrinsic value. Martins holds a BFA in visual arts from Emily Carr University of Art + Design, was a 2022 Artist in Residence at the Buinho Creative Hub, Portugal, and recently had his writing and photography published in SAD magazine.
Picture Lake / 100 Hundred Views of Mt. Shuksan:
An Homage to Katsushika Hokusai and Robert Linsley
Apr. 13 – May 5, 2023
Chris Gallagher
100 Views of Mt. Shuksan is a conceptual photographic body of work consisting of 100 pictures exploring the relationship of an image to its title, while also functioning as an homage to artist Robert Linsley, killed in a cycling accident in 2017 and his photographic project 100 views of Mt Baker, which in turn is inspired by Japanese artist Katsushika Hokusai’s 100 Views of Mount Fuji.
An Homage to Katsushika Hokusai and Robert Linsley
Apr. 13 – May 5, 2023
Chris Gallagher
100 Views of Mt. Shuksan is a conceptual photographic body of work consisting of 100 pictures exploring the relationship of an image to its title, while also functioning as an homage to artist Robert Linsley, killed in a cycling accident in 2017 and his photographic project 100 views of Mt Baker, which in turn is inspired by Japanese artist Katsushika Hokusai’s 100 Views of Mount Fuji.
Magnetic/Vast:
Marlene Mance /
John Luna
Mar. 9 – Apr. 1, 2023
Marlene Mance and John Luna present work exploring the connections between poetry as self-narrativizing consciousness ( a conscience speaking itself into presentness) and graphic images developed as an outcome of wayfinding, observing and examining. Mance's digital drawings and auto-theoretical poetry delineate her movement through three major life events and the paths, structures, and spaces that define their negotiation. Luna's composite poems, presented alongside lithographs printed on disassembled clothing fragments, together address post traumatic stress as expressed in his father’s war memoir. Common to both is a desire to engage complex stories in a way that allows the medium to speak as an attractor and collaborator.
The accompanying exhibition featured images from Mance’s graphic poetry novella Vital Torpor and assemblages by Luna.
Marlene Mance /
John Luna
Mar. 9 – Apr. 1, 2023
Marlene Mance and John Luna present work exploring the connections between poetry as self-narrativizing consciousness ( a conscience speaking itself into presentness) and graphic images developed as an outcome of wayfinding, observing and examining. Mance's digital drawings and auto-theoretical poetry delineate her movement through three major life events and the paths, structures, and spaces that define their negotiation. Luna's composite poems, presented alongside lithographs printed on disassembled clothing fragments, together address post traumatic stress as expressed in his father’s war memoir. Common to both is a desire to engage complex stories in a way that allows the medium to speak as an attractor and collaborator.
The accompanying exhibition featured images from Mance’s graphic poetry novella Vital Torpor and assemblages by Luna.
‘Wheels of Fortune’
UBC SALA: Bachelor of Design
Final Studio Exhibition
Feb. 03 - Mar. 03, 2023
This project focusses on the ways that materials and scale become generators of space and effect. You are asked to design an enclosure and supportive modifications for a LARRY VS HARRY - BULLITT *cargo bike. As a small and highly charged environment, this glowing space occupies an alley in downtown Vancouver. Using only recycled items as your raw materials you’re tasked to create a small realm for a fortune-telling alchemist. When visitors enter this space, they’ll receive glimmers of the future, while marveling at transformation of common materials extracted from the waste stream of their lives.
UBC SALA: Bachelor of Design
Final Studio Exhibition
Feb. 03 - Mar. 03, 2023
This project focusses on the ways that materials and scale become generators of space and effect. You are asked to design an enclosure and supportive modifications for a LARRY VS HARRY - BULLITT *cargo bike. As a small and highly charged environment, this glowing space occupies an alley in downtown Vancouver. Using only recycled items as your raw materials you’re tasked to create a small realm for a fortune-telling alchemist. When visitors enter this space, they’ll receive glimmers of the future, while marveling at transformation of common materials extracted from the waste stream of their lives.
Goodbye/Hello:
Dec. 08, 2022 –
Jan. 18, 2023
Andrea Taylor / Anna Heywood Jones / Fiona Moes Pel / Chris Gallagher / Jenn Brant / Jess Portfleet / Wade Comer / Peter Sickert / Jenny Hawkinson
Gallery Artists: Seasonal Exhibition and Sale
Dec. 08, 2022 –
Jan. 18, 2023
Andrea Taylor / Anna Heywood Jones / Fiona Moes Pel / Chris Gallagher / Jenn Brant / Jess Portfleet / Wade Comer / Peter Sickert / Jenny Hawkinson
Gallery Artists: Seasonal Exhibition and Sale
Doing Politics with Citizen Art:
Dec. 02 – Dec. 04, 2022
Daphne Plessner
Reading and discussion by Educator, Academic and Social Practice Artist, Daphne Plessner on her new book Doing Politics with Citizen Art.
This book offers a new formulation of citizen art—one that is interrogated on both critical and material levels, and as such, remodels the foundations on which citizenship is conceived, performed and instituted. Plessner examines how citizen art practices perform new kinds of politics, as distinct from normative (status, participatory and cosmopolitan) models.
Dec. 02 – Dec. 04, 2022
Daphne Plessner
Reading and discussion by Educator, Academic and Social Practice Artist, Daphne Plessner on her new book Doing Politics with Citizen Art.
This book offers a new formulation of citizen art—one that is interrogated on both critical and material levels, and as such, remodels the foundations on which citizenship is conceived, performed and instituted. Plessner examines how citizen art practices perform new kinds of politics, as distinct from normative (status, participatory and cosmopolitan) models.
Who’s There:
Oct 28 – Nov 28, 2022
Bill Pechet
Echoes of the Bunnymen | The Tyee
Walter Benjamin’s essay "The Work of Art in the Age of Mechanical Reproduction" (1935) in which he asked many questions about whether a piece of art, in the process of reproduction through mass media, retains its original aura; or if it in a kind of decay.
As a person who sometimes explores the effects of multiples, and/or has things Bill has drawn rebuilt by others, Bill was curious as to how the non-mechanical reproduction of the painting would affect the bunny’s aura and oddly emotional conveyance.
Set against the context of online ordering Bill consulted Alibaba and found many companies in China that can reproduce art, choosing one in a ‘painting village’ in Xiamen. Instantly Bill thought that perhaps he could use this as an opportunity to reach out and communicate with their artists in some form and spent many daydreams imagining what they might think of this silly, and admittedly, badly drawn, and messy little artwork. Would they think it’s funny, or dumb, or weird or what? Was it just drudgery and an insult to their histories as artists, having graduated from the competitive academies?
Oct 28 – Nov 28, 2022
Bill Pechet
Echoes of the Bunnymen | The Tyee
Walter Benjamin’s essay "The Work of Art in the Age of Mechanical Reproduction" (1935) in which he asked many questions about whether a piece of art, in the process of reproduction through mass media, retains its original aura; or if it in a kind of decay.
As a person who sometimes explores the effects of multiples, and/or has things Bill has drawn rebuilt by others, Bill was curious as to how the non-mechanical reproduction of the painting would affect the bunny’s aura and oddly emotional conveyance.
Set against the context of online ordering Bill consulted Alibaba and found many companies in China that can reproduce art, choosing one in a ‘painting village’ in Xiamen. Instantly Bill thought that perhaps he could use this as an opportunity to reach out and communicate with their artists in some form and spent many daydreams imagining what they might think of this silly, and admittedly, badly drawn, and messy little artwork. Would they think it’s funny, or dumb, or weird or what? Was it just drudgery and an insult to their histories as artists, having graduated from the competitive academies?
Fabrications In Materiality:
Sept 23 – Oct 23, 2022
Jenifer Brant / Ada Dragomir / Anna Heywood Jones / Vaughan McMillan / Jess Portfleet
The on-hand…by-hand by use of the ready-made in an intimate process of handwork is a way of material engagement that explores the everyday, reflecting each artist’s ethos and histories. By tying into the long familiar traditions of craft, collage, assemblage and art povera in a process of what Berthold Brecht termed Entfremdung, these pieces estrange the familiar to create new associations and ways of seeing.
Fabrications IN*Materiality engages in a complex dialogue, both playful and earnest, that probes dominant societal constructs; supporting a give and go of revelation and withholding of expected and unexpected.
Sept 23 – Oct 23, 2022
Jenifer Brant / Ada Dragomir / Anna Heywood Jones / Vaughan McMillan / Jess Portfleet
The on-hand…by-hand by use of the ready-made in an intimate process of handwork is a way of material engagement that explores the everyday, reflecting each artist’s ethos and histories. By tying into the long familiar traditions of craft, collage, assemblage and art povera in a process of what Berthold Brecht termed Entfremdung, these pieces estrange the familiar to create new associations and ways of seeing.
Fabrications IN*Materiality engages in a complex dialogue, both playful and earnest, that probes dominant societal constructs; supporting a give and go of revelation and withholding of expected and unexpected.
Time Passages:
Sept. 09 – Sept. 17, 2022
Wade Comer
The artist Saul Letter said, “Photography is about finding things. Painting is about making things.” This statement bears a striking relevance to my photographic work, Time Passages; a project that sits between the finding and the making.
Created in–camera, Time Passages lies between the finding and the making. The process of image creation is shared between the photographer (the finder), and the camera (the maker).
Sept. 09 – Sept. 17, 2022
Wade Comer
The artist Saul Letter said, “Photography is about finding things. Painting is about making things.” This statement bears a striking relevance to my photographic work, Time Passages; a project that sits between the finding and the making.
Created in–camera, Time Passages lies between the finding and the making. The process of image creation is shared between the photographer (the finder), and the camera (the maker).
Sheltering As Place:
May 28 – June 25, 2022
Jess Portfleet /
Peter Sickert
Peter Sickert and Jess Portfleet use their sculptural and media practices to examine objects and spaces as they operate in the human capacities of care and comfort. This installation explores the burden and potential of repetition during our global lockdown as reductive stimuli forefronts other relationships.
May 28 – June 25, 2022
Jess Portfleet /
Peter Sickert
Peter Sickert and Jess Portfleet use their sculptural and media practices to examine objects and spaces as they operate in the human capacities of care and comfort. This installation explores the burden and potential of repetition during our global lockdown as reductive stimuli forefronts other relationships.
Roofhole:
November 18, 2021 – March 31, 2022
An unexpected perforation or transgression of perceived shelter providing an expansion of possible views.
Ceramics, textiles, found objects, float copper.
November 18, 2021 – March 31, 2022
An unexpected perforation or transgression of perceived shelter providing an expansion of possible views.
Ceramics, textiles, found objects, float copper.
Till:
May 05 – May 09, 2021
an exhibition of planters (with plants included)
meg hubert, maya gauvin, jess portfleet, frieda raye green, jacqueline robins, rrramchild, julia chirka, peter sickert, jennifer brant, reyhan yazdani
May 05 – May 09, 2021
an exhibition of planters (with plants included)
meg hubert, maya gauvin, jess portfleet, frieda raye green, jacqueline robins, rrramchild, julia chirka, peter sickert, jennifer brant, reyhan yazdani
