- September 9, 2004 to October 2, 2004
Using the idea of the moccasin as a starting point, Vickers creates a personal connection to these objects. Growing up without the teachings or practices of moccasin making, she has had to acquire these skills from the world in which she lives- in fact, the one into which she was born. One pair of moccasins is beaded like the identity bracelets used for newborns in hospitals. Vickers beads the letters A-N-I-S-H-A-B-E and V-I-C-K-E-R-S into the material as a reclamation to her cultural history and personal identification. For another pair, she uses denim, which signals the contemporary lives of Aboriginal artists, whose histories of change have demanded adaptation to new materials and new contexts for art making...Another aspect of commercialism that inspires her work is the way traditional Native ideas and beliefs are used to sell products. One pair of moccasins is labeled "Kokanee", a beer company that uses the image of the Sasquatch in its media advertisements...Another pair carries labels from Shaftebury, a Vancouver brewery that produces Rainforest Ale. Vickers here highlights the irony of an urban business using the rainforest - most of which has been decimated in the name of commercial enterprise - as a marketing device. Judy Chartrand, of the Cree nation, is equally willing to confront the darker issues and histories of native people. She has created cabinets similar to Victorian cabinets of curiosities in which collectors devoid of understanding would house the (looted) treasures of their travels or their pocketbooks. However Judy's 'Cabinet of Contention' contains rows of Warholian soup cans, highly recognizable as signifiers of mass culture and contemporary art practice, and relabels them with words that name the negative repercussions of colonialism. A second cabinet houses pill bottles, each labeled with soporifics or 'snake oil' medicines meant to alleviate (but not cure) the discomforts of white guilt over historical racism...In addition to the cabinets, Judy has used traditional materials and techniques to produce a series of men's thongs, complete with thick bushes of hair peeking from underneath, which she calls her "Buffalo Soldiers". Made from traditionally tanned moosehide, these unusual garments are decorated with beadwork, caribou or moosehair tufting and porcupine quillwork. Each lined in red satin material for the comfort of the wearer, these very well endowed thongs play on the tradition of the openness of sexuality in Native culture. - Daina Warren, August 2004
By Charlene Vickers, Judy Chartrand
medium | 30 ProgramsMedium Assemblage
Art produced by the assembling of disparate elements, often scavenged or bought by the artist.
- May 9, 2003 to May 31, 2003
German painter Jochen Twelker will travel from Berlin to work on what he calls "an anthology of pattern and ornament". Short Cuts will be painted directly on the walls of the gallery, transforming it into an ephemeral canvas whose images must be painted over when the exhibition ends. At first glance his painted installations appear as pure abstraction, but closer examination reveals multi-coloured fabrics and clothes - fashions of countless times, cultures, and tastes. Languages of painting, image, and associative meaning are spoken in a riot of colour and shape, a feast for the senses.
By Jochen Twelker
- March 7, 2003 to March 29, 2003
Converging in the space of a gallery, the proposed exhibition, Anatomica Nervosa, will unify a synthesis of two project series, Project Series: Preserves and What She Saw. Installed concurrently, a body of work will surface, each project[ion] intent on informing an independent yet synchronous discourse of bodily disclosure, a narrative set in reference to a visual and textual process coherent within interdisciplinary practices. Realized on site, the work will reflect an atmosphere of archive, multiple sites constructed of multiple mediums performing multiple readings, a visual shifting of textual boundaries between the mediums and the exhibition state. The exhibition will unfold, collecting, compiling, and housing images, the objects of photographic image and the specimens of anatomical waxes. Over the months, the proposed work will continue to actualize, substantially increasing in collection and size, image and text yet; the premise and [psycho] analysis will remain unaltered. Accompanying the exhibition is further support material, in particular, a text entitled Lapsus Lingae: [Slip of the Tongue], a narrative of fact/fiction/friction that informed and initiated the beginnings of this project, and photographic images wherein the sites were of chance and circumstance, the collection only a construct in assemblage.
By Sue Camm
- March 15, 2002 to April 6, 2002
A series of sculptures composed of commonplace objects together with objects the artist has constructed from wood, aluminum, resin and lead. The latter materials are often cast in multiples from moulds initially made from collected artefacts, such as bones. This exhibit also incorporates monitors showing simple, repetitive moving images in such a way as to mask the frame of technology, such that the fluidity of image and sound remain.
By Fae Logie
- November 9, 2001 to December 1, 2001
Les Sedentaires Clandestins is a sculpture that inhabits the whole space in the exhibit room with its sounds and projected shadows. Continuing a series of installation and performance artworks using record players, obsolete objects that are anachronisms in today's culture of change and innovation, this artwork is entirely built around the circular movement inherent to turntable mechanisms: going around in circles may be both agonizing (in an adult's world) and amusing (in a child's world).
By Diane Landry
- November 3, 2000 to December 2, 2000
Margaret Glavina's sculptural installation MUSEum focuses on the natural history museum as a site for the display of the natural world. But Glavina's vitrines focus on death of and in the natural world and her constructed still lives read as momento mori. The work explores notions of the natural and the unnatural as related to the museum display of specimens. Margaret Glavina is a Vancouver based artist who has studied at ECIAD and Capilano College.
By Margaret Glavina