- May 14, 2004 to June 5, 2004
The installation consists of numerous porcelain castings, all stemming from the departure point of a remarkably lifelike Japanese-made baby doll. The context of this work is crucial to approaching it; the exhibition has been assembled in an urban gallery in a busy postmodern metropolis. As cars rush through this industrial area, and fast-paced city life occurs outside, the artist has composed a subtle arena for contemplation that quietly asks us to reevaluate our individual ideals and values. At first glance Buddhism seems to be the dominating discipline driving the installation, but gradually one discovers a sensibility that encompasses a range of ideas that span several religious philosophies, those diverse as Christianity, Krishna and Hinduism.
By Diana Ambida
medium | 84 ProgramsMedium Installation
An art assemblage, arrangement, or environment specifically created for a particular interior (a gallery space, etc.). Often temporary.
- April 9, 2004 to May 8, 2004
Ciona constructed a 'nest' or 'web' out of rope and string, both constructing and inhabiting it during the gallery's open hours. The 'unseen interval' refers to the sense of wonder that a viewer must experience upon witnessing a project or construction in progress, leaving for a period of time, and returning to find the creation has progressed into something new or more complete.
By Joelle Ciona
- March 12, 2004 to April 3, 2004
An audio installation with 3 audio tapes and 24 motorized drumsticks. Three audio tapes play continuously while interacting with the rhythms produced by the motorized drumsticks. Wave Over Wave is a memorial and a history, a gendered response to living at the edge of the sea.
By Rita McKeough
- June 13, 2003 to July 5, 2003
"Drawings in Space" consists of architectonic structures integrated within the gallery walls. The structures emerge from and seem to escape the material of which they are built (gypsum wallboard and dry wall compound). They overhang, make ridges, dig crevices or reveal themselves by simply a trace of the intervention, suggesting a surface invasion by the surface itself, a concentration of substance and energy. The origins of this installation are the artist's spontaneous sketches and drawings.
By Francine LaLonde
- 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
- April 4, 2003 to April 26, 2003
Marlene Madison's new works Audition Tapes and Open Call explore notions of "Celebrity". Audition Tapes, a single screen video installation, consists of three "cold" readings of a prepared text in a format that closely resembles a screen test. Open Call is the reading by 15 actors and non-actors of texts they receive when they arrive at the event.
By Marlene Madison
- Curated by Glenn Alteen
- 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
- November 8, 2002 to December 1, 2002
With Indian Act, the horizontal line is used as a method of erasing and abstracting parts of Canada's Federal Legislation pertaining to its 'Indians'. Monumental in scale, it consists of sewing over each of the 56 pages of the annotated Indian Act with red and white glass trade beads. The white beads replace the words and the red beads, the space between them. The overall effect of the beaded page resembles a visual and tactile language, something akin to Morse code or Braille. However, beading the Act also speaks of a sociopolitical activity; each page is pierced by a needle and like a scar bears the stitch, a reminder of its path across the page, and generations of conditioned and controlled Indian lives.
By Nadia Myre
- October 4, 2002 to October 26, 2002
The human nude, central to Clement's work, is reinterpreted through numerous small drawings. The drawings are gathered into long strips and folded into large accordion shapes which are hung nearly to ceiling height. Created with mixed techniques and media, and done primarily in luminous blues, the resulting installation generates an impression of movement and enclosure within a sequence of instantaneous emotion.
By Jacques Clement