- February 22, 2008 to March 29, 2008
"Materiality and Otherness" looks at materiality from a phenomological perspective that draws on psyche projections and cultural sensibilities. From a culturally innate viewpoint, the materials and the process reflect the Anishnawbek traditional teachings, crafts, and cosmologies as well as notions of otherness of the uncanny."- Rolande Souliere
By Rolande Souliere
medium | 50 ProgramsMedium Sculpture
A work of art carried out (caved, cast, modeled, or otherwise) in three dimensions.
- 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
- 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
- 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
- April 19, 2002 to May 11, 2002
This exhibition of sculpture by Cuban artist Osvaldo Yero consists of wall-mounted ceramics, running water, and live plants. He makes use of symbols such as the hand, the heart, plants and tears, to use kitsch and cliche to make statements about poverty and Cuban history.
By Osvaldo Yero
- 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