- September 7, 2006 to October 21, 2006
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No description available
By Joseph Kohnke
medium | 55 Programs
Medium SculptureA work of art carried out (caved, cast, modeled, or otherwise) in three dimensions.
- February 22, 2008 to March 29, 2008
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"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
Materiality and Otherness
- November 19, 1985 to December 3, 1985
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No description available
By Georgie Haggerty
New Shapes
- February 23, 2012 to March 31, 2012
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Grunt gallery is pleased to present the work of Charlene Vickers in her new installation entitled, “Ominjimendaan/ to remember”. This exhibition is comprised of a range of sculptural objects including wrapped grasses, sturdy spear forms, and stylized turtles. At the heart of this exhibition, Vickers evokes a healing space for those who have experienced loss or who are looking for someone who is missing. Within each grass stalk, spear, and turtle, memory is a source of experiential meaning both historical and personal, for maker and viewer. History, healing and growth are themes of the early wrapped grass and fabric works. By wrapping and binding grasses and hair together with cotton and linen strips, the grasses begin to resemble bone-like forms to evoke vulnerability and recovery. The most recent wrapped grasses stand facing the viewer in relation to their own body. Emphasis on how the body and experiences of the viewer are incorporated in the meaning of the work is crucial. Tall lengths of pointed, sharpened cedar stand balanced against a wall waiting for someone to employ them with purpose; a story, a history, an action. Resembling spears or tipi poles, one thinks of weaponry, hunting, or traditional shelters that provide protection and sustenance. The initial idea for the form of the work began when thinking of the porcupine quill and its elegant and efficient functionality as deterrent to predators. The clan of turtles are the searchers of things lost: people, culture, languages, and histories. The clan shuffles, floats, dreams and searches to find lost sisters and family members, then slowly re-enters the land and the rivers from where they came.
By Charlene Vickers
Ominjimendaan/ to remember
- February 20, 2014 to March 22, 2014
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one man's junk questions what happens when an object shifts from a prized possession to a nonentity, and asks you to find value amongst junk, waste and the discarded. Laura Moore hand-carves blocks of limestone into outdated electronic devices. Contradicting the indispensability that most discarded electronics face, these tributes monument how once-valuable objects become undesired commodities.
By Laura Moore
one man’s junk
- January 4, 1989 to January 14, 1989
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Open Heart: 1999 Members Group Show: Dawn Richard, Jean MacRae, Danielle Peacock, Daav MacNab, David Asmodeus, Polly Bak, Georgie Haggerty, Garry Ross, Ken Gerberick, Kempton Dexter, Spike, Joey Schwartzman, Merle Addison, Hillary Wood, Pat Beaton
By Daav Macnab, Danielle Peacock, David Asmodeus, Dawn Richards, Garry Ross, Georgie Haggerty, Hillary Wood, Joey Schwartzman, Kempton Dexter, Ken Gerberick, Merle Addison, Pat Beaton, Polly Bak, Spike
Open Heart (5th annual members show)
- November 8, 1988 to November 19, 1988
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Personal Mythology Is the temple a secret retreat within my own mind? Is the angel a myth of my own potential? The symbol waits for you – to find your own personal mythology. Humankind has always invented myths that search for inner perfection. Amidst the seeming chaos of our real world, mythology offers us hope for a greater potential. These works draw on symbols from classical and religious mythology, inventing new symbols for modern times.
By Yolande Valiquette
Personal Mythology
- March 6, 2020 to April 11, 2020
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For her first solo exhibition in Vancouver, Meagan Musseau presents a body of work from her ongoing research responding to Beothuk and Mi’kmaq visual culture. Musseau uses a multi-disciplinary practice that involves archival research, land-based action, video, drawing, and sculpture to explore land, language, and design. By telling stories about cultural belongings from the perspective of a contemporary L’nu woman living on Ktaqmkuk (Newfoundland), Musseau’s work transfers knowledge from archived collections into contemporary visual consciousness. A braided sculpture made during a land-based action in Musseau’s home region of Elmastukwek (Bay of Islands, NL) forms the physical and conceptual center of the exhibition. While the act of endurance required to create the 22 foot braid connects to stories and nomadic histories of the Mi’kmaq, the object itself carries the history of the land in its creation. A series of tall sculptures rendered in engraved plexiglass reference Beothuk caribou bone pendants that Musseau visited during museum research. Evoking the artist’s experience of visiting cultural belongings through plexiglass cases, the sculptures re/awaken their designs by enlarging them to a human scale and presence. A site specific wall installation integrates the material qualities of the braid with graphic elements from the pendant designs. These textures surround an image of Musseau beside one of Santu Toney, a woman living in the early 1900s with mixed Mi’kmaw and Beothuk ancestry. Musseau’s work seeks to honour Santu by highlighting the transmission of knowledge that exists between past, present, and future generations. pi’tawkewaq | our people up river presents contemporary cultural belongings that index and render tangible Musseau’s active practice of building and maintaining her relationships to land and ancestor artists. She uses her perspective to overturn colonial narratives of disappearance and instead addresses the role of interterritorial relationships between the two nations as a guiding methodology.
By Meagan Musseau - Curated by Laurie White
pi’tawkewaq | our people up river
- December 13, 2012 to January 6, 2013
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Working with The City of Vancouver's Transit Shelter Advertising Program, grunt facilitated the production and distribution of posters by Mark Mizgala. Artist Mark Mizgala presents posters of pop bottles and other containers coated in slip, creating a look of ancient clay vessels in this off-site exhibition entitled, Remains. Mizgala investigates contemporary food and beverage packaging, represented as mock archaeological findings. The artwork appears in a form that is intrinsic to advertising: posters printed on commercial-grade paper and displayed in bus shelters across the City of Vancouver. Having worked as an art director for most of his professional career, advertising is familiar territory for Mizgala. He is fascinated by the corporate machine, its by-products, and the manner in which they are presented in popular culture. Mizgala immortalizes on film that which is already immortal: garbage, enjoying a particularly long life in our landfills, rivers, and ocean floors. The poster series is a testament to long-term environmental impact – a sharp contrast to the ephemera of advertising and mass media.
By Mark Mizgala