- February 22, 2003
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This performance deals with first memory, the first realization of individuality. The cycles, patterns, rhythms and eddies that resonate in the course of a life from that first drop into a consciousness of self. The piece has a duration of about 45 minutes, 25 minutes of action and a 20 minute epilogue, which the audience may or may not be aware of. The music, actions and lighting all relate the artist's family history (for full overview see attached performance description below).
By Merle Addison
artist | 9 Programs
Artists Merle Addison“I started hanging around grunt in 1988 and have been, on or off, ever since. I’ve been doing post-graduate work; OCA was just prep school for the diversity of expression and the joy of creation that anyone who has been involved with grunt knows. I’ve gotten some snapshots along the way.”
- October 5, 1999 to October 23, 1999
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Still: a photograph. A moment in performance. Still: First Nations people survive. Blatant injustices are not addressed. Still: Indians stand up and claim space. In that space the stories are re-told, re-interpreting what was assumed understood. The space becomes part of the moccasin telegraph: a gathering place, a communal council fire. Grievances are aired. Relations are shown. News of the community is examined, the larger community of Indianess considered...(for full curatorial statement see attached exhibition brochure below)
By Merle Addison - Curated by Archer Pechawis
Still
- April 11, 1995 to April 29, 1995
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Addison's and Canyon's work are a current and contemporary insistence on the older genres they employ. There is an urgency to their need to pull new meaning out of old forms. Together the revitalize the flower as a post modern subject. (for full curatorial statement see attached brochure below)
By Brice Canyon, Merle Addison - Curated by Glenn Alteen
Flowers
- March 20, 1990 to March 31, 1990
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Merle Addison's exhibition Snapshots and Manipulations combines elements of photography and collage to create abstractions which denote spiritual and emotional concerns. His work does not create a narrative as much as portray a feeling or an emotional state.
By Merle Addison
Snapshots and Manipulations
- 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)
- December 1, 2002
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No description available
By Delores Dallas, Floyd Favel, Margo Kane, Marie Clements, Merle Addison
Differing Practices: Experimental Theatre and Performance Art
- December 1, 2002
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No description available
By Ahasiw Maskegon-Iskwew, Aiyyana Maracle, Anthony McNab Favel, David Garneau, Glenn Alteen, James Luna, Lori Blondeau, Merle Addison, Rebecca Belmore, Renae Morriseau, Warren Arcand
Indian Acts Cabaret
- April 7, 2016 to May 8, 2016
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Análekta – meaning “to gather up; to collect” – an exhibition of new works by Merle Addison, documents his switch from analogue to digital. Reworking old images using digital overlays, the final prints owe as much to printmaking as photography. At once modern and nostalgic, the works transform the media through their highly manipulated surfaces.
By Merle Addison - Curated by Glenn Alteen