- 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
Category | 313 Programs
Exhibition- October 20, 1992 to November 7, 1992
-
No description available
By Joseph Haag
Industrial Reliefs
- January 12, 2001 to February 3, 2001
-
No description available
By Hadley Howes, Maxwell Stephens
Inseparable
- May 4, 2001 to June 2, 2001
-
One wall of the gallery space will be painted in mud, creating a wallpaper design. The design will reflect a Victorian style/motif, appropriate to the influx or height of colonization. The design will continue partially onto the floor. The second installation is composed of rolls of silkscreened paper, printed with a wallpaper pattern hanging from the ceiling and rolling out onto the floor. The rolls of paper form a small room, closed in on itself, hiding/sheltering a pair of moccasins. The moccasins are made of a flimsy/transparent fabric and are filled with earth. The final installation is an apparent mound on the floor. Wound around itself, it is a long beaded length of interfacing made to form a shelter.
By Hannah Claus
Interface
- January 17, 1989 to January 28, 1989
-
"Steven Graham's exhibition, "Jesus Christ Abstracts," Consisted of 16 paintings, 15 of them abstracts surrounding one figurative painting of Christ.The schism he wishes to create is both the schism between the figurative and the abstract and the schism of religion in the secular world. These paintings are different from his abstraction conceptually in that they are not non representational but in the Christ figure become a loosely rendered representation of the stations of the cross. The differences in style between the figure he described as "Edwardian Storytelling" and tha abstractions play up the differences and similarities between the styles."
By Graham, Stephen Graham - Curated by Glenn Alteen
Jesus Christ Abstracts
- March 5, 1986 to March 15, 1986
-
"...figures drawn by seven-year-old Ingrid Gerberick and reprodouced as large paintings by her father, Vancouver artist Ken Gerberick. Viewers will have an opportunity to enter the imaginary world of a child who carefully observes personalities and styles, and to see thie slightly bizarre world enlarged to an easily assessible size. The impact of this unique exhibit is surprising."
By Catherine Costello, Ingrid Gerberick, Ken Gerberick, Violet Costello
Jiggers
- January 8, 1991 to January 26, 1991
-
This series of paintings were produced over the last year at Vargas Island off the west coast of Vancouver Island. The striking feature is the quality of light Fletcher captures in these oil paintings. She works from life, each day going back to the same spot when the light is the same and strives to capture that light.
By Josphine Fletcher
Josephine Fletcher – Against the Blue
- January 10, 2003 to February 1, 2003
-
Fragar and MacNeil will have corresponded from mid-June until the time of their Vancouver exhibition via a series of small painting with letters written postcard-style on the back. The paintings are derived from snapshots of their respective immediate surroundings and have been sent as both common mail and scanned attachments. Shaan Syed will be showing a selection from the "Some People I Know" series, begun in 2000 and ending in 2002. In this series of small portraits, Syed paints from memory and strives to capture that particular nuance of face or gesture that best identifies his subject. All three artists are bound together by the intimacy and immediacy of their paintings. As either postcard or portrait, they make art of the ordinary and out of their own life. This art works as diary, journal, or log reflecting day to day impressions of people, places, and events.
By Jessica MacNeil, Julie Fragar, Shaan Syed
Journal/Journey
- July 22, 1986 to July 31, 1986
-
"His work in assemblage is bright and colourful it has the texture and feel of a Woolworths store in the toy section srrounded by useless bits of plastic. The work is alive with miniature scenarios and stil lives that are both insightful and silly."
By Ron La Pierre
Kibbles’n’ Bits
- November 1, 2014 to December 19, 2014
-
grunt gallery kicks off our 30th anniversary programming with a residency and exhibition with Vancouver-based artist Julia Feyrer entitled, Kitchen. Taking the form of an evolving installation in the main gallery space, Feyrer’s work engages with materials and documentation from the grunt archives in the production of a new, site-specific environment.
By Julia Feyrer - Curated by Vanessa Kwan