date | 22 ProgramsDates 1988
- May 17, 1988 to May 28, 1988
Central Vestiges will consist of two series of assemblages. The larger series is concerned with arches and ladders and are displayed formally in boxes...In addition, there will be free standing assemblages from a series entitled Crowtwin's Playthings in which Knott works less formally. Together the two groups show the range of Knott's work in the medium.
By Tom Knott
- May 3, 1988 to May 14, 1988
"My work corresponds to two periods of time, one when I was in Canada and the other when I was in Mexico. Through my work I express the past and the present feelings within me that come from the daily life, living with the people. Faces; one that sees and the other that listens. Expressing the imaginary and the real of this world. People experience life, love, struggle, death, tenderness, tragedy, all the complicated emotions of human life."
By Jose Ventura
- April 19, 1988 to April 30, 1988
Sacramento Series is a different body of work and employs a different method of working. Whereas her other work is very planned on large canvases using laquers, these works are small and unplanned and painted on the ends of wooden fruit crates. In the place of the usual images of women are images of children playing. Above all there is a looseness to the work that seems to mirror the joy of the subject matter.
By Joy Zemel Long
- April 15, 1988 to April 16, 1988
Raising Rabbits for the Army--- Multi-media performance involving a journey to somewhere else. The trip passes through history, romance, death, all around the central theme of raising rabbits for the army. Rough Cuts II: from Dolls to Goddesses- a work in progress--- Multi-media performance about a woman's personal journey using improvisation and the use of object/images, slides and video.
By Lowell Morris, Pamela Harris
- March 15, 1988 to April 1, 1988
The Yard Work show will run concurrently at two venues, grunt gallery and Western Front. The close proximity of the two centres (two blocks apart) facilitates a more extensive viewing then could be accomplished at either single venue. George Sawchuk has been invited to exhibit new works and to present an artist talk on his two methods of art making- his "portable" or gallery work, and his site specific "Yard Work".
By George Sawchuk
- Curated by Annette Hurtig
- March 1, 1988 to March 12, 1988
The play between colour and surface is explored and revealed in this new set of paintings by Vancouver artist Jackie Dionne. Her methodology includes ordering the elements in the painting until they near contrivance and a state she describes as "dead" at which point she struggles to breathe life back into it...The result is a body of work that accents the process rather than the product.
By Jackie Dionne
- February 16, 1988 to February 27, 1988
The images in these paintings have been taken from architecture of the inner city–alleys, hidden courtyards, small factories– and framed in window frames found in those areas. What is left when the workers are gone are their artifacts. The paintings are therefore artifacts of artifacts. That is the nature of realist painting. Hillary wood used the ancient medium of egg tempera–a mixture of pigment and egg yolk. Practiced in the Middle Ages, it fell out of favour with the rise of oil painting but saw a breif rebirth in the 1930's and 40's. UBRAN ICONS is her first protracted exploration of that medium.
By Hillary Wood
- February 2, 1988 to February 13, 1988
The concept of assemblage and constructive art allows a partnership between the artist and a never-ending abundance of raw materials for which an urban society has no use following their initial function. This concept has proven to be a 'door' for Symonds through which to further explore his ideas.
By Mike Symonds