- May 9, 1989 to May 20, 1989
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The Synthetic Monolith is Robin Peck's translation of the structural language of architecture and engineering into the plastic, representational or synthetic language of sculpture. Peck refers to this work as Anti- Proun, that is, anti-utopian or anti-constructivist. He uses materials of architecture, of the contemporary built environment and the recycled detritus from the culture of consumerism in a different, synthetic, sculptural way.
By Robin Peck
medium | 84 Programs
Medium InstallationAn art assemblage, arrangement, or environment specifically created for a particular interior (a gallery space, etc.). Often temporary.
- 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 6, 1988 to December 17, 1988
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Garry Ross' objects are easy to dismiss. They are old and for the most part obsolete. By changing the context in which the object is seen, the former use is nulified and it takes on a transformed meaning. Ross subtly alters these elements by transorming the mechanical into a pastoral where they become like a river or a mountain and the contemplation of which brings forth a multiplicity of meanings which speak to the metaphysical.
By Garry Ross
Animate Objects
- 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
- April 14, 1987 to April 18, 1987
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Installation and watercolour portraits, sections of multimedia journals.
By Susi Milne
Patterned Laughter
- March 17, 1987 to March 28, 1987
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In Prime Room, an installation by Dan Olson, minimal elements of drawing, painting, sculpture, text and architecture are combined to create a situation that is simultaneously simple and complex, specific and general, private and public, abstract and representation, self-contained and open ended. It is based on, and also a test of, the human ability to create something, or everything, from almost nothing.
By Dan Olson
Prime Room
- July 8, 1986 to July 23, 1986
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"Celli's installation stands garish and threatening, seeming at first to be an obvious comment on the politics of our time Considered more closely, the piece reveals the artist's concern with aesthetics and the assignation of "values and morals" to art."
By Vilio Celli
Cruise Missile Project
- March 18, 1986 to March 29, 1986
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"Imagine seven giant flightless birds, like emus made out of straw and chicken wire, with foot-long shocks of straw shooting out ffrom their heads like punk haircuts.... run a sinuous, graceful river of eggshells diagonally across a popcorn beach......a three-minute looped tape of drums and screetching violins that Catherine characterizes as "the sound of thos birds talking and singing."
By Catherine Costello, Violet Costello
Birds
- February 3, 2006 to February 25, 2006
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A three-part installation piece with sculptural beds placed under Residential School windows, and a classroom setting with a blackboard and desks. Paper Bag Princess is an installation piece based on the theme of the paper bag Indian suit that kids used to make in elementary school.
By Adrian A. Stimson, Terrance Houle
Sick and Tired/Paper Bag Princess
- 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