- February 3, 1987 to February 14, 1987
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Sammy Sammy, the legend of Hornby Island has come to grunt, despite his urgings that grunt should come to him. "Bring them all up here," he said, to his Place of the Woods where he creates his masterpieces of folk art. For those who have never heard of him, Sammy Sammy was a poet, philosopher, troubadour, cowboy who made sculptures out of reinforced concrete that were "suitable for decorations in flower beds or lawns." He worked with cement, moss, concrete, and paint (among other things) to create raw, stark pieces of folk art. http://www.firstvisionart.com/daina/sammy.html
By George dePape, Sammy Sammy
medium | 55 Programs
Medium SculptureA work of art carried out (caved, cast, modeled, or otherwise) in three dimensions.
- December 3, 2015 to December 19, 2015
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grunt gallery presents new works by Vancouver-based artist Zoe Kreye. Continuing the artist’s established practice of working through movement-based workshops and community-engagement, FutureLoss explores the gallery’s immediate surroundings: Main Street. Space, on this strip and in this city, is currency, and Kreye’s work reaches through overarching narratives of real estate, gentrification and speculation to consider the poetics of an individual’s connection to place. Over the course of a 12-week residency, the artist engaged directly with shopowners, organizers and residents in discussions around what it means to hold space in this neighbourhood. Together, Kreye and each participant created sculptures in plaster: shapes that addressed the connection of their bodies to specific sites in their storefronts, studios and workspaces. Central to their discussions was the question of loss: how does the body connect to place? And, further: how does the body absorb change? These works emerge as evocative portraits of the participants and the architectures they occupy. The objects will be on view in grunt’s exhibition space, and are accompanied by a publication featuring commissioned texts by Neil Eustache, Kimberly Phillips and Donato Mancini, with contributions from participating community members, and the artist.
By Zoe Kreye - Curated by Vanessa Kwan
FutureLoss
- September 27, 1988 to October 8, 1988
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Although working with brushstrokes for many years, it was while in Korea that Dancer became intrigued with the process of ink and brush drawing and its meditative preparation. This resulted in his first extended exploration of drawing: first with brush and ink, then, on his return to Vancouver, with pencil. Dancer's show at grunt consists of his drawings as well as diverse selection of his ceramic works.
By Fred Owen, Kybor Dancer - Curated by David Asmodeus
Gestures
- January 4, 2013 to February 9, 2013
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“Holding Our Breath” by Adrian Stimson, is a large-scale installation based on the artist’s first hand experiences and observations at a military base in Kandahar, Afghanistan. The work is informed by conversations Stimson had with soldiers, some of which were First Nations, and his impression with daily life occurring at the military base situated in the vast Middle Eastern landscape. The work includes the Stimson’s own personal perspective of serving in the military as well as his family’s history serving in the Canadian military as soldiers and historically as Blackfoot warriors. These experiences, in addition to Stimson’s time spent in Kandahar, allows the artist to approach these topics from a perspective that questions the essence of conflict and how this links between personal, cultural, and military identity."
By Adrian A. Stimson
Holding Our Breath
- April 6, 2001 to April 28, 2001
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The exhibition featured a selection of small drawings, some framed, and making use of unconventional materials such as correction fluid and felt-tipped markers. Also exhibited were one or two large charcoal drawings, inspired by commonplace natural material such as sticks and twigs, and two large wire sculptures. Arranged on an eye level shelf were twenty-eight bottles of teeth.
By Sachi Yamabe
Holding Pattern
- November 1, 2014 to December 19, 2014
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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
Kitchen
- March 31, 1992 to April 18, 1992
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No description available
By Koochie - Curated by Aiyanna Maracle
Koochies Greatest
- November 9, 2001 to December 1, 2001
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Les Sedentaires Clandestins is a sculpture that inhabits the whole space in the exhibit room with its sounds and projected shadows. Continuing a series of installation and performance artworks using record players, obsolete objects that are anachronisms in today's culture of change and innovation, this artwork is entirely built around the circular movement inherent to turntable mechanisms: going around in circles may be both agonizing (in an adult's world) and amusing (in a child's world).
By Diane Landry
Les Sedentaires Clandestins
- June 10, 2020 to July 3, 2020
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Limeflower Heterodoxy is an exhibition by artist Sharona Franklin featuring the slow decomposition of one of her signature gelatin sculptures. With this work, Franklin takes the viewer into an exploration of healing methodologies, contrasting the different approaches of psychedelic and plant based medicine intertwined within the pharmaco-industrial complex. The installation centers the experiences of childhood rural illness, contrasted with the alien and often dehumanizing experiences of cytotoxic and pharmaceutical systems. Referred to by the artist as bioshrines, the sculptures embody tensions and contradictions held for those whose treatments include both natural medicine and—sometimes ethically controversial—biopharmaceutical care. Decomposition is an integral part of Franklin’s process, as she invites visitors to come back and revisit her sculptures over the course of an exhibition, witnessing their transformation in space, as time and organic matter collide. For the first time, a livestream video grants the viewer real time access to the transformation at any moment of the day or night. The artist records the decomposition of her work, creating two time lapse videos over the period of a month. The livestream and videos (30 minute Hi8 timelapse and 60 minute high res video with textile edition) were offered by Printed Matter as artist editions with all proceeds to benefit COVID Bail Out NYC. This installation is organized by Printed Matter, Inc. (NYC), hosted at grunt gallery, and produced with the support of VIVO Media Arts Centre.
By Sharona Franklin