- May 23, 1989 to June 3, 1989
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Braig's monoprints and acrylics focus on the figure. They further explore her interest in the sensuality of texture and the subtlety of colour inherent in the mediums. The result is a surface that is almost organic in nature.
By Nori Braig
724 Programs
Programs- 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
Synthetic Monolith, The
- April 25, 1989 to May 6, 1989
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Little is a Hornby Island poet and self taught artist. Using media which includes fly screens and black plastic he refers to himself as a "post industrial primitive". His works using fly screens to create "third world holograms" come from long discussions with pioneer holographer Jerry Pethick concerning minimal information for absolute resolution.
By Billy Little
Yikes
- April 11, 1989 to April 22, 1989
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Miller's work explores the chicken as icon in modern society. She began working with the bird to "see what kinds of symbolisms would come of it". Her installation of ceramic chickens is humourous and thoughtful.
By Bonnie Miller
Chicken
- March 28, 1989 to April 8, 1989
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Flowers are a reoccurring subject in Brenna George's art. Her use of attractive materials- tin, pine boards, and plastic flowers- add to the lush images. The beauty of the image is balanced by underlying concerns which range from unfulfilling employment to hidden personal potential.
By Brenna George
A Garden of
- March 14, 1989 to March 25, 1989
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"My interest in history has lately shifted from methods of historiography towards notions of memory. The more personal aspects of history- the language of signs, smells and so on that we develop to commit our histories to memory- informs this new work...Written language reduces the physical to the pictorial...an indecipherable explanation is not always incomprehensible."
By Stephen Andrews
Drawings
- February 28, 1989 to March 11, 1989
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Linda Scrivener's work has an emotional component underlying all of it no matter how abstract or represntational it may be. Her formal concerns are basically sculptural with emphasis on the repetition of the same elements. The conceptual elements in her work have an inherent iconography: paper and metal become symbolic by representing and having the physical attributes of armour.
By Images Scrivener
Images of Permanence
- February 14, 1989 to February 25, 1989
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Julie Valenti as an avid recycler creates narratives in her works that poke and pull fun from popular culture and institutions. They are insightful, witty and clever.
By Julie A. Valenti
Drawers of Life
- January 31, 1989 to February 11, 1989
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Technology constantly creates new material for industry and artists often adapt these products for artistic expression. Switzer has worked in set design for television, film and theatre since the late 50s. Over this period he has had extensive workings with styrofoam and has developed a proficiency in realising the material's limit. His combination of elemental form and manmade materials is useful in expressing the human condition in the late 20th Century.
By Phil Switzer
Creations in Vitro
- January 17, 1989 to January 28, 1989
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"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