“Self Same” Maia Stark’s MFA show

Maia Stark has had her MFA show “Self Same” up at the Snelgrove Gallery AND TODAY IS YOUR LAST CHANCE TO CHECK IT OUT IN PERSON!!
but I guess if you can’t see it live you can at least read about it online.

ok?

I’ve had a bit of an obsession with pink lately (or the last year!) so I was excited when I walked into the gallery to see this.

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A huge pink title wall!!
What’s with pink? It’s a crazy color. It’s more than being girlie, pink is extreme on the eye. It’s really GROSS and that’s why I like it!
So from this pink wall, I was intrigued “is there something gross in this exhibit??” (more of this later on)

Maia’s exhibit is dominated by some large oil paintings with some smaller mixed media and drawings.

You’ll probably find this out, but I’ll just say it: Maia is a twin. She has a twin sister that I often confuse with her, Cassandra.

How do you feel about twins? Some people are a bit freaked out by them, some might think they are weird or perhaps even tricksters. As a non-twins, they are a bit of a mystery. I’ve read psychology studies that have spoken about mental connections between twins. They’ve been known to share physical symptoms as well as each others depression and pain. Society through the ages have shared my fascination with twins. There’s myths and stories regarding twins in many cultures.

Maia is looking at her personal story of being a twin with some mythology mixed in.

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Light boxes are cool. Maia has a series of three layered drawings that are quite beautiful. I love looking through the layers and appreciating the nuances.

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While most of her work includes two people. Maia has some photographic work that duplicates herself and in another combines her and her sister through collage. Her double exposure photo is really cool, with two heads mind merging. Her collage has Maia creating hybrids of herself and her sister by collaging pieces of the their faces together.

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Ok, so back to me wondering if there was anything gross in the exhibition. There is some cryptic gross elements to some of Maia’s painting. There seems to be a reoccurring skin condition in most of them. I’m intrigued and would like to know why!

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Why are we fascinated with twins? I think non-twins are really missing out. With the risk of sounding cheezy they have a “soul friend” that have a deeper understanding of each other than anyone else. A twin without a twin feels so alone… is that the way I feel all the time?

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Make sure to come visit the Snelgrove tonight for Maia’s reception! 7-9 with drinks and snacks.
We can talk about twins and stuff!

Pamela Ollenberger’s “Many Feathers Flock Together: A Celebration of T-Bird”

This week at the Snelgrove is Pam Ollenberger’s MFA show “Many Feathers Flock Together”

Her work is a reflection and celebration of fond memories when Pam worked as a camp counselor at Camp Thunderbird, a camp for adults with intellectual disabilities.

Pam’s show looks awesome in the gallery. Her paintings are massive, colorful explorations of memory, where Pam uses a lot of different painting materials and techniques. With the lights being dim and calm the bright crayola colors seem to glow and jump out of her paintings. Each painting also has a sophisticated black frame. I don’t know if it was just me, but I really noticed the gallery floor during Pam’s exhibition. It could have been freshly waxed and buffed, but the bright rich colors of Pam’s paintings spilled out and reflected onto and activated the floor of the gallery.

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Pam’s paintings gave me a load of feelings of childhood nostalgia. I went back to my own memories of summer camps as a kid. Allow me to reflect, summer camps are something sincerely special. The week (or two week) span of a summer camps feels as if it’s something SO EPIC. I remember coming out of summer camp and feeling like it was a month or two because the experiences were so rich and concentrated. Friendships were made, crushes formed, lessons learned, and camp counselors were always heroes. OK reflection over, sorry If you didn’t do summer camps as a kid.

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My favorite paintings of Pam’s were here photo-transfer / painting collages.
The source imagery for these if pretty neat. Pam gave out disposable cameras to campers to document their day as they want you to see it. Her massive paintings look at little like a Rauschenberg without the pop culture imagery. There’s a lot going on in them so you can spend some time exploring the imagery. Pam also has painted over areas both additively and reductively.

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Many of Pam’s paintings have recognizable elements with hints of an inner story. I’m sure that they have loads of meaning once dissected, or with Pam’s help.

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Come down to the Snelgrove to see Pam’s massive paintings for yourself!
ORRR come for a drink and snacks at the reception Friday evening! Cya at the Snelgrove

Aminah Jomah’s “Liminality” MFA Show

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Last Friday was the closing reception of Aminah Jomah’s MFA Show “Liminality: A Transient Gaze” at the Snelgrove Gallery.
Liminality can mean barely perceptible or of being in an intermediate state. What a great word for her show. Aminah Jomah is a Lebanese Canadian that is exploring her identity, past, and connection to place between being Canadian and being Lebanese. She uses photos from a return visit from Lebanon mixed with memory as her source material.
Aminah’s show could be divided into two segments: her large scale paintings and her photography based work.
Immediately upon walking in you are greeted by her paintings. Aminah’s paintings range between sweeping urban landscapes to haunting interiors. Her urban landcapes look to be an intersection between old and new. There’s scattered building materials a deconstructed buildings that reconstruct into other buildings, perhaps speaking to the internal process of mentally recreating place/memory. She uses loads of mark making techniques that include rough charcoal architectural flow lines that a contribute to the feeling that place and memory is constructed.

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The paint on her canvas is also interesting as there’s areas that have been painted once securely while other areas have thickly applied paint that could have been painted over numerous times. There were little details like found treasures in her paintings that I particularly enjoyed.

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Her interior paintings look as if a camera caught a ghost on film. There’s someone there but you’re not really sure what it is supposed to be. This could speak to becoming Canadian or keeping Lebanese or a mix of both.
Another thing I really enjoyed was hearing her family talk about her paintings. In one painting, originally one of my least favorites, I heard Aminah’s family excitedly recognize and dissect parts of the painting arguing with each others recollection of memory. This gave whole new insight and new appreciation to her work!

Aminah’s other room was curtained off displaying her photography work displayed on hand made light boxes. This was my favorite. Entering the space through the curtain, you are hit by the ambiance. The mood in this room is reflective and meditative as the room feels as if it is slowly breathing by the rhythmic central light slowly dimming and lighting up. Then there’s the displays: her light boxes are all different sizes, irregularly hung. People in this room stayed a while having to sometimes kneel down or tippy toe to peak into the light box displays. The photo work in the light boxes were interesting, she drew and painted additively and reductively onto the photos making them less about documentation and more of a personal reflection. The subject material was similar to some of the paintings, interior landscapes sometimes with a ghost-like figure. I really loved this room.

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This week at the Snelgrove and next post: Chiaka McNaughton’s MFA show “Unhome: Objects of Vulnerability” up until Oct. 9th. Go check out some art!

“Suburb Sinner” by Mackenzie Browning

YXE ART is back from summer break! Thanks for returning.

Mackenzie Browning is opening the new school year with a bang showing off his MFA thesis exhibit “Suburb Sinner” at the Gordon Snelgrove gallery.

My first impression when I walked in was that I jumped into a pixelated video game landscape and the Gordon Snelgrove Gallery was someone’s Minecraft workshop. Minecraft enthusiasts have even created printable paper templates to bring their creations into reality (example http://trendminicraft.com/minecraft-paper-house-templates.html) But don’t get caught up on this, there is some serious art here.

In an age of easy one click printing (and 3D printers!!!). The environment that Mackenzie has created is a massive endeavor. Each brick is a 4+ color silkscreen that has been meticulously printed, bonded to card-stock, and folded. These things are beautiful. I love it when printmaking takes a departure from the usual wall ornamentation into the sculptural realm. As a whole it looks like a half finished building project that has merged with a home building catalogue…with great landscaping! There’s patterns everywhere.

So what is Mackenzie talking about with his exhibit?

From talking to Mack in the past, he’s very much interested in home and aesthetics coming from parents that reinvented themselves from rural homemakers to suburbanites that essentially moved every few years flipping houses. You can see that identity in his work. He’s treating this environment with a home decorator’s esthetics. His creations are like fabric/paint samples.

You can look at it art historically too: are Mackenzies bricks a form of object-as-art / facsimile art like Warhol’s Brillo Boxes?? Do things become art based on the process of creating? Is it material? Or would an actual industrially building brick serve as art?

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why don’t you stop by the Gordon Snelgrove Gallery to see for yourself!
It’s up until Sept 12th, with the closing reception Thurs 7-10.
If your interested in more of Mackenzie Browning’s work visit his website http://mackenziebrowning.ca/

Stacie Huculak’s “Trinity” at the Snelgrove

In the Snelgrove this week: Stacie Huculak’s Trinity

Stacie has done an impressive amount of work this year. Her show Trinity fills the Snelgrove gallery with large scale self portrait drawings. Stacie is working with stark monochrome blacks and whites that blend velvetly into her grey background. Her forms sometimes look still and statuesque and other times fragile or barely there. 

You might not recognize Stacie, as she portrays herself in a variety of metaphoric roles. Her drawings beg for analysis as they contain symbology hinting at a further narrative. She’s a wolf, a deer, a mother, a victim, a shaman. What does it all mean? 

With her work Stacie might be looking at various roles of herself as a woman. I took a critical viewing of women’s roles. Years after the womens’ right movement, women are still lumped into types. Stacie explores her identity here while dealing with the conflicting societal treatment of women.

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Stacie’s reception is the evening of April 25th. Come enjoy her art and celebrate!

 

“Found Compressions” Public Art vigilantly covered up

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This week a local man, Luke Coupal, took matters into his own hands and covered up a public art sculpture with a tarp and attaching a sign to it reading “Our tax dollars are for keeping garbage OFF the streets”

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Keeley Haftner’s sculptures are conceptual Found Art. They are supposed to be analyzed and critically looked at.
Personally, I think this is great because it’s creating a healthy dialogue about the function of art / public funded art. This discussion is also bringing more awareness to the nature of the work garbage-recycling and worth (especially after recent adoption of a city wide recycling program that was a long time coming!). It’s funny that we separate our recycling from our garbage and simply forget about it. Here she publicly displays what happens to it, they’re compressed into cubes, wrapped up, and shipped to outside manufacturing facilities that reuses the materials (as Haftner states, often with a cost). With the recent uproar of Mr. Coupal, our recycling devolves and is once again called garbage!
Then you can look at the nature of art/ public art itself. Most people have a hard time calling conceptual art, let alone found art, Art. What is the function of art? Is it simply to beautify??
Most people that disagree with Found Compressions don’t like it based on their notion of beauty. But that is not the purpose of this piece. The fact that it is stirring debate on art and worth, is the function itself.

The thing is with public art, not everyone is ever going to be happy. I think the cubes were nicer to look at than some rusted metal sculptures we have kicking around town (and they have something to say!)

Read the articles and join the debate!

Here’s a link to Keeley Haftner’s excellent response
http://foundcompressions.tumblr.com/
and a link to the StarPhoenix article
http://www.thestarphoenix.com/entertainment/Irate+taxpayer+covers+public+artwork/9761009/story.html

Jessica Sukut, Kaja Coleman and Edna Oleksyn at the Snelgrove

It’s the end of the term 2 on campus and the Gordon Snelgrove Gallery is seeing the last of the BFA shows of the year. This week we have Jessica Sukut, Kaja Coleman, and Edna Oleksyn showing their BFA exhibitions.

Jessica Sukut’s “Reconstruction”

Jessica’s theme of her BFA show dwells on home and memory. Home is a great idea woth thinking about. Your home is your dwelling that keeps you safe, warm and comforted. You shape your home with colors, decorations and furnishings giving it a personality and feel that might create an emotional response. You spend so much time in your various homes that they might seem organic and alive, like an extension of the people that live there. Our homes are part of who we are.

Jessica looks at her memories of her home creating paintings that look like half built mental landscapes. I remember my previous homes, yet some details are a bit hazy and I’m sure if I spoke to one of my brothers we would have different recollections. You can see this in Jessica’s work. Her paintings are surreal toeing the line between dream and reality. Her paintings look like they’re from the head of an undecided architect: to do this she uses painters tape, mixes hard lines and sketched lines, strange vivid colors on top of solemn darks and greys, and -my favorite part- some unnatural physics. Jessica has some really cool work. There are some good layers that make them enjoyable to explore. She masks and weaves her over layers and under layers beautifully so that you question which is which. Which brings me back to the content. Is her work with painting over layers and leaving under layers go back to her treatment of memory? Do we have actual real memory (underlayer) that exists in some places but the rest of the details we paint with our own invented memories (filling the gaps with an over layer?) Hmmm. Good stuff

Some elements reminded me of buildings in a virtual world, like 2nd life. Things appear to look normal but other elements are skewed, unnatural hyper colored, and a bit strange; reminding you that it’s an imagined landscape

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^aren’t they great?.

Kaja Coleman’s “A Matter of Material”

Kaja has a series of large scale mixed media drawings of X-rays. She became fascinated with X-rays after her son was diagnosed with a condition Osteogenesis Imperfecta that effects bone strength and elasticity of tissues. X-rays are fascinating: they show what we don’t see. They also create images that tricks the eye, the hardest densest materials -bones- appear light and to be floating. Just as you might wonder how an X-ray creates an image, you might wonder how Kaja does. She’s got huge drawing that she uses numerous materials. The paintings are clean but have a life history evident in the mark making, texture and materials that she uses. There’s cheese cloth in some of them that instantly reminds me of gauze, casts, and surgical procedures. She uses wax in some of her drawings, reminding me of sculpting and bones. Her materiality speaks to you.

Then there’s interpreting these drawings. It takes a skilled physician or specialist to properly read an X-ray. How does a gallery visitor read these drawings of X rays? First do they see them as X rays: discovering the unseen bones and making an assumption about the life/health of the person. Or do they see them as drawings: exploring the materials, expressive marks, maybe footprint -a history of the artist.

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Edna Oleksyn’s “Transition”

From her paintings you can tell that Edna loves her family and nature. There’s the things you see right away. She’s surrounded by family love, there’s the painting Family Tree that has three generations together around a tree, and other familial portraits. Edna also has some love for the outdoors as she paints forests in all seasons.

But I think the trees in her paintings are her family and are a metaphor for the human life cycle. There’s a painting of horticulturists attending to and nurturing saplings in a tree nursery. There’s the beauty of trees in all seasons despite outward appearance of snow, and fall. There’s a tree roots anchored and clinging to a shore line despite threats of erosion. Then you think about family and you see her best paintings of new growth amidst old growth forest. You have some hope that after your elders are gone, they will live on through their grandchildren. There’s a broken tree, with new trees growing around it and a beautiful sun glowing in the distance. Yes, life might change, but things move on. These paintings are hopeful and are painted with love.

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the reception is Friday night, come celebrate the end of term with a drink and some art!!