In the art of Lucie Chan, the implication of displacement and dispersal extends diasporic themes introduced in Lily Markiewicz’s installation. The freely suspended webs of imagery evoke a spatial metaphor on home as “elsewhere.”
This work incorporates photographs on light-sensitive paper, recorded sound, and video installed in a dimly lit space …with the unflinching eye of the goldfish observing our every movement.
In addition to his mastery of historical techniques and his exquisite printing, the Haligonian photographer George Steeves is known for an iconography “shot through with grotesque sexuality, reverence for emotional pain, and chilly black humour.”
Cheralyn Ryan’s paintings, which combine shallow pictorial space, intertwined imagery and uniformly textured surfaces, indicate how she is interested in the complexity of ecological relationships.
This exhibition recreated the utilitarian space of the artist’s live-in studio, suggesting references to work as task and the concept of “a work.”
Scheduled on the 20th anniversary of International Women’s Year, the lecture by this legendary pioneer of “intermedia” drew a large crowd.
This exhibition placed the work of two contemporary Canadian women in the context of American postminimal art making of the 1960s and ’70s.
A 21-minute tape that confronts the intimate illusion of home video with a poetically controlled vision of family dissolution.
Newdigate’s digitized printout of a tapestry-woven shorthand letter brings textile media even further into the realm of textual practices.
Using actors, props and painted sets, the staged photography by these two artists projects labour issues through the codes of commercial culture.
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