tag:blogger.com,1999:blog-44292744962592401142024-03-21T05:18:36.406-07:00CSA SpaceOnline presence of CSA Space, an independent Canadian project space. Correspondence to info@csaspace.caUnknownnoreply@blogger.comBlogger87125tag:blogger.com,1999:blog-4429274496259240114.post-89781447646106030852024-01-07T21:02:00.000-08:002024-02-26T20:38:49.471-08:00Charles Bound: RETROSPECTACLE
<p class="MsoNormal"><span style="font-family: "Bookman Old Style","serif"; font-size: 14pt; line-height: 115%;"></span></p><p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvZirqjFwLqCKyN9sQm8ZYpfAkMUPC0IRoiqKgk_Swb8KzJHjg33OlD1ERx5eVhDzuIAGvq_PlVwo7c2wXcICkPD_ENowNEZD1BC5QXzPM6GcAfEggAuU6-EnSbutlTve0cs_sWfKGD3OnCdLvunBwpCaf-2AYK_ERO7KIczP8Jvkc332HB3Qyoux1coX2/s1310/bound_csa.jpg"><img border="0" data-original-height="1310" data-original-width="1310" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvZirqjFwLqCKyN9sQm8ZYpfAkMUPC0IRoiqKgk_Swb8KzJHjg33OlD1ERx5eVhDzuIAGvq_PlVwo7c2wXcICkPD_ENowNEZD1BC5QXzPM6GcAfEggAuU6-EnSbutlTve0cs_sWfKGD3OnCdLvunBwpCaf-2AYK_ERO7KIczP8Jvkc332HB3Qyoux1coX2/w400-h400/bound_csa.jpg" width="400" /></a><b> </b><b> </b><b>12 January 2024 <span style="font-size: medium;">extended through 30 March 2024<br /></span></b></p><div style="text-align: left;">Curated by Christopher Brayshaw<br /><p class="MsoNormal"><span style="font-family: "Bookman Old Style","serif"; font-size: 14pt; line-height: 115%;">Charles Bound (b. 1939, NYC) has worked variously
as a publisher’s representative, secondary school teacher, published poet,
theatre worker, and, since the mid- 1980s, as a potter and ceramic artist. His
earliest works in this, his first retrospective exhibition, are largeish wheel thrown,
gas-fired pots whose symmetrical forms and gestural, highly activated surfaces
only hint at the departures the artist would subsequently make from the wheel’s
enforcing symmetry. Spurred by his close and careful reading of African and
Japanese ceramic history, and by the fortuitous acquisition of a wood-fired
kiln, Bound’s post- mid-90s ceramic productions are gnarlier, less symmetrical,
and seemingly derived from complex natural phenomena: cart tracks through mud;
buried “antique” forms; erosion, wind and rain, and other natural processes.<span style="mso-spacerun: yes;"> </span>More recent works collage, recombine &
refire failed and broken ceramic experiments, or seem indistinguishable from
shapes created by undirected geological processes. </span></p>
<div class="MsoNormal" style="text-align: left;"><span style="font-family: "Bookman Old Style","serif"; font-size: 14pt; line-height: 115%;">In spring 2023 I was fortunate to visit the
famously taciturn Bound’s rural Wales studio and to spend a few days handling
and photographing 40+ years of ceramic production.<span style="mso-spacerun: yes;"> </span>From that visit, and our wide-ranging
conversations, came the germ of this exhibition, which includes works from
numerous North American and European collections, and loans from the artist’s
own recent production. There is no living ceramic artist I have learned more
from than Charles Bound, and I thank him for participating in this necessarily limited
survey of his exemplary career.</span></div><div class="MsoNormal" style="text-align: left;"><span style="font-family: "Bookman Old Style","serif"; font-size: 14pt; line-height: 115%;"> </span></div><div class="MsoNormal" style="text-align: left;"><span style="font-family: "Bookman Old Style","serif"; font-size: 14pt; line-height: 115%;">Christopher Brayshaw</span></div><div class="MsoNormal" style="text-align: left;"><span style="font-family: "Bookman Old Style","serif"; font-size: 14pt; line-height: 115%;">January 2024</span></div></div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-4429274496259240114.post-78694717349434328782023-11-01T10:17:00.008-07:002023-11-01T10:30:58.775-07:00Evan Lee: OPEN WORK: YEARS FROM TODAY<p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicFdn5oLSpB6Inm8vvxsxBMZXW3nwUN80YDL_PeE0IAIvqHsAl5PzHHSm1tK_AUP0ssRygStHv0uuNxovR31LJnC25Kt7KU8zIw51e6kK3Z8mXYxkrUuBfvJ2Sh0tGR1O_IaVgiHnKQ8G0-f0SwE_ZPQW6MT_Q3fEgTq5XuHfSB1Ld0Gvk-M4Tw0QNA3WA/s2016/EL%20OPEN%20WORK%20REPRO%201.jpg"><img border="0" data-original-height="2016" data-original-width="2016" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicFdn5oLSpB6Inm8vvxsxBMZXW3nwUN80YDL_PeE0IAIvqHsAl5PzHHSm1tK_AUP0ssRygStHv0uuNxovR31LJnC25Kt7KU8zIw51e6kK3Z8mXYxkrUuBfvJ2Sh0tGR1O_IaVgiHnKQ8G0-f0SwE_ZPQW6MT_Q3fEgTq5XuHfSB1Ld0Gvk-M4Tw0QNA3WA/w320-h320/EL%20OPEN%20WORK%20REPRO%201.jpg" width="320" /></a><br /></p><div style="text-align: left;"><b>2 November 2023 through 7 December 2023</b></div><div style="text-align: left;"><b>Opening reception for the artist Thursday 2 November 2023, 6-9pm</b></div><div style="text-align: left;"> </div><div style="text-align: left;">Curated by Christopher Brayshaw, with a text by Kevin Chong <br /></div><p>In his first solo exhibition at CSA Space since 2006, Vancouver artist Evan Lee presents<b> </b><i>Open Work: years from today</i>, an installation of experimental lens-based, printed images. </p><p>Over the past 25 years, Lee has been producing works inside and outside of photography. During this time, Lee has always been interested in the people and places of his home in East Vancouver. However, his early works demonstrated a tenuous relationship with the depiction of human subjects and he opted instead to explore them through still life surrogates such ginseng roots and dollar store objects. In particular, the motif of the elderly recurs in Lee’s conception of the city, as explored in his previous CSA Space installation, <i>Manual Labour</i>, and remains important in his own life, as exemplified by his large-scale photograph,<i> </i><i style="font-family: "Helvetica Neue";">Portrait of the Artist’s Grandmother</i><span style="font-family: "Helvetica Neue";">. Although the city and its people have changed considerably in this time, this familiar figure remains the same.</span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: medium; margin: 0cm;"><span lang="EN-US" style="font-family: "Helvetica Neue";">Lee
has explored the subject of elders through drawings, photographs, 3D modelling and 3D prints. In his latest exploration, Lee pairs photographs of old women with disposable paper doilies.
Comprising <i>Open Work: years from today</i>, these temporary printed
images offer a meditation on the passage of time, reflecting the
paradoxical nature of memories and observances: timeless yet fleeting,
fragile yet enduring. </span></p><span class="im"><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: medium; margin: 0cm;"><span lang="EN-US" style="font-family: "Helvetica Neue";"> </span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: medium; margin: 0cm;"><span lang="EN-US" style="font-family: "Helvetica Neue";">Evan Lee lives and works in Vancouver, BC. Recent public exhibitions include <i>Forged</i> at the Art Gallery at Evergreen, <i>FUGAZI </i>at Teck Gallery, SFU, <i>Tyranny</i> at the Art Gallery of Nova Scotia, and <i>Everything Under the Sun: In Memory of Andrew Gruft</i> and <i>Kids Take Over</i> at the Vancouver Art Gallery. Lee is represented by Monte Clark Gallery.</span></p></span>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-4429274496259240114.post-60513675394297609722023-07-04T21:58:00.003-07:002023-07-04T22:01:27.222-07:00Mark Tigges & Robert Stickney: AN EXHIBITION OF FUNCTIONAL & SCULPTURAL POTTERY<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2EV0nOKkjqEX8XgVzEXZNSqBuhyAM2ckePeMXoC0GPLTAwIkqLMM-UeJw--wlleEHIb01nhi57j-yMT8aEUW2TDr9O19m1OmmWBy2k0_ybKTahQVbiHv_1kuMyh15-bUr6WEtUwRgRlhuBuC150vbMeqWMO5L22_Z8kUOFCG8SwCVOr_CmtVOau0J-GqC/s2048/potz.jpg"><img border="0" data-original-height="2048" data-original-width="2048" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2EV0nOKkjqEX8XgVzEXZNSqBuhyAM2ckePeMXoC0GPLTAwIkqLMM-UeJw--wlleEHIb01nhi57j-yMT8aEUW2TDr9O19m1OmmWBy2k0_ybKTahQVbiHv_1kuMyh15-bUr6WEtUwRgRlhuBuC150vbMeqWMO5L22_Z8kUOFCG8SwCVOr_CmtVOau0J-GqC/w400-h400/potz.jpg" width="400" /></a><b><br />7 July 2023 through 20 August 2023</b><!--[if gte mso 9]><xml>
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<p class="MsoNormal"><span style="font-family: "Bookman Old Style","serif"; font-size: 12pt; line-height: 115%;"><b>Reception for the artists (& open studios in
the Triangle Building!) Friday 7 July 2023, 6-9pm</b></span></p>
<p class="MsoNormal"><span style="font-family: "Bookman Old Style","serif"; font-size: 12pt; line-height: 115%;">Curated by Christopher Brayshaw and Steven Tong </span></p>
<p class="MsoNormal"><span style="font-family: "Bookman Old Style","serif"; font-size: 12pt; line-height: 115%;">An exhibition of functional & sculptural pottery
by Mark Tigges (Maple Ridge) and Robert Stickney (Vancouver)</span></p>
<p class="MsoNormal"><span style="font-family: "Bookman Old Style","serif"; font-size: 12pt; line-height: 115%;">Mark Tigges makes wood- and soda- fired works in
Maple Ridge, BC. “I fire two kilns, one a so-called manabigama which I use
purely for wood firing. The second is a kiln of my own design adapted from an
old gas kiln from Judy Burke. I converted to fire with wood and use it for soda
firing. Any pots that come out of the manabigama that are a little lackluster
or just boring get a second trip in the fire getting a soda glaze. I feel the
two kilns allow a wide range of work while still maintaining surface effects
that are almost purely a result of how the kiln is fired. To me, the firing is
where the art is made.”<span style="mso-spacerun: yes;"> </span>Tigges’ works
have been exhibited throughout the Lower Mainland, and each year in the Maple
Ridge Pitt Meadows Art Studio Tour.</span></p>
<p class="MsoNormal"><span style="font-family: "Bookman Old Style","serif"; font-size: 12pt; line-height: 115%;">Robert Stickney’s wood fired pottery draws
inspiration from the spirit of Japanese philosophy and sensitivity. His work
has been exhibited at the Shadbolt Centre; the Nikkei National Museum and
Cultural Centre; Circle Craft; 05 Tea Bar, and Canton Sardine.</span></p>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-4429274496259240114.post-46814311303154300112023-01-30T18:25:00.007-08:002023-02-21T22:11:00.301-08:00Bernadette Phan: LIFELINES AND PORTALS<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi17piWyUvg4xe2Db_v_tdfyuiexZ_sQjY9E8REHlJphwpcEJxvQ27sVxVpue1hjsi8syYIeSCbrxqlDnMtejP9etM5Wo9R-3C-BJUm0l1NXsqJPX8Woi4SHBruRrKUK0GAZx1MXr65IuHIosyabdoz6y5bHLa_quN93hGF0aU7FjnF5J8ZL0ApTl7_5Q/s2048/phan_csa.jpg"><img alt="" border="0" data-original-height="2048" data-original-width="2048" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi17piWyUvg4xe2Db_v_tdfyuiexZ_sQjY9E8REHlJphwpcEJxvQ27sVxVpue1hjsi8syYIeSCbrxqlDnMtejP9etM5Wo9R-3C-BJUm0l1NXsqJPX8Woi4SHBruRrKUK0GAZx1MXr65IuHIosyabdoz6y5bHLa_quN93hGF0aU7FjnF5J8ZL0ApTl7_5Q/s400/phan_csa.jpg" width="400" /></a><b>3 February 2023 through 5 March 2023</b><br /><b>Opening reception for the artist Friday 3 February 2023, 6-9pm</b><br /><br />Curated by Steven Tong and Christopher Brayshaw<br /><br />This series of new works by Bernadette Phan build on her previous “Stipple series” (rectangular canvases with concentric lines or the ripples of an occasional wave, against a ground). These new irregularly shaped works pulse with the soft eddies and currents of stippled paint on raw plywood supports.<br /><br />
"I work in series that evolve over time, some of them decades. The series involve repetition, formal restrictions, dialogues between painting and sculpture, memory and illusion. In each series I undertake particular subjects: language and translation, still life as imaginary springboards, perspectives as set ups. My interest and curiosity are nurtured by making percepts that connect sense perceptions and start with the obvious, visual touch as a means to investigate haptic and proximate spaces generated through the painting medium and weaving as of late. The economy of my decisions as part of the process addresses the potency of the work instead of its potentiality. In this “Stipple series”, the texture captures light and creates its own coloured shadow. The cadence and repetition amplifies the dimensional lines as an expression of warmth and intimacy within the cosmic dance of the everyday unknown." <br />(Bernadette Phan)<br /><br />
Thanh Marie Bernadette Phan was born in Phnom Penh, Cambodia and moved to Canada with her family at an early age, via France. She received a BFA from Concordia University, Montréal, and graduated from the MFA program at Tyler University, Philadelphia, in 1997. She moved back to Vancouver that same year and has continued her studio practice in painting, drawing and weaving as of late. She has shown locally, nationally, and in Europe for the past 25 years. When not working, she likes to travel to Cambodia and Alert Bay.<br /><br />
<a href="https://csaspace.bigcartel.com/products"><b>All exhibited works are available for sale</b></a>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-4429274496259240114.post-12461794079136234352022-05-02T19:39:00.002-07:002022-06-03T09:30:41.662-07:00Nicole Ondre: PIRL<p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivsSOrQ_mjY2BMo45AwqrkUcm_OP-pye0B4HsA9rgCJJsvhxzCeBWqtVXgArISsBR-4ogrBBRKFSUwQS-JjjriXIMAaA0yQFobFX9wwEjldmPpaw1IeBOJ92JaPEBfnKIwKc_3oRDs9A6RTgCILK56Jk9uMDfXMTHOntpnNFnhdSQR3SVXQZ-jTvFNlA/s1312/unnamed%282%29.jpg"><img alt="" border="0" data-original-height="1312" data-original-width="1128" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivsSOrQ_mjY2BMo45AwqrkUcm_OP-pye0B4HsA9rgCJJsvhxzCeBWqtVXgArISsBR-4ogrBBRKFSUwQS-JjjriXIMAaA0yQFobFX9wwEjldmPpaw1IeBOJ92JaPEBfnKIwKc_3oRDs9A6RTgCILK56Jk9uMDfXMTHOntpnNFnhdSQR3SVXQZ-jTvFNlA/s400/unnamed%282%29.jpg" /></a><br /><b>6 May 2022 NOW EXTENDED THROUGH 19 June 2022<br />Opening reception Friday 6 May 2022, 6-9pm</b><br /><br /><i>Helen Frankenthaler said that the lightest touch is the strongest gesture. Held in proximity to the ethos of antifragile, this reminds me that the redemptive potential of failure is relative to the scale of a condition and one’s response. The preposition anti- suggests that an oppositional energy to fragile–that of force, is needed to experience fortitude in the face of volatility. However, resilience may actually require the strength of the lightest touch–something akin to tenderness, in order to flourish. The works in <b>Pirl</b> express the practice of touching lightly. Lithe brush strokes feather out at their edges. The frayed edge of fabric sutures are subtly exposed. Clay ropes are gently coaxed to bend and loop. A wire is patiently pulled over the surface of a thin clay base. Plastic, fabric and elastic, which bear distinct degrees of tension, are carefully pulled taut.</i><br /><br />-Excerpt from the exhibition text by Amy Kazymerchyk</p><p>Nicole Ondre is an artist based in Vancouver. Recent exhibitions include <b>The eyes have walls</b> (with Mina Totino) at the West Vancouver Art Museum (2020); and <b>Blood Knot</b>, Unit 17 (2018).</p>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-4429274496259240114.post-9137365073120391122022-03-26T22:02:00.005-07:002022-03-26T22:03:40.765-07:00Jessica Buie & Dan Siney: RAUNCH, RAUNCH, DANCE! <p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4FVO5sh7YyXrtg2GblaI8mA1tTWu3T5RcJBNwzZFmHgIF6jc1YOXBWGzuQ6LhDZwtEcLvMR6vjCVbRX2DeZRarEbqsAB48VZtnvOWiPSb8CyPeMuBip_T9NHKdDb-ZX3eml4F25s2ShViqmnR4RLzdP8AOz3j5woe7dbv9edyMNOEP0G8XGIKhRfYYw/s5913/Exposure-JessicaBuie%20copy.jpg"><img border="0" data-original-height="5913" data-original-width="3900" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4FVO5sh7YyXrtg2GblaI8mA1tTWu3T5RcJBNwzZFmHgIF6jc1YOXBWGzuQ6LhDZwtEcLvMR6vjCVbRX2DeZRarEbqsAB48VZtnvOWiPSb8CyPeMuBip_T9NHKdDb-ZX3eml4F25s2ShViqmnR4RLzdP8AOz3j5woe7dbv9edyMNOEP0G8XGIKhRfYYw/w264-h400/Exposure-JessicaBuie%20copy.jpg" width="264" /></a><br /><b>27 March 2022 through 24 April 2022</b><br /><b>Opening reception for the artists Friday April 1 2022, 6-9pm </b><br /><br />Guest curated by Fabiola Carranza</p><p>Image: Jessica Buie, <b>Exposure</b>, color photograph<br /></p>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-4429274496259240114.post-13303610871743201442022-01-25T21:03:00.002-08:002022-01-25T21:03:42.670-08:00Sean Alward: DARK SALON<p><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiie0SSlFOBOXSL9jLG59BPZQHUl6791XQUS7GhUOVIBJbCdQEzjly3B1uJyfvI0WnJWgSsM3_jngyI4hS5zkNnZBK35KWpcbfznwzVYHcKjooJluUTydOU4Of8ZCouYnZhWsQM8flXXgzFwXRFKUUriAm7SO0rIhYM3S0HHnbAApoXyeYfyXJJ-7y5ng=s1000"><img border="0" data-original-height="1000" data-original-width="966" height="400" src="https://blogger.googleusercontent.com/img/a/AVvXsEiie0SSlFOBOXSL9jLG59BPZQHUl6791XQUS7GhUOVIBJbCdQEzjly3B1uJyfvI0WnJWgSsM3_jngyI4hS5zkNnZBK35KWpcbfznwzVYHcKjooJluUTydOU4Of8ZCouYnZhWsQM8flXXgzFwXRFKUUriAm7SO0rIhYM3S0HHnbAApoXyeYfyXJJ-7y5ng=w386-h400" width="386" /></a><br /><b>27 January 2022 through 6 March 2022</b><br />Organized by Christopher Brayshaw and Steven Tong</p><div style="text-align: left;"><i><b>Get the key,</b></i></div><div style="text-align: left;"><i><b>turn on the light,</b></i></div><div style="text-align: left;"><i><b>and see the</b></i></div><div style="text-align: left;"><i><b>DARK SALON</b></i></div><div style="text-align: left;"><i><b></b></i><p class="MsoNormal"><span style="font-family: courier;">I began the first painting in this series as a
tongue-in-cheek attempt to visualize a distant family member with no known photographs
documenting their appearance. I knew where they came from, where they ended up,
but little of their life other than their diet: potatoes. So, I painted an
arrangement of potatoes on my studio table, avoiding portraiture in favour of
still-life as a means of showing one thing via another, conscious that the
original subject could never be depicted accurately anyway and thereby allowing
metaphor to manifest in unexpected ways. In terms of process, my goal was to be
as direct as possible, painting from life without photographic mediation. I
wanted a kind of blunt, un-inflected naturalism, similar to that in use around
the time photography first appeared (early-mid 19th century), before
Impressionism and Modernism. I wanted any sense of inner-life in the subjects
to come from an optical experience of their material appearance rather than
embellishments of technique such as exaggerated colour or obviously gestural
paint application. I also wanted to invoke a consideration of how the physical
properties of the subjects were culturally and metaphorically resonant: </span></p><span style="font-family: courier;">
</span><p class="MsoNormal"><span style="font-family: courier;">potatoes: you are what you eat, subterranean...</span></p><span style="font-family: courier;">
</span><p class="MsoNormal"><span style="font-family: courier;">butter: solar energy store, fat, oil paint...</span></p><span style="font-family: courier;">
</span><p class="MsoNormal"><span style="font-family: courier;">copper: distillation, electricity, currency, economy...</span></p><span style="font-family: courier;">
</span><p class="MsoNormal"><span style="font-family: courier;">wooden sticks: folk art, the woods...</span></p><span style="font-family: courier;">
</span><p class="MsoNormal"><span style="font-family: courier;">and so on...</span></p>
<p class="MsoNormal"><span style="color: #262626; mso-bidi-font-family: "Times New Roman";">Sean Alward is an artist based in Vancouver. His paintings
explore the intersection of materials and historical consciousness. He received
his MFA from the University of British Columbia and BFA from the Nova Scotia
College of Art and Design. He has exhibited across Canada and in the U.S., most
recently at the Art Gallery at Evergreen, WAAP Projects Vancouver/Vacation
Gallery New York, AHVA Gallery at UBC, Surrey Art Gallery, and the Nanaimo Art
Gallery. He has published writing in Canadian Art, C Magazine, and Border
Crossings.</span><span style="mso-bidi-font-family: "Times New Roman";"> </span></p>
<a href="https://www.instagram.com/seanalward/"><span style="mso-bidi-font-family: "Times New Roman";">https://www.instagram.com/seanalward/</span></a><span style="mso-bidi-font-family: "Times New Roman";"> </span> <i><b></b></i></div><div style="text-align: left;"><i><b><br /></b></i></div><div style="text-align: left;">Image: Sean Alward, <b>Wavelength</b>, oil on linen, 2021<br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-4429274496259240114.post-39442214896757416832021-11-01T14:37:00.003-07:002021-11-01T14:41:45.882-07:00Rowan Melling: BOSS BODIES<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgk3i07k4iNopoPXbotXZRz9KfNk28ljSt7M79M2A2aQF9U-OjIZBhj3NIeFsWjFK9GQhgfbyhTzKuEmWYHlMP7IKElsieL40dk1YEPtkVfAb3mqvr60dOlJWyZptdPYwtUjFxwDN4c13kp/s987/unnamed.jpg"><img alt="" border="0" data-original-height="987" data-original-width="734" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgk3i07k4iNopoPXbotXZRz9KfNk28ljSt7M79M2A2aQF9U-OjIZBhj3NIeFsWjFK9GQhgfbyhTzKuEmWYHlMP7IKElsieL40dk1YEPtkVfAb3mqvr60dOlJWyZptdPYwtUjFxwDN4c13kp/s400/unnamed.jpg" /></a></div><div style="text-align: left;"><b>5 November 2021 through 12 December 2021</b></div><div style="text-align: left;"><b>Opening reception for the artist Friday 5 November 2021, 6-9pm</b></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;">Organized by Steven Tong with essays by Dan Adleman and Neal Rockwell</div><div style="text-align: left;"> </div><div style="text-align: left;"><a href="http://mtwebsit.blogspot.com/2021/11/boss-bodies.html">Exhibition P(review) by Michael Turner</a><b><br /></b></div><div style="text-align: left;"><br /></div><div style="text-align: left;">"For reasons that I hope are quite clear, you will not encounter many
exhibitions like Boss Bodies around town. The local press won’t likely
have much to say about it either. That’s because the exhibition, in its
own modest way, challenges a fantasy system to which so many of us
remain indentured. Even at this disastrous stage of the crisis,
developer-funded media outlets would have you believe that the Vancouver
model provides the only feasible optics for finding our way within a
city in freefall. Just try not to look down.<span style="font-size: 12px;"> "</span><br />
Dan Adleman <b>Interfacing with the Vancouver Model</b><br />
<br />
"In a certain way, Boss Bodies is a vibe-based reply to [the] image
economy. ...The violence inherent in the concrete actions of these
companies leaked through in promotional photographs of these
organizations' CEOs. They could not quite gloss over their role in
dispossessions, demolitions, driving up housing costs, annihilating the
meaning of language, and the apparent foreclosing of imagination and
possibilities towards a deeply mediocre aspirational vision of corporate
citizenship. Their cracked smiles and glinting eyes registered
something more sinister than the "good vibes only" image they were
attempting to promote."<br />
Neal Rockwell <b>Portraits of the Vibeconomy</b> </div><div style="text-align: left;"> </div><div style="text-align: left;">Rowan Melling started oil painting in 2019 to “deal” with his feelings. When
he was anxious, he painted plants. When he felt love, he painted his
friends and family. When he suffered horror at entrepreneurial
superheroes re-making the world in their crappy brand-image, he painted
upsetting portraits of CEOs. These latter paintings make up his first
solo show, Boss Bodies. This work seeks to reground its branded,
transcendental subjects in the abjection of their bodies through the
thick materiality of oil paint. As a whole, Rowan’s painting practice
tries to resuscitate a bodily intimacy, slowly being strangled by the
alienation of digital capitalism. He has previously shown work at CSA
Space in Vancouver and the Decadent Squalor in Montreal. Rowan has an
M.A. in German Studies from UBC and is currently working on a Ph.D. in
Communication Studies at SFU.</div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-4429274496259240114.post-56100200554698962972021-04-01T09:00:00.001-07:002021-04-01T09:01:48.707-07:00Ana Vojnovic: PERFORMATIVE GEOMETRY: GRIDS & GEOMETRIC ABSTRACTION<p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjd3SgP70s73tVjGkipYsd2Zd9Mv4vzlJOBQBNFh45bzzCGsjnlPZ2LZgpoCWUlvqt2oimVJP-ef8LVP7cucfTJe-SfUiOa4l7SgtL32U2MNEkb-gRkvP0hY1_vfxVMbAOb5aYMXIoRNPwQ/s2048/voj_csa.JPG"><img border="0" data-original-height="1536" data-original-width="2048" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjd3SgP70s73tVjGkipYsd2Zd9Mv4vzlJOBQBNFh45bzzCGsjnlPZ2LZgpoCWUlvqt2oimVJP-ef8LVP7cucfTJe-SfUiOa4l7SgtL32U2MNEkb-gRkvP0hY1_vfxVMbAOb5aYMXIoRNPwQ/s320/voj_csa.JPG" width="320" /></a><br /><b>1 April 2021 through 9 May 2021</b></p><p>Organized by Christopher Brayshaw & Steven Tong</p><p><!--[if gte mso 9]><xml>
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<![endif]--></p><p class="MsoNormal"><span lang="EN-CA" style="font-family: "Sanskrit Text","serif"; mso-bidi-font-family: "Sanskrit Text";">Ana Vojnovic</span><span lang="EN-CA" style="font-family: "Sanskrit Text","serif"; mso-bidi-font-family: "Sanskrit Text";">
works <span style="mso-no-proof: yes;">as an educator, artist, design researcher
and a lecturer. Her pedagogical and art practices are an interdisciplinary
response t</span></span><span lang="EN-CA" style="font-family: "Sanskrit Text","serif"; mso-bidi-font-family: "Sanskrit Text"; mso-fareast-font-family: "Times New Roman";">o
urban conditions, and questions of how built/designed environments affect and
condition human perception, our responses to designed circumstances and the
ways we engage with each other.</span></p>
<p class="MsoNormal"><span lang="EN-CA" style="font-family: "Sanskrit Text","serif"; mso-bidi-font-family: "Sanskrit Text";">Through her hand-drawn compositions and
collage analysis, Ana narrates the inter-relations and intimacy between geometric
language and space, and indirectly proposes multiple ways one can perceive and experience
the work.</span></p>
<p class="MsoNormal"><span lang="EN-CA" style="font-family: "Sanskrit Text","serif"; mso-bidi-font-family: "Sanskrit Text";">While her drawings and collage pieces are
guided by the unexpectedness of inspiration and inner vision, they are
performed through a deliberate, rhythmic re-working of compositional elements.
As such, Ana’s work offers multi-layered engagement, one of a soothing dynamic and
the activation of temporal images revealed within the <i>white</i> space. </span></p>
<p class="MsoNormal"><span lang="EN-CA" style="font-family: "Sanskrit Text","serif"; mso-bidi-font-family: "Sanskrit Text";">For additional information on Ana’s
practice and additional work(s), please visit her artist website </span><a href="http://conceptfioka.com"><span lang="EN-CA" style="font-family: "Sanskrit Text","serif"; mso-bidi-font-family: "Sanskrit Text";">conceptfioka.com</span></a><span lang="EN-CA" style="color: black; font-family: "Sanskrit Text","serif"; mso-bidi-font-family: "Sanskrit Text"; mso-themecolor: text1;"> </span>
</p>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-4429274496259240114.post-18870119470191618392020-11-16T20:10:00.007-08:002020-11-16T20:12:14.761-08:00David Khang: SWORDS 2 PLOUGHSHARES (CUT PIECE 2 SEW PIECE) & ANTHROPOCENE 2 SYMBIOCENE (BOMBERS 2 BUTTERFLIES)<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjC2esQQEASbrZCowQaMODHc7JeyyhbzjGKtNtSw1CC25ksu1p_eRtdwZQXFehDfjjEZ8gkMTy-d5D5J5nyrxNpTOyWw1fg8VcUeTPxAjsU4zFUrc09S4QvgjzakCNs5DjATjA3ApDAHY0/s2048/khangcsa2.jpg"><img border="0" data-original-height="1365" data-original-width="2048" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjC2esQQEASbrZCowQaMODHc7JeyyhbzjGKtNtSw1CC25ksu1p_eRtdwZQXFehDfjjEZ8gkMTy-d5D5J5nyrxNpTOyWw1fg8VcUeTPxAjsU4zFUrc09S4QvgjzakCNs5DjATjA3ApDAHY0/w400-h266/khangcsa2.jpg" width="400" /></a>
<p></p><p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjS5R-8CHVtjYA74CQ6JAnCUUpJKSwYamfffVtVTRyLS-oSQH07lKK7vQHE09xEvq6H6CpM6YnpVivfSBQdKY7DtbXhmvcrUAGWQMUgqXoPPqUYWjsLOmW_aVXCYVfQ0rUjXdCry9RN4ujt/s2048/khangcsa_1.JPG"><img border="0" data-original-height="1536" data-original-width="2048" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjS5R-8CHVtjYA74CQ6JAnCUUpJKSwYamfffVtVTRyLS-oSQH07lKK7vQHE09xEvq6H6CpM6YnpVivfSBQdKY7DtbXhmvcrUAGWQMUgqXoPPqUYWjsLOmW_aVXCYVfQ0rUjXdCry9RN4ujt/w400-h300/khangcsa_1.JPG" width="400" /></a></p><div style="text-align: left;"><b>Swords 2 Ploughshares (Cut Piece 2 Sew Peace)</b></div><div style="text-align: left;">Performance, 24 October 2020, 1-4pm, Gertrude Guerin Plaza, Main/Kingsway</div><div style="text-align: left;"><b><br />Anthropocene 2 Symbiocene (Bombers 2 Butterflies)</b></div><div style="text-align: left;">24 October 2020 through 27 December 2020</div><div style="text-align: left;"> </div><div style="text-align: left;">Organized by Steven Tong <br /></div><div style="text-align: left;"> </div><div style="text-align: left;"><p class="MsoNormal" style="font-family: "Times New Roman", serif; font-size: 12pt; margin: 0cm;">In <b>Swords 2 Ploughshares (Cut Piece 2 Sew Peace)</b>, David Khang de-commissioned his butterfly-covered, bicycle-powered tank. Invoking Yoko Ono’s <b>Cut Piece</b> (1964), public members were invited to participate in cutting pieces of fabric from the tank, to re-purpose them into sewn masks in response to the Covid-19 pandemic. The project functions as a fundraiser for legal defence of Indigenous land defenders and water protectors in British Columbia. The masks will continue to be produced until the fabric from the tank runs out. Masks can be ordered at: <a href="mailto:cutpiece2sewpeace@gmail.com">cutpiece2sewpeace@gmail.com</a><span face="Arial,sans-serif" style="font-size: 10pt;"></span></p>
<p class="MsoNormal" style="font-family: "Times New Roman", serif; font-size: 12pt; margin: 0cm;"><span face="Arial,sans-serif" style="font-size: 10.5pt;"> </span></p><b>Anthropocene 2 Symbiocene (Bombers 2 Butterflies</b>) is a body of work that Khang produced while studying in law school. Off-cuts from the fabric used to cover the tank were collaged with paper cut-outs to produce two thematic series composed of military and animal imagery. Metamorphosis of Turtle Island is a piece that Khang produced in lieu of an academic paper for a class on Aboriginal and Treaty Rights.<br /><br />David Khang’s art practice is informed by education in psychology, theology, dentistry, and law. Khang imbeds these disciplinary codes into his work, to compose interdisciplinary languages in visual, textual, and spoken forms. In performing, Khang embodies these languages to interrogate social constructions of gender, race, and interspecies relations. By strategically switching languages and codes, Khang produces divergent and dissonant readings that re-imagine the poetic and the political.<span face="Arial,sans-serif" style="color: #3b3c47; font-size: 10pt;"></span><br /></div><div style="text-align: left;"><span style="color: #3b3c47; font-family: Times New Roman", serif; font-size: 10pt;"></span><p class="MsoNormal" style="font-family: Calibri, sans-serif; font-size: 12pt; margin: 0cm;"><span face="Arial,sans-serif" style="color: #3b3c47; font-size: 10pt;">
</span><br /></p><div>Khang received his BSc and DDS from the University of Toronto, BFA from Emily Carr Institute of Art + Design, and MFA with Empahsis in Critical Theory from the University of California, Irvine. He has taught at Emily Carr University of Art & Design (2005–2016), and Goddard College (2009-2010). Khang was born in Seoul, grew up in Toronto, and currently resides in Vancouver, where he divides his time between art practice, dentistry, and studying law at the University of British Columbia (2016 – 2021).</div></div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-4429274496259240114.post-27608700920506098762020-09-09T22:16:00.001-07:002020-10-25T12:56:18.054-07:00Heidi Meixner: UNMOVED MOVERS: THE MOVE TOWARD, AWAY AND THROUGH<p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGCUit29im2wrthD56PXv-H_llJNsnoebw804TWL8Zrt2FboqlDz183zg2kgJprgF2bSPUpe3OMh4AySbQ2jn2Cm-oDNovC2UFwjvdFmFF3Ei-l2DpbP0xMLgCwfJYJkzSAs2HpCT1tvb3/s2048/meixner_csa.jpg"><img border="0" data-original-height="2048" data-original-width="1491" height="500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGCUit29im2wrthD56PXv-H_llJNsnoebw804TWL8Zrt2FboqlDz183zg2kgJprgF2bSPUpe3OMh4AySbQ2jn2Cm-oDNovC2UFwjvdFmFF3Ei-l2DpbP0xMLgCwfJYJkzSAs2HpCT1tvb3/w364-h500/meixner_csa.jpg" width="364" /></a><b></b></p><p><span style="font-size: small;"><b><b>10 September 2020 <span style="color: red;">now extended until 29 October 2020, 7pm!</span></b><br /><a href="https://heidimeixner.org/work/unmoved-movers-video">Virtual launch 10 September 2020</a> <span> </span></b></span></p><p><b><span style="font-size: 11px;">“When the soul wants to experience something she throws out an image in front of her and then steps into it. ” <br />
<wbr></wbr> – Meister Eckhart</span>
</b></p><b><span style="font-family: times;">
</span><p style="color: #606060; font-family: "helvetica"; font-size: 15px; line-height: 150%; margin: 1em 0px; padding: 0px; text-align: justify;"><span style="font-size: 12px;"><span style="font-family: times;">The
sun, like the hub of a wheel, is an unmoved mover. The centre is static
yet the perimeter rotates and the result is that we trundle – or even
fly, as the case may be – onward with a cosmic momentum. The
Aristotelian theory of the “unmoved mover,” which some dismiss as
absurd, puts forth the idea that for every motion there is a mover and
that at the mystic centre, the original mover is still. This concept
speaks to the experience that the inanimate objects and images around
us, occupying a seemingly static existence, can animate shifts and
changes within our consciousness.<br />
<br />
Rituals are created and performed in order to facilitate transformation.
A “wünshelrute” (wishing rod), dowsing rod or witching rod is an
instrument used to locate subterranean sources of water. In water
witching, when someone suspects a valuable source lying beneath, a
ritual search or sacred sourcing is performed to locate and move toward
that which could nourish and sustain.<br />
<br />
In <i>A Dictionary of Symbols, </i>J.E. Circlot writes “to leave the
circumference for the centre is the equivalent of moving from the
exterior to the interior, from form to contemplation, from multiplicity
to unity, from space to spacelessness, from time to timelessness.” <i>Unmoved Movers</i> is
an inquiry into the perennial and regenerative nature of symbols that
are revitalized with each contemplation and explores the idea of symbol
as “mover.” <br />
__________<br />
<br />
<i>A body of water</i>, <i>The many within the one</i>, <i>Towards centre</i>, <i>Darkness & light, Energetics</i>, <i>Towards expansion, Her proliferated reflections</i> and <i>The Braid</i> are
a series of painted papier-mâché witching rods that rest at the edges
of the gallery, leaning with upward reaching arms, poised for
conduction. These sculptures take the forked form of a Y, a symbol that
has been associated with the sacred feminine and evokes both celebration
and connectivity. <br />
<br />
Cotton fabric is pulled in measured loops through a woven backing to create the hooked rug. <i>Here, at the edge of things</i> is a two-part textile work that suggests adjacent thresholds or portals. <i>Sun wheel</i> and <i>Nyx</i> explore
the collectively experienced transitional spaces of sunrise and
moonrise and welcome contemplation of the liminal spaces occupied in the
everyday.<br /> \<br />
Heidi Meixner works in sculpture, painting and textiles. Her practice is
inspired by folk art and traditions as well as alternative
philosophies. Through slow-process materials and techniques, she
explores the relationship between ritual and the everyday as an antidote
to the pace and modes of engagement in contemporary culture. She is
continuously drawn to the soft, versatile and buffering nature of
textiles and is motivated by the vast history and contexts of fibre art.
She lives on the traditional unceded territories of the Musqueam,
Squamish and Tsleil-Waututh Nations known as Vancouver, B.C. In 2009 she
received a Bachelor of Fine Arts degree in visual arts from Simon
Fraser University. </span><br /></span></p><p> </p><p><br />
</p></b><p></p>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-4429274496259240114.post-46203374513199071572020-07-04T21:34:00.000-07:002020-07-04T21:35:34.429-07:00CALL FOR SUBMISSIONS: A WALK IN THE PARK<span id="m_-2706427690886580021docs-internal-guid-dfe0f558-7fff-01e6-e9d4-c4f5531de2af"><br /></span>
<br />
<div style="line-height: 1.38; margin-bottom: 0pt; margin-left: 180pt; margin-top: 0pt; text-align: left; text-indent: 36pt;">
<span style="font-family: "arial"; font-size: 9pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">WALKING PIECE</span></div>
<div style="text-align: left;">
<br /></div>
<div style="line-height: 1.38; margin-bottom: 0pt; margin-left: 180pt; margin-top: 0pt; text-align: left; text-indent: 36pt;">
<span style="font-family: "arial"; font-size: 9pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Walk in the footsteps of the person in front.</span></div>
<div style="text-align: left;">
<br /></div>
<div style="line-height: 1.38; margin-bottom: 0pt; margin-left: 180pt; margin-top: 0pt; text-align: left; text-indent: 36pt;">
<span style="font-family: "arial"; font-size: 9pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">1. on ground</span></div>
<div style="line-height: 1.38; margin-bottom: 0pt; margin-left: 180pt; margin-top: 0pt; text-align: left; text-indent: 36pt;">
<span style="font-family: "arial"; font-size: 9pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">2. in mud</span></div>
<div style="line-height: 1.38; margin-bottom: 0pt; margin-left: 180pt; margin-top: 0pt; text-align: left; text-indent: 36pt;">
<span style="font-family: "arial"; font-size: 9pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">3. in snow</span></div>
<div style="line-height: 1.38; margin-bottom: 0pt; margin-left: 180pt; margin-top: 0pt; text-align: left; text-indent: 36pt;">
<span style="font-family: "arial"; font-size: 9pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">4. on ice</span></div>
<div style="line-height: 1.38; margin-bottom: 0pt; margin-left: 180pt; margin-top: 0pt; text-align: left; text-indent: 36pt;">
<span style="font-family: "arial"; font-size: 9pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">5. in water</span></div>
<div style="text-align: left;">
<br /></div>
<div style="line-height: 1.38; margin-bottom: 0pt; margin-left: 180pt; margin-top: 0pt; text-align: left; text-indent: 36pt;">
<span style="font-family: "arial"; font-size: 9pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Try not to make sounds.</span></div>
<div style="text-align: left;">
<br /></div>
<div style="line-height: 1.38; margin-bottom: 0pt; margin-left: 252pt; margin-top: 0pt; text-align: left; text-indent: 36pt;">
<span style="font-family: "arial"; font-size: 9pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">- Yoko Ono, 1964 spring</span></div>
<br />
<br /><br />The time of the COVID-19 “lockdown” has not been a walk in the park. During the last few months, those of us who are able to take walks have done so of simple necessity: to get groceries, to do laundry, and to keep sane. The recent mass outpouring of rage following the police murder of George Floyd have been a reminder (if anyone had forgotten) that walking remains a powerful symbol of solidarity. There are indeed multiple, intertwined histories of walking, including regulation of who can walk, where they can walk, and when they can walk.<br /><br />With these contexts in mind, CSA would like to invite you to join us in a socially-distanced art project, to take place in Vancouver’s Queen Elizabeth Park. Taking inspiration from Yoko Ono’s book Grapefruit: A Book of Instructions and Drawings (1964), we invite submissions of instructions for socially-distanced walking activities and/or performances, to be completed by persons other than those issuing the instructions. Up to 30 instructions will be selected from submissions received, then freely distributed through CSA’s website as a PDF.<br /><br />At 130 acres, QE is the second-largest park in the city of Vancouver. The spaciousness of QE Park will allow participants to maintain virally safe distances, while potentially allowing numerous participants to enact the same set of instructions at the same time. QE Park’s history as a former quarry makes it one of the most topographically interesting parks in Vancouver, providing all kinds of nooks and crannies where performances and/or activities could take place. <br /><br />QE Park is at 4600 Cambie Street. A virtual drive-through of the park is available on Google Maps.<br /><br />Submissions will be accepted, reviewed and released on a rolling basis, with a new batch released every Monday, until the end of the COVID-19 crisis. The curators may edit and format accepted submissions for clarity or brevity, in consultation with the artists.Unknownnoreply@blogger.comtag:blogger.com,1999:blog-4429274496259240114.post-50852086099997111312020-03-12T14:45:00.000-07:002020-03-15T15:00:23.230-07:00JELENA AND THE MAGIC FLUTE: A STORY IN 12 ARTWORKS<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgunuoS657KBhDjMDxYWy-iwSHw7VMqfy9MnfrR1g_47up4XQJwztT-MNATUiSV84fnTFszhq28zzt8KDkfH5MuYkhdMK-1_98cZ3Di6yLMbNVgSSuXuLymrsr-uulTpYj1lGJ_kkgTjJup/s1600/JelenaandtheMagicFlute_SQ.jpg"><img border="0" data-original-height="1600" data-original-width="1600" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgunuoS657KBhDjMDxYWy-iwSHw7VMqfy9MnfrR1g_47up4XQJwztT-MNATUiSV84fnTFszhq28zzt8KDkfH5MuYkhdMK-1_98cZ3Di6yLMbNVgSSuXuLymrsr-uulTpYj1lGJ_kkgTjJup/s400/JelenaandtheMagicFlute_SQ.jpg" width="400" /></a><br />
<b>12 March 2020 through 30 April 2020</b><br />
Opening reception for the artists Thursday 12 March 2020, 6-9pm<br />
<br />
Guest curated by Dan Starling<br />
<br />
<span style="color: #1a1718;"><span style="font-size: small;"><span style="font-family: inherit;">Jelena is an optimistic university student who spends a lot of time in coffee shops, dividing her time between serving customers and working on writing her first novel. After being offered a magic flute that has the power to turn sorrow into joy, she is at first hesitant to accept the gift and the responsibility that comes with it. But after she finds her grandmother Denise missing and a mysterious messenger delivers a note to her that uncovers the truth behind a historical assassination, the flute becomes indispensable in outwitting a group of conspirators including Humpty Dumpty and Canadian billionaire Chip Wilson whose aim is to keep the world ignorant of the truth. Will Jelena find her grandmother and save the world, or is the whole thing just deep fake news story?<br /><br />The idea for the exhibition is to generate a sequence of works by different artists that builds a narrative in their accumulation. The works were selected sequentially following the "monomyth"; the description given by Joseph Campbell of a narrative sequence in his book The Hero With a Thousand Faces that determines the plot points common among stories. The structure is so pervasive that it saturates our popular entertainment. The "stages" are, in simplified form:<br /><br /><br />Artist 1. Stephen Waddell<br /><br />Stage 1. ORDINARY WORLD<br /><br /><br />Artist 2 - Claire Geddes Bailey<br /><br />Stage 2. DISRUPTION also known as the “CALL TO ADVENTURE”<br /><br /><br />Artist 3 - Luke Parnell <br /><br />Stage 3. QUESTIONING also known as the “REFUSAL OF THE CALL”<br /><br /><br />Artist 4 - Rosamunde Bordo <br /><br />Stage 4. DECISION (to act or not) can be encouraged to act by a “MEETING WITH THE MENTOR”<br /><br /><br />Artist 5 - Tom Richardson <br /><br />Stage 5. UNKNOWN also known as “CROSSING THE THRESHOLD”<br /><br /><br />Artist 6 - Michael Lachman <br /><br />Stage 6. HELP OR TESTS FROM ALLIES OR ENEMIES, whom they meet on their journey.<br /><br /><br />Artist 7 - Marina Roy <br /><br />Stage 7. QUESTIONING THE CONSEQUENCES (of the decision, “Can I go back to the old life?”)<br /><br /><br />Artist 8 - Rowan Melling<br /><br />Stage 8. THE FINAL TEST/ ORDEAL<br /><br /><br />Artist 9 - Diyan Achjadi<br /><br />Stage 9. REWARD (new knowledge)<br /><br /><br />Artist 10 - Stephanie Gagne<br /><br />Stage 10. ROAD BACK<br /><br /><br />Artist 11 - Shelley Rothenburger<br /><br />Stage 11. RESURRECTION<br /><br /><br />Artist 12 - Liljana Mead Martin<br /><br />Stage 12. MASTER OF TWO WORLDS<br /><br /><br /><b>Stephen Waddell</b> received his MFA from the University of British Columbia in 1994, and has exhibited in galleries and institutions including Monte Clark Gallery, the Vancouver Art Gallery, Espai d’art contemporani de Castelló in Castello, Spain, Kunstforum Baloise in Basel, Switzerland, the Contemporary Art Gallery in Vancouver, and C/O in Berlin. Waddell’s works are included in the permanent collections of the Armand Hammer Collection in Los Angeles, the Vancouver Art Gallery, the National Gallery of Canada, and numerous others. Waddell’s most recent books include Dark Matter Atlas (2017) published by Distanz and Hunt and Gather (2011) published by Steidl. In 2019, Waddell won the Scotiabank Photography Award. The artist lives and works in Vancouver, B.C. Canada.<br /><br /><b>Claire Geddes Bailey</b> makes videos, structures, sounds, cakes, and texts. Dwelling on the narrative qualities of materials, words, symbols, and spaces, her work often addresses legibility. She sees a parallel between surfaces of objects and the texture of language. Claire holds a BA in English literature and visual art from UBC. She lives and works as an uninvited guest on the unceded territories of the Coast Salish peoples, including the Musqueam, Squamish, and Tsleil-Waututh nations.<br /><br /><b>Luke Parnell</b> is Wilp Laxgiik Nisga’a (House of Eagles) from Gingolx on his mother’s side and Haida from Massett on his father’s side. His artistic training is both traditional and classical - he apprenticed with a Master Northwest Coast Indigenous carver and earned a Bachelor of Fine Arts degree from OCAD University and a Masters of Applied Arts from Emily Carr University of Art and Design. His medium is predominantly wood, however his materiality is determined on a project by project basis. Northwest coast Indigenous art is the basis of his practice and praxis, centering on narrative, specifically transformation narratives.<br /><br /><b>Rosamunde Bordo</b> is an interdisciplinary artist invested in exploring narrative possibilities through collections of objects and images, appropriated/ready-made texts, and a practice of creative writing. She is currently an MFA candidate in visual art at the University of British Columbia. For her thesis she is working on an ongoing project called The Denise File which is an investigation of a woman known to the artist through a collection of postcards. Within this sprawling multidisciplinary project, she explores love and desire, the role of mediation, and the construction and conflation of factual and fictional narratives. She is also cofounder of everydaystollen, an experimental podcast series. She is currently based on the traditional unceded lands of the Musqueam, Squamish, and Tsleil-Waututh Nations, known as Vancouver, B.C.<br /><br /><b>Tom Richardson</b>’s practice explores intersecting themes in art history, narrative, music, and politics. His work has found itself in various forms ranging from exuberant multi-channel installation, single channel video, sculptural assemblage, drawing and painting. Richardson was a cofounding member and organizer of Duplex, an artist run gallery and studio facility in Vancouver. Richardson’s work has been exhibited and screened internationally, recent solo exhibitions include Big Industrial Zoetrope, VIVO Media Arts Centre, Vancouver (2018), Rehearsal for a Synthetic Theatre, Field Contemporary, Vancouver (2017), The Bureau of True Vision, Spare Room, Vancouver (2016). <br /><br /><b>Michael Lachman</b> is an artist based in Vancouver, BC. His works take the form of sculptural installation, video, drawing and printmaking. He explores the mythos constructed through storytelling and questions the authority of the storyteller. He is particularly drawn to stories of duplicity and the unreliable narrative, which materialize through projects that are both investigatory and fictional, and at times draw from the esoteric and speculative.<br /><br /><b>Marina Roy</b> is a Vancouver-based artist and writer, and associate professor in Visual Art at the University of British Columbia. She works across a variety of media — drawing, painting, sculpture, video, and animation. Her artwork investigates the grotesque at the intersection of language, image, and materiality; and her research interests include ecology, post humanism, and biopolitics. In 2001 she published Sign After the X (Arsenal/Artspeak); her newest book Queuejumping (Information Office) will come out in October 2020. In 2010 she was recipient of the VIVA art award.<br /><br /><b>Rowan Melling</b>'s research-based practice is rooted in and informed by literature and philosophy. Recently, he has started oil painting as a way to critique the multiplying culture of corporate self-actualization and self-branding. Motivated by his alienation and a desire for something less bad, Melling seeks alternatives to the entrepreneurial-self in his work. Melling has studied at the University of British Columbia.<br /><br /><b>Diyan Achjadi</b>'s practice in drawing, printmaking and animation considers surface ornamentation, historical prints, and illustrations as pictorial archives, and the potential of these forms as sites for knowledge transmission. She has exhibited widely at galleries and film festivals across Canada and internationally. Recent projects include Coming Soon!, a year-long commission for the City of Vancouver Public Art Program, and NonSerie (In Commute), part of How far do you travel?, a year-long exhibition on the exterior of public buses, commissioned by the Contemporary Art Gallery (CAG) in partnership with Translink BC. Diyan received a BFA from the Cooper Union (New York, NY) and an MFA from Concordia University (Montreal, QC), and is an Associate Professor at Emily Carr University of Art and Design in Vancouver. <br /><br /><b>Stephanie Gagne</b> is a Vancouver-based artist. She received a bachelor of fine arts degree in visual arts from Emily Carr University of Art + Design and a master of fine arts degree in interdisciplinary studies from Simon Fraser University. Her interests include popular culture, sexuality, neighbourhoods and childhood nostalgia. Stephanie's interdisciplinary projects involve sculpture, photography, drawing, and video.<br /><br /><b>Shelley Rothenburger</b> was born and raised in Thunder Bay, Ontario and now resides in Richmond, B.C. She began formal studies in art in 1989 at Lakehead University in Thunder Bay and graduated with an Honours Bachelor of Fine Art in 1995 majoring in Painting. She continued her art education in 1997 upon entering Graduate School at the University of Alberta in Edmonton and completed her formal studies with a Master of Fine Art degree in painting in 2000. She has had multiple solo, juried and group exhibitions nationwide, most noted being a juried exhibition at the Art Gallery on Ontario in Toronto in 1996 and a solo exhibition at the Nickel Museum in Calgary in 2000. Her work is represented in the University of Alberta Master of Fine Art Collection, The Alberta Foundation for the Arts Collection and also in private regional, national and international collections.<br /><br /><b>Liljana Mead Martin</b> is a visual artist living and working on unceded Coast Salish territories, Vancouver. Through sculptural and choreographic processes she explores connections between memory, embodiment, material and geography. In recent sculpture she deals with the external and internal environments as interchangeable forms engaged in a constant exchange, with reference to injury, resilience, loss and survival. Martin’s artworks and performance have been exhibited at The Klondike Institute for Arts and Culture (Dawson City YT), Artscape Gibraltar Point (Toronto Island ON) the Anna Leonowens Gallery (Halifax NS), Dynamo Arts Association (Vancouver), Recess (NYC) and the Nanaimo Art Gallery (Vancouver Island).<br /><br /><b>Dan Starling</b>’s work plays with the conventions of narratives through intervention, extrapolation and reconfiguration to produce exciting juxtapositions that encourage critical engagement. Based in research, Starling’s work deals with how historical and contemporary aesthetic forms frame the narratives that in turn influence how we see ourselves individually and collectively. Starling has studied at Emily Carr University and Städelschule, Frankfurt, and has exhibited his work nationally and internationally. Starling’s work was most recently shown at Wil Aballe Art Projects, VIVO Media Arts Centre and the Libby Leshgold Gallery, Vancouver.</span></span></span>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-4429274496259240114.post-59965754260545461722019-06-12T18:26:00.000-07:002019-06-12T18:28:20.362-07:00Megan Hepburn: PASSING THROUGH SMOKE<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5Dhz-ElkhFbBshXPefBAM5hZ4P55fUzf87OsN4Xrl2q1H5pTIsp6RvGuygbJV5UF05ebO89AYaLZd7yvOJ07J_UdD2ylC1Ya5GfNilV0fpaayGTrzOjkGM3Q907Gv-SKqMS0F608rM_uy/s1600/hepburn_csa.jpg"><img border="0" data-original-height="1600" data-original-width="900" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5Dhz-ElkhFbBshXPefBAM5hZ4P55fUzf87OsN4Xrl2q1H5pTIsp6RvGuygbJV5UF05ebO89AYaLZd7yvOJ07J_UdD2ylC1Ya5GfNilV0fpaayGTrzOjkGM3Q907Gv-SKqMS0F608rM_uy/s320/hepburn_csa.jpg" width="180" /></a>
<br />
<b>14 June 2019 through 28 July 2019</b><br />
Reception for the artist Thursday 13 June 2019, 6-9pm<br />
<br />
Curated by Steven Tong<br />
<br />
A selection of recent olfactory objects and painting by Megan Hepburn.
Created over nine months at residencies in Sofia, Bulgaria and Vermont,
USA, this exhibition questions the temporality and endurance of an
internal life or mind conditioned by terminal illness and loss.<br />
<br />
The artist gratefully acknowledges the support of the Canada Council for
the Arts and the British Columbia Arts Council in the making of this
work.<br />
<br />
Megan Hepburn is an artist currently based in the unceded territories
of the xʷməθkwəy̓əm (Musqueam), Skwxwú7mesh (Squamish), and
Səl̓ílwətaʔ/Selilwitulh (Tsleil-Waututh) Nations. Her work is grounded
in painting and perfumery, and has exhibited nationally and
internationally since 2006. Hepburn's work has been recognized by the
Joseph Plaskett Award for Painting, the RBC Painting Competition, The
Salzburg Society of Friends of the Summer Academy and The Vermont Studio
Centre among others. Recent exhibitions include Megan Hepburn and
Hannah Yuill at Kombinat in Sofia, Bulgaria, Banana Dust at Spare Room,
Vancouver and Dark Sands Ask Why You Talk So Fast at Deluge Contemporary
in Victoria, Canada.<br />
<br />Unknownnoreply@blogger.comtag:blogger.com,1999:blog-4429274496259240114.post-68264358538822195152019-04-02T21:54:00.002-07:002019-04-02T21:58:28.901-07:00Alina Senchenko: Праця та відпочинок (WORK AND LEISURE)<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLcr9louiN7WbvIu1iLeGGglvjx7xn87a5lrkMVkNb_796T9r9kiJ2TRWEPYbJ3L67dwLZ6VqQhf82VY3cLRwqFdKcp4bk47plsMG3RtBkHXRv-xOmGsvT2KhxGdM3P5iU6JRRWKev8Ao8/s1600/Senchenko_CSA.jpg"><img border="0" data-original-height="600" data-original-width="900" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLcr9louiN7WbvIu1iLeGGglvjx7xn87a5lrkMVkNb_796T9r9kiJ2TRWEPYbJ3L67dwLZ6VqQhf82VY3cLRwqFdKcp4bk47plsMG3RtBkHXRv-xOmGsvT2KhxGdM3P5iU6JRRWKev8Ao8/s400/Senchenko_CSA.jpg" width="400" /></a>
<br />
<b>12 April 2019 through 12 May 2019</b><br />
Reception for the artist Friday 12 April 2019, 6-9pm <br />
<br />
<i>Vasyl wakes up every day at 5:30 AM, boils some water for coffee, two eggs and a slice of rye bread with kovbasa and cheese. He looks out the window and waits for the sound of the train that is scheduled to come by at 5:45 AM. The sound fills the small kitchen. The windows tremble. Still looking out, rows of chestnut trees are full bloom now, into the street where Natalia Oleksandivna in an orange safety vest swipes the pavement with an old wooden broom. The air is filled with spring.<br /><br /> Leaning before a row of peaches, Olena closes her eyes, inhales a scent of her childhood vocations: the mix of peaches and pine. She buys two peaches before walking on her own for the first time down the road towards the sea. The heat causes the road around her to shimmer, towards the beach.</i><br />
<br />
Alina Senchenko is a Ukrainian artist living and working in Vancouver, Canada. She graduated from Emily Carr University of Art and Design.
<br />
In the past few years, Senchenko has examined the cultural, social structures of contemporary society, with an interest in the urban and rural spaces that we create and occupy. The current Ukrainian political situation is a preoccupation of her practice. Senchenko’s practice primarily focuses on photographs, found images, text, collage, and performance.Unknownnoreply@blogger.comtag:blogger.com,1999:blog-4429274496259240114.post-50752576529830683342018-12-28T10:49:00.002-08:002019-01-17T11:39:57.209-08:00Kika Thorne: THE SUN<span id="m_-7624696439730893669gmail-docs-internal-guid-64dea9df-7fff-19d5-ef54-3144eb4e45c7"></span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5vdYV-tPNeAaVTzL6H55A7g__Wfkn81RYkUjAgEs60bzhL9_jBmoOtQHnuxizRqqqJ4yrSqibKVoVI8WFrcwL9gJMmSH9G4v5N7QtSp34RgkQ1GexB5Feu0xFzZFA9pZwr-EgjgYQWLSm/s1600/Kika+Thorne+_+The+Sun+_+CSA+_+Jan+5th%252C+4pm++copy.jpg"><img border="0" data-original-height="776" data-original-width="1287" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5vdYV-tPNeAaVTzL6H55A7g__Wfkn81RYkUjAgEs60bzhL9_jBmoOtQHnuxizRqqqJ4yrSqibKVoVI8WFrcwL9gJMmSH9G4v5N7QtSp34RgkQ1GexB5Feu0xFzZFA9pZwr-EgjgYQWLSm/s400/Kika+Thorne+_+The+Sun+_+CSA+_+Jan+5th%252C+4pm++copy.jpg" width="400" /></a>
<br />
<b>5 January 2019 through 26 January 2019 </b><br />
Reception for the artist Saturday 5 January 2019, 4pm<br />
<br />
Curated by Christopher Brayshaw<br />
<br />
Solar panels power a projection of the sun. <br />
<br />
The projection will be visible every Saturday at 4pm throughout the month of January. Additional exhibition events will depend on the weather, TBD.<br />
<br />
Additional viewing opportunities:<br />
<br />
Thursday 17 January, 6-9pm<br />
Saturday 20 January, 4-6pm<br />
Wednesday 23 January, 4-6pm<br />
Saturday 26 January, 4-6pm<br />
<br />
Artist and filmmaker, Kika Thorne’s practice oscillates between elastic poetics and pragmatic ecologies. Kika received her MFA from the University of Victoria, BC and has exhibited extensively including projects at Berlinale Forum Expanded (Berlin), Abrons (New York), Contemporary Art Gallery (Vancouver), the Power Plant (Toronto), E-Flux (global tour). <br />
<br />
The exhibition is made possible through a material alliance between <a href="https://www.portable-electric.com/">Portable-Electric</a> and the <a href="https://sdo.gsfc.nasa.gov/">NASA Solar Dynamic Observatory</a>. The exhibition is also supported by Eileen Sommerman<span style="color: #333333; font-family: "georgia" , serif; font-size: 13px;">,</span> Marleen Hoolboom, Christopher Brayshaw, Jane Hutton and Adrian Blackwell.Unknownnoreply@blogger.comtag:blogger.com,1999:blog-4429274496259240114.post-48563364129030576012018-11-18T13:15:00.000-08:002018-11-18T13:21:30.771-08:00Warren McLachlan: ojo<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSy6h-34Hw8xUBVmiJmD0jtrD3v-yqeEW3GecsVe408R1dd3t-WWyDwDA44SXfEgJabB6wPj4bmXBiw9uwbSIp-Vm7ug_Y-UOK0WKPggpkgaUjpn5hTckJt4qbBwGe2Xz8jaJRcf187TdR/s1600/warren_ojo_csa.jpg"><img border="0" data-original-height="465" data-original-width="620" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSy6h-34Hw8xUBVmiJmD0jtrD3v-yqeEW3GecsVe408R1dd3t-WWyDwDA44SXfEgJabB6wPj4bmXBiw9uwbSIp-Vm7ug_Y-UOK0WKPggpkgaUjpn5hTckJt4qbBwGe2Xz8jaJRcf187TdR/s400/warren_ojo_csa.jpg" width="400" /></a><br />
<b>23 November 2018 through 22 December 2018</b><br />
Reception for the artist Friday 23 November 2018, 6-9pm
<br />
<br />
Curated by Steven Tong<br />
<br />
An exercise in excavation and reproducibility takes shape in sculptures
and images that originate from glass bottles, soil rich in silt, and
animal habitats found in Corbin, a ghost town in the East Kootenays of
British Columbia. Culminating in a topographical transformation of CSA
Space, the exhibition becomes an environment where endless
reproducibility is home to unseen and vacant entities.<br />
<br />
Warren McLachlan (born Calgary, 1975) lives and works in Vancouver, BC.<br />
<br />
Warren is a founding member of Corbin Union, an Alberta / British
Columbia collective operating out of Corbin, in the East Kootenays. He
also organizes projects at Dynamo Arts Association, an artist-run
community in Vancouver. In 2019, Warren will participate in a month-long
residency in Querétaro (Mexico) that will culminate in a solo and group
exhibition with Corbin Union at Museo de la Cuidad de Querétaro in
July. Recent exhibitions include; <b>Death Valley Escapes</b>, Field
Contemporary, Vancouver; <b>Structure for Observing Atypical Flight</b>, Unit
Pitt Facade Project 2017, <b> Inversus Mundi</b> ( w/ Corbin Union) Unit Pitt
2016, Vancouver, BC; <b> Sisters</b> ( w/ Jason de Haan), Untitled Art
Society, Calgary 2015; <b>Concerning the Bodyguard</b>, The Tetley, Leeds, UK,
2014. He received an MA from Chelsea College of Art and Design, London
UK (2007) and a BFA from the Alberta College of Art and Design (2001).Unknownnoreply@blogger.comtag:blogger.com,1999:blog-4429274496259240114.post-61529544243005495362018-10-09T17:53:00.001-07:002018-10-13T09:30:15.219-07:00Garry Neill Kennedy: REMEMBERING NAMES<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhf2w43vDo5aDBBTcTDep6nqscJHsYHHst2NhtTLoZA_-P1sbDU78Onpkambicmt838dtVUvHKORjxbpJ1rHTZ0uMCSQIvjeDqTiv6qc-pcn1-DwDTspZsQcvEinrC2fVM5ibeFWGPiRGLI/s1600/GNK_RememberingNames_CSA.png"><img border="0" data-original-height="961" data-original-width="1145" height="335" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhf2w43vDo5aDBBTcTDep6nqscJHsYHHst2NhtTLoZA_-P1sbDU78Onpkambicmt838dtVUvHKORjxbpJ1rHTZ0uMCSQIvjeDqTiv6qc-pcn1-DwDTspZsQcvEinrC2fVM5ibeFWGPiRGLI/s400/GNK_RememberingNames_CSA.png" width="400" /></a>
<br />
<b>9 October 2018 through 10 November 2018</b><br />
Reception for the artist Thursday, 1 November 2018, 7 – 9pm<br />
<br />
Curated by David MacWilliam and Jonathan Middleton<br />
<br />
CSA Space is pleased to present a new drawing installation by Vancouver-based artist Garry Neill Kennedy. <b>Remembering Names </b>is the most recent iteration of an ongoing project by Kennedy dating back to the early 1970s when he began attempting to “remember the names of everyone I ever met.” Eric Cameron wrote about Kennedy’s project in the May 1977 issue of <b>Artforum</b>: “Trying to remember the names of all the people he had ever known was a way of taking stock.”<br />
<br />
Of late, Kennedy has been experiencing significant memory loss and during this time has wanted to revisit work that he began decades ago. Making this exhibition is not only personally timely, but also one that echoes contemporary social media practices where names are markers and indicators of social networks.<br />
<br />
Garry Neill Kennedy has been an important conceptual artist and educator in the Canadian art world since the late 1960s. His work has been presented nationally and internationally in numerous solo and group exhibitions including most recently: <b>Ya Ummi, Ya Ummi…</b> at the MacKenzie Art Gallery, Regina; <b>Entangled: Two Views</b> and <b>Vancouver Special</b> at the Vancouver Art Gallery. Three volumes of his drawings were published by READ Books in 2015 and his book <b>NSCAD, The Last Art College: Nova Scotia College of Art and Design, 1969-1978</b> was published by MIT Press in 2012.<br />
<br />
In 2004 Kennedy was invested as a Member of the Order of Canada and also received a Governor General's Award in Visual and Media Arts. His jury citation called him "one of the most distinguished figures in Canadian art.”Unknownnoreply@blogger.comtag:blogger.com,1999:blog-4429274496259240114.post-48798579711727430862018-09-01T13:26:00.000-07:002018-10-09T17:54:14.817-07:00Mark Ruwedel: RECENT SELECTED PHOTOGRAPHS<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGXgFQLovhUs4Tx6KoJ95JQnojEVPAaKDbw9AdykvuFMh1nStv95wrtKM5pbVcQoBn51Vg5D79cP8yD-cl66p3wxx-1k44MTCjLgmy0vnJqT9893OqSK0ctprJ3YV4HtX5ZtgjgUwa7wWP/s1600/Ruwedel_CSA.jpg"><img border="0" data-original-height="626" data-original-width="800" height="311" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGXgFQLovhUs4Tx6KoJ95JQnojEVPAaKDbw9AdykvuFMh1nStv95wrtKM5pbVcQoBn51Vg5D79cP8yD-cl66p3wxx-1k44MTCjLgmy0vnJqT9893OqSK0ctprJ3YV4HtX5ZtgjgUwa7wWP/s400/Ruwedel_CSA.jpg" width="400" /></a><br />
<b>1 September 2018 through 7 October 2018</b><br />
Reception for the artist Thursday 27 September 2018, 6-9pm<br />
<br />
Curated by Christopher Brayshaw<br />
<br />
CSA Space is pleased to present a selection of recent color photographs by Long Beach-based photographer Mark Ruwedel, drawn from two recent sequences, <b>Crossings</b>, and <b>Fort Irwin</b>, that depict US desert landscapes marked by signs of photographic surveillance; economic migration; and ongoing military conflict.<br />
<br />
Ruwedel's works have recently appeared at the Tate Modern, UK; Vancouver Art Gallery; Ryerson Image Center, Toronto ON; National Gallery of Canada, Ottawa ON; and Denver Art Museum, Denver CO.<br />
<br />
Mark Ruwedel is represented by <a href="https://galleryluisotti.com/artists/mark-ruwedel/images/">Gallery Luisotti</a>, Santa Monica; <a href="https://yossimilo.com/artists/mark-ruwedel/works">Yossi Milo Gallery</a>, NYC, <a href="http://www.olgakorpergallery.com/artists/mark">Olga Korper Gallery</a>, Toronto; and <a href="http://www.art45.ca/artistes/ruwedel/">Art 45</a>, Montreal. Unknownnoreply@blogger.comtag:blogger.com,1999:blog-4429274496259240114.post-8531872886567429452018-02-16T18:24:00.001-08:002018-02-17T11:01:18.501-08:00Tom Burrows & Bernadette Phan: THREADS<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5Amk01hAWWlqoDNWqqMNRk6xVS7XIyCachtY1ww8RNOB4BA5oTH2FxUr2Voun94vZNtQ-pwWwupRWrCh-itYps1rluwS5-TBs046ml-3LkT_EtbtztzXRgBKok6U4raMLscZlhuS1LjPD/s1600/phan_csa.jpg"><img border="0" data-original-height="1024" data-original-width="577" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5Amk01hAWWlqoDNWqqMNRk6xVS7XIyCachtY1ww8RNOB4BA5oTH2FxUr2Voun94vZNtQ-pwWwupRWrCh-itYps1rluwS5-TBs046ml-3LkT_EtbtztzXRgBKok6U4raMLscZlhuS1LjPD/s400/phan_csa.jpg" width="225" /></a><br />
<br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpsttqepzbZs2Mcui5Me6UyNyCRx5v5FeCRflS4IYAw49A53Bhp3z99PKOruWCpbRxlp5cWjTyfcKf0W0dyIYi-SklOpubLftKidwNl4OFbICIl0-o3c47cpOq1PCmuTV_SXN1Z7rNTaDj/s1600/burrows_csa.jpg"><img border="0" data-original-height="1200" data-original-width="1600" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpsttqepzbZs2Mcui5Me6UyNyCRx5v5FeCRflS4IYAw49A53Bhp3z99PKOruWCpbRxlp5cWjTyfcKf0W0dyIYi-SklOpubLftKidwNl4OFbICIl0-o3c47cpOq1PCmuTV_SXN1Z7rNTaDj/s400/burrows_csa.jpg" width="400" /></a><br />
<b>22 February 2018 through 30 March 2018</b><br />
Opening reception Thursday 22 February 2018, 6-9pm<br />
<br />
Tom Burrows is represented by <a href="https://bau-xi.com/#">Bau-Xi Gallery</a><br />
<br />
“a dense mat of threads which completely hides the animal”<br />
<br />
Painting, weaving and layering set the foundations for the dialogue
between Tom Burrows and Bernadette Phan, whose bodies of work often
involve processes of accumulation, be it the slow buildup of marks or
layering of resin. This exhibition offers a peek at new directions for
both artists.<br />
<br />
For the past few years, Tom Burrows has been working in Jingdezhen, a
city with a history of producing pottery for over 1700 years. In a
discourse between ceramics and his ongoing exploration of cast resin,
Tom creates colour fields that probe the surface and textures of both
polymers and porcelain. “Bethune,” glazed porcelain, is a nod to Doctor
Norman Bethune’s dedication to battle-field surgery in the struggle
against fascism.<br />
<br />
Bernadette Phan's work often negotiates the pictorial plane using
patterns such as ovoids, grids and fields of colour. With "Béance",
Bernadette revisits her painting practice through textile. The woven
surface echoes the stippling of paint on her canvases and the pace
generated in the making. Alongside its colourful siblings, "Béance"
envelops and contains, hanging loosely between painting and sculpture. Unknownnoreply@blogger.comtag:blogger.com,1999:blog-4429274496259240114.post-78411903938499837572018-01-01T12:42:00.002-08:002018-01-02T08:03:59.851-08:00Kevin Madill: VANCOUVER THROUGH PORTRAITURE<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_aalvyV4-6eTyukDCkxnQKMl5UlpQ5vrkqHZGk0tkmMnAgyMwlqdVFQiOXKOi0KEY6GvyXsBiA3EPmmLH59ucSbN7bNIWvn34DYvz5GDOyw3bkbVt_vZmKxZPOrHL5mqiUnIuZFbfS_eP/s1600/MADILL_invite.jpg"><img border="0" data-original-height="241" data-original-width="448" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_aalvyV4-6eTyukDCkxnQKMl5UlpQ5vrkqHZGk0tkmMnAgyMwlqdVFQiOXKOi0KEY6GvyXsBiA3EPmmLH59ucSbN7bNIWvn34DYvz5GDOyw3bkbVt_vZmKxZPOrHL5mqiUnIuZFbfS_eP/s1600/MADILL_invite.jpg" /></a>
<br />
<b>5 January 2018 through 15 February 2018</b><br />
Opening reception Thursday 4 January 2018, 6-9pm<br />
<br />
Curated by Christopher BrayshawUnknownnoreply@blogger.comtag:blogger.com,1999:blog-4429274496259240114.post-67802272104980292922017-10-19T14:31:00.000-07:002017-10-19T14:33:13.623-07:00Michael Drebert, Amy Gogarty and Demian Petryshyn: CARRIERS<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBvNEl1zNS5Jny1T9F0pqP_xf8ofOkeiM07QHv7O3HrY4Z-1Irp7vAlk-5jRAM-lXqSh5ekc2eu9AzgI5Rj0vB1s9wfhY0q2gRzxvAVMj8vBLXxpcrbeHA04AU0nDIIkWX-jfMRW-ZZ4Hf/s1600/Amy+Gogarty+2017.+.jpg"><img border="0" data-original-height="730" data-original-width="1472" height="197" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBvNEl1zNS5Jny1T9F0pqP_xf8ofOkeiM07QHv7O3HrY4Z-1Irp7vAlk-5jRAM-lXqSh5ekc2eu9AzgI5Rj0vB1s9wfhY0q2gRzxvAVMj8vBLXxpcrbeHA04AU0nDIIkWX-jfMRW-ZZ4Hf/s400/Amy+Gogarty+2017.+.jpg" width="400" /></a>
<br />
<div class="MsoNormal" style="background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">
<b>26 October - 17 December 2017</b></div>
<div class="MsoNormal" style="background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">
Curated by Allison Hrabliuk </div>
<div class="MsoNormal" style="background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">
<span style="font-family: "arial";"></span><span style="font-family: "arial";"></span>Reception for the artists and curator Thursday 26 October 2017, 6-9pm</div>
<div class="MsoNormal" style="background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">
<br /></div>
<div class="MsoNormal" style="background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">
<span style="font-family: inherit;">These three artists spend their time responding to where they find
themselves. Through daily walks around East Vancouver, Amy Gogarty interjects
herself directly into the city landscape, painting en plein air to create an
archive of her changing neighbourhood on clay pots. Demian Petryshyn goes
inward, to his apartment, where he expands space through the minutia of natural
aquarium cultivation. Michael Drebert finds himself at the beach, where the sea
and the city meet, and has been writing about his daily encounters of the two.</span></div>
<span style="font-family: inherit;">
</span>
<br />
<div class="MsoNormal" style="background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">
<span style="font-family: inherit;">This exhibition presents their recorded discoveries in clay,
watercolour, and writing, humanizing our encounters with the built structures and
detritus of the city.</span></div>
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<span style="font-family: inherit;"> </span><br />
<span style="font-family: inherit;">Michael Drebert will read from his writings <b>Cormorant</b><i>,</i> during the exhibition opening at <span class="m_-3940256169489223318gmail-aBn"><span class="m_-3940256169489223318gmail-aQJ">7:00 pm</span></span>.</span><br />
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<span style="font-family: inherit;">Image: </span><span style="font-family: inherit;"><span style="font-family: inherit;"><span style="color: black;">Amy Gogarty, <b>China Creek North, Looking North and East</b>, 2017, cone mid-fire stoneware, glaze, underglaze, 11" x 8 3/4"</span></span></span> Unknownnoreply@blogger.comtag:blogger.com,1999:blog-4429274496259240114.post-90115804034392900642017-08-10T11:38:00.000-07:002017-09-17T20:23:38.542-07:00Graeme Wahn: RECENT & SELECTED WORKS (WING NUT)<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtNQmGVVC6ySsq_oB-qIAUNc40pdfCDgCXqCCT8_Fyzpbm9O8REtXD_0Q556gpo-px05XzZR3mU7u2wiiD3s7k-e9UhOJ-8-9M3_ge87U0EushFeF2VGPUKrb7UT3vRup887tne84fOjgp/s1600/wahn_csa.jpg"><img border="0" data-original-height="960" data-original-width="812" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtNQmGVVC6ySsq_oB-qIAUNc40pdfCDgCXqCCT8_Fyzpbm9O8REtXD_0Q556gpo-px05XzZR3mU7u2wiiD3s7k-e9UhOJ-8-9M3_ge87U0EushFeF2VGPUKrb7UT3vRup887tne84fOjgp/s400/wahn_csa.jpg" width="338" /></a>
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<b>10 August extended through 1 October 2017</b><br />
Opening reception Thursday 10 August, 6-9pm<br />
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Curated by Steven Tong<br />
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<i>When we see, we see codes</i><br />
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On August 10th, CSA Space will be presenting a solo exhibition by Graeme Wahn, Recent & Selected Works (Wing Nut). This exhibition sees Graeme maintaining a photographic work ethic aimed to re-present a vision of material worlds through conventions of photographic seeing.<br />
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The exhibition features around fifteen individual works - modestly sized colour photographs set within wooden frames & compositions. The works are handmade, and their meager tactility is likened to imprecise spaces depicted within the images. <i>It’s if you see things flat, and look at a lot of level surfaces. There are also signs, and with scrawls, different marked paper and how it sits square - and then, in the same way, it also gets tightened too, because it reads itself and knows how it forms.</i><br />
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Since graduating from Emily Carr in 2015 Graeme has exhibited at Gallery 295, UNIT/PITT Projects, Flux Gallery in Winnipeg, Penticton Art Gallery, as well as the Vancouver Art Gallery. He continues to live and work in Vancouver and is beginning an MFA at SFU’s School for Contemporary Art in the fall.<br />
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<a href="http://graemewahn.com/">Graeme Wahn's website</a>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-4429274496259240114.post-1673404029245418002016-09-27T21:58:00.001-07:002016-09-28T09:31:06.272-07:00Paul Metrinko: SEASCAPES<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWLqK8Zew9NVL-qvbKdalrYkI14uU_bUPVS_UGir59oKQIFaUE2DIDD1ljEEWEFdiqz2-MPbeVfBl3fruB4Tl4_rdUdIZ5FSxgfLqLQm_1gQGo6nSCrHBDF2yqEUoZdJ0yVYldt6yKuXgk/s1600/PM02.jpg"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWLqK8Zew9NVL-qvbKdalrYkI14uU_bUPVS_UGir59oKQIFaUE2DIDD1ljEEWEFdiqz2-MPbeVfBl3fruB4Tl4_rdUdIZ5FSxgfLqLQm_1gQGo6nSCrHBDF2yqEUoZdJ0yVYldt6yKuXgk/s400/PM02.jpg" width="400" /></a><br />
<b>29 September through 30 October 2016</b><br />
Opening reception Thursday 29 September, 6-9pm<br />
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Curated by Christopher Brayshaw<br />
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<a href="http://paulmetrinko.com/">Paul Metrinko's website</a>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-4429274496259240114.post-25916456264664014492016-09-06T20:14:00.002-07:002016-09-06T20:14:33.661-07:00Clint Burnham: STORIES FOR MY iPAD: PHOTOGRAPHS<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCijN1HhyphenhyphenB7I6QIzJggP4rotvuMSaTABFe9Vt4vyeLs4Ryqey0AYUmFiuhL4K4jloKbre20blOg-gz_bB9zzmoLOScYnRXVuYVU5hpeQYyQJ3J_cgQ6bhyphenhyphenj1NSQKO-0skXV0qaFo3h6edJ/s1600/burnham_csa.jpg"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCijN1HhyphenhyphenB7I6QIzJggP4rotvuMSaTABFe9Vt4vyeLs4Ryqey0AYUmFiuhL4K4jloKbre20blOg-gz_bB9zzmoLOScYnRXVuYVU5hpeQYyQJ3J_cgQ6bhyphenhyphenj1NSQKO-0skXV0qaFo3h6edJ/s400/burnham_csa.jpg" width="400" /></a><br />
<b>28 August through 27 September 2016 </b><br />
Opening reception Wednesday 7 September 2016, 6-9pm<br />
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Curated by Christopher Brayshaw Unknownnoreply@blogger.com