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Graduate catalogue Concordia University print media department 2013 Forward by Erika Adams Featuring work by Alexis Williams Jeanette Johns Hideki Kawashima Aanchal Malhotra Natalie Draz Christine Garvey Maryse Arsenault Jennifer Lupien Elliott Rajnovic

Text of Offset Fine art print catalogue

  • SET OFFgraduate cata log:

    pr in t media d iv i s ion 2013

  • SET OFFgraduate cata log:

    pr in t media d iv i s ion 2013

    DO YOU SENSE HOW ALL THE PARTS OF A GOOD PICTURE ARE INVOLVED WITH EACH OTHER, NOT JUST PLACED SIDE BY SIDE? ART IS A CREATION FOR THE EYE AND CAN ONLY BE HINTED AT WITH WORDS from What is Painting (1966-68) John Baldessari

  • In his piece, What is Painting (1966-68), John Baldessari pokes at the modern notion that an idea can be art. Drawing from instructional manuals, he implies that traditional making or viewing doesnt serve the (then) contemporary proliferation of performative and conceptual works. That self-reflextive and playful mode of art production wasnt new, and many artists continue to consciously locate themselves with an eye to the critical past in relation to their practice.

    The artists in this survey are all engaged in the process of understanding that relationship to making; perhaps the legacy of artists like Baldessari and Duchamp lies in the awareness new artists have of their complicity in the evolving definition of art. The absurd paradox of Baldessaris saying, a word cant substitute for an image, but is equal to it, is that it is true, then false, then true again.

    Whether looking for a greater underrstanding of the opacity and transparency of formal and conceptual relationships, delving into a dialogue between self and spaces, or exploring the shift of perspective between text and image, these artists are deeply involved with the evolving exchange between their practice and the viewer. Even if the viewer is the artists self, it is through that relationship that we achieve a sense of the greater implications of our creative endeavors.

    I would like to thank all the artists for participating in this catalog and for the assistance of Christine Garvey and the design work of Elliott Rajnovic.

    Erika Adams

    Assistant Professor of ArtPrint MediaConcordia UniversityMarch 2013

  • Butterfly wings, mushroom spores, spider webs and deer carcasses are but a few of the unexpected materials that define the artwork of Alexis Williams. Needless to say, such acts as scavenging, foraging, and collecting are all fundamental strategies that the artist employs. Roaming from east coast tides to Alaskan highways in search of new creative measures, the rhizomatic momentum is indicative of the sense of quest inherent to this artists practice. Sites of engagement range across a spectrum as broad as virgin forests, trance dance floors, and science laboratories. By means of such endeavors, Williams weaves a web that binds the artifacts of ephemeral traces to compose fugitive archives.

    f iona ann i s on : ALEXIS WILLIAMS

  • jacque l in he icher t on : JEANETTE JOHNS

    In her work, Jeanette Johns transforms antiquated, standardized and objective con-cepts and makes them highly personal and relative through the act of isolation, transformation and replication. In this way universal concepts such as distance or time become intensely relative, distance becomes measured by years of muscle memory and time becomes measured in terms of the slow incremental shifting of the earths plates.

    In Johns work we, the viewer, obtain a privileged perspective in that we are placed either above or below regular sightlines and the elusive experience of observation is rendered into order through patterning and perspectival illusion. The viewpoints that Johns work occupies acknowledge and challenge canonical beauty as well as over-arching concepts and knowledge systems that structure our everyday experiences. In Johns work the gap between empirical standard and experience is highlighted, and the intricacies of our conceptions of the observed world are brought to the infinite edge of a horizon line.

  • Printing and sculpting are often actions at the center of Hidekis unscripted perfor-mances displaying the intimate relationships between the artist, his tools and the objects of his creation. The work I get good feedback on is work that I do without a plan. His unpretentious performance work often begins with a visceral process, reminiscent of insect behavior, that develops into spontaneous and genuine actions. He executes uncomfortable tasks that put him in states of submission, similar to ceremonial prostra-tions, his body bound by self-imposed rules that increases the challenge of an unfa-miliar task. The viewers empathy with the awkward and painstaking efforts creates a tension and frustration towards the emerging paradox: interfering in an attempt to relieve the artists struggle would in fact be counterproductive in elevating his dignity. We are left to contemplate and relate to the desire to do things the hard way.

    a lex i s w i l l iams on : HIDEKI KAWASHIMA

  • Aanchal Malhotra explores the world of multidimensionality in an effort to capture in image and text the ephemeral and banal feelings circulating around us. Inspired by a lifetime of contact with the physicality of text Aanchal belongs to one of Delhis oldest bookseller families - her work engages with the malleability of language as a system of meaning that both represents and shrouds multiple dimensions of reality. In her most recent work, Je suis triste aujourdhui, she turns inwards to focus on the process of producing text, on the intimate practice of writing as a daily exercise of reflection and remembering, as a path to unearthing the yearning behind words. She opens up a world of possibility in her view of language as a vehicle to explore the depth of her own experience, the hybridity of her diasporic journey, and the shallowest layers of the mundane.

    lorenzo vargas on : AANCHAL MALHOTRA

  • The daily commute is a playground for the daydreamer. In terra cognita Natalie Draz shares these passing dreams. Small buildings are sheltered by a prone body, a paper simulacrum of the artist herself. Among and within are tiny books holding poetry captured on Montreals Metro. Transparent arms reach down, words tattooed in thread on woven skin. These are then projected floating on the floor guarded by a glowing curtain of buildings. Cities have been many things in Drazs work: hungry monsters, symbiotic and parasitic inhabitants of the human body, a flock of creatures to curl up with. Now they become the neurons and pathways of memory, externally carrying her fleeting thoughts and visions. Narrative tries desperately to connect, but the arms never touch the dreamer or lay claim to the pages below. What is left is disconnected words, frozen seconds building a fragmented whole. It is the rare opportunity to visit the streets of unconscious remembrance.

    SHE DREAMS THE C ITY madela ine lyons cooper on : NATALIE DRAZ

  • Through a mixture of spilled ink and sinuous networks of fur, appendages and talons, Christine Garveys mixed media, paper-based sculptures exude, in texture and form, a surrealistic naturalism that speaks to her interest in transformation and survival. Though bits of natural creatures catch the eye in Pink Becoming (2012), for example, woodblock prints of tentacles and fur wind around feather-like splatters of black ink these fragments are interwoven between and across abstracted, painterly components that interrupt the interpretation of Garveys work as totally animal. In creating such amalgams of form, Garvey takes an experimental, organic approach by producing constituent parts that are then assembled in-situ. Woodblock-printed, laser-cut and painted swaths of mylar are layered, draped and sliced to produce three dimensional sculptures that are displayed in nebulous forms on the wall. This evolutionary pro-cess mimics the process of becoming to which Garvey refers in her work: dependent, contingent and inevitable.

    mar i s sa neave on: CHRISTINE GARVEY

  • With her project Sanguine/Terre Brule, Maryse Arseneault seeks to address continued disregard for the presence and cultural contributions of the First Nations people on Acadian territory. The installations eight-pointed star which crowds the gallerys floor, controlling movement through the gallery space can be found on traditional blankets and crafts in both Mikmaq and Acadian homes. Here it is meant to function as an entry point for the discussion of a shared history, often untold.

    With silkscreen and digital print-making, Arsenault has both masked and adorned these nineteenth century portraits of American Aboriginals: interrupting any conventional reading of these photographs and disrupting the discourse of discovery they have been used to support. Arsenaults exhibition hopes to function as a venue for conversation, contemplation, and respectful discussion of not only the shared past, but also the shared present and the shared future of First Nations and non-first-nations people in New Brunswick and in Canada, at large.

    soph ia bar tho lomew on: MARYSE ARSENEAULT

  • Jennifer Lupien folds space. The space around us that is often overlooked, the space in between things, the temporary, the forgotten, and the fleeting. At the crossroads of applied and fine arts, her installations unite print media, found photographs, paper engineering and sculpture to present an exploration of our surroundings.

    Much of her work evolves from spontaneous discoveries that refer back to an absent subjects history and memory: collections of photographs found whilst rummaging in an alley outside her house, drips of paint left on studio floors, and other peculiarities that generally go unnoticed within the urban landscape. In her hands, even of the simplest material, a white sheet of paper, is transformed, modulated, assembled and rearranged to present another dimension that allows us to se