22 January – 27 February, 2016
Catriona Jeffries is pleased to announce a solo exhibition by Brian Jungen featuring his most recent sculptural work. Using new Air Jordan trainers, which recently celebrated its 30th anniversary in 2015, Jungen returns to a material he is both familiar with and continues to experiment through. Adopting an alternative approach to dissecting and rearranging the material that was developed in earlier work, these new sculptures are produced using the same tools that were utilized to manufacture them: band saw, punches, rivets, drills and an industrial sewing machine, personalizing their industrial production.
As the shoes themselves have changed in terms of design and colour schemes over time, so has the artist’s strategy of using them as representational objects of colonial and First Nation art histories merging with contemporary collective imagery. These new works become more abstract and colorful, continuing to allow the material of the shoe itself to guide his decision about their form and assembly while pushing the possibilities of material depiction. Utilizing as much of the shoe as possible in their production, these objects minimize extraneous material and armatures and act as free standing sculptures.
The resulting works are less a direct representation and contain more a suggestion of animal and human faces, taking advantage of how we innately search for and recognize these particular patterns. This phenomena, oscillating between representation and abstraction, has historically been used in the visual representation of diverse mythologies. It could be argued that myths are always born from trauma and intertwine with the uncanny and supernatural, itself by definition unknown and indescribable. Considering our continued abstraction of faces and bodies through masks and dress, these works can be considered in direct relation to the diverse but unified aesthetics of contemporary global economic, political and cultural conflict.
In some ways, this piece is inspired by my father Xwalaktun’s carvings and how the thunderbird and bear are relational to his work. I created the thunderbird and bear as the centre of my piece with an angled perspective, as if you are looking up at them. This piece is about my identity and how I have been affected by the people in my life and who I look up to.
Closer to the ground, the piece becomes more obscure and abstract; a spirit representation. These abstractions are influenced by my lifelong interest in formline and Coast Salish artwork, as well as observation of organic landscapes and ecosystems. Although we never had a written language I view carving these abstractions as if writing poetry; obscuring and abstracting visual language and ideas to alter and create a different meaning.
I spent most of my childhood and early adolescence learning First Nations form and design from my father, Xwalacktun, a master carver of the Squamish Nation. I developed my own techniques and artistic methodology after fully understanding the traditional foundation of his work. Materials I turn to are metal, red and yellow cedar, lighting, paint, fabrics and found objects to create installations, sculptures, paintings, and film.
I have been given the unique opportunity to approach my art from the different perspectives provided by my complex ethnic background: Euro-Canadian, Coast Salish and Kwakwaka‘wakw, ethically I am responsible for representing the intrinsic values of my First Nations culture. My goal is to continually challenge non-Native and Native definitions and assumptions of what is traditional, spiritual and environmentally ethical. Drawing influence from urban and rural, and by Native and non-Native cultures. I explore concepts of community and identity, reflecting in the study of cultural theory. Through the combination of familiar symbolism of West Coast form-line, modern media and techniques, my work pushes the boundaries of First Nations cultural traditions and the way the world functions around the confines of these understandings. I want to broaden the place held by Native art and culture in the world of contemporary art.
Xwa Lack Tun (Rick Harry), Squamish Nation. Xwa-lack-tun was born and raised in Squamish. His mother is originally from Squamish and Alert Bay (Coast Salish, Kwakiutl) while his father was Coast Salish (Squamish). Xwa-lack-tun was given his indigenous name by his father, Pekultn, who was a hereditary chief, originally from the Seymour Creek area. This artist gained his skills and education from Emily Carr College of Art and Capilano College, but also feels he learned a lot through trial and error.
Xwa-lack-tun is an artist whose works are recognized internationally. In 2005 he received an honorable award from the North Vancouver Arts Council, which acknowledged his contributions both locally and world-wide. Harry’s art focuses on how the traditional stories relate to his life, and how this knowledge can assist us all in healing ourselves. Respect for all people, regardless of race or religion, is a central theme for Xwa-lack-tun.
For more information about please visit his website at:
Newly appointed Assistant Professor Mark Igloliorte is featured in tadalafil online a solo exhibition at lamisil cream canada pharmacy Grunt Gallery. Hailing from Newfoundland, Mark joins us August 1 as an Assistant Professor in the Faculty of Visual Arts and Material Practice, Audain School of Visual Arts.
Diptychs are works of still lifes and studio vignette paintings, a series that has been ongoing since 2010. Painted upon torn phonebook paper, Igloliorte uses this practice to explore ideas of place – both the studio interior and at the city, town or whole region the phonebook paper indexes.
Alla prima paintings of similar size and palette depict commonplace objects and fragments of studio space. These diptychs concentrate on the same subject matter and are hung in pairs throughout the gallery. Through this dual repetition the artist considers observational variance and representation. While subject matter is painted twice over, this repetition is not an effort to replicate. Instead, the shift or fluctuation in perspective rejects an authoritative version, placing a greater emphasis in multitudes over a definitive original.
Mark Igloliorte – Diptychs
Grunt Gallery June 4 – July 18, 2015
Musqueam First Nation, the Museum of Anthropology (MOA) at UBC, and the Museum of Vancouver (MOV) partner on a groundbreaking exploration of an ancient landscape and living culture c̓əsnaʔəm, the city before the city — a series of three distinct exhibitions, opening in the third week of January, 2015. The unified exhibits will connect visitors with c̓əsnaʔəm — one of the largest ancient village and burial sites upon which Vancouver was built — sharing its powerful 5,000-year history and continuing significance.
The exhibition at MOA focuses on Musqueam identity and worldview. It highlights language, oral history, and the community’s recent actions to protect c̓əsnaʔəm. Rich in multi-media, it demonstrates Musqueam’s continuous connection to their territory, despite the many changes to the land. Told from the first-person perspectives of Musqueam community members both past and present, it also seeks to replicate aspects of Musqueam ways of educating. c̓əsnaʔəm, the city before the city at MOA will leave the visitor with a different understanding of the deep history of what is now known as Metro Vancouver.
The exhibition at the Musqueam Cultural Education Resource Centre & Gallery focuses on the sophistication of the Musqueam culture – past and present. It makes connections between the expertise of pre-contact knowledge-holders and contemporary professionals. The exhibition at the Museum of Vancouver draws connections between c̓əsnaʔəm artifacts, Indigenous ways of knowing, colonialism, heritage politics, cultural resilience, and contemporary Musqueam culture. It includes graphic and 3D modelling of maps and artifacts, original videography, family-friendly interactivity, and soundscapes blending traditional and modern sounds.
We’re so excited about this year’s Aboriginal Student Art Exhibition! On National Aboriginal Day, June 21, 2013, the Mayor of the City of Vancouver took the extraordinary step of declaring a Year of Reconciliation, a year long effort that seeks to heal from the past and build new relationships between Aboriginal peoples and all Vancouverites. A year later, on June 24, 2014, the City of Vancouver formally acknowledged that the city of Vancouver is on the unceded traditional territory of the Musqueam, Squamish and Tsleil-Waututh First Nations. This was an important acknowledgement, as it validates what First Nations have been saying since before confederation.
But what does ‘unceded’ mean? In this year’s exhibition, we will explore the meaning of the term ‘unceded’, and consider how this can be applied in other contexts – art, culture, language, social traditions, traditional economies, and intellectual properties, to name a few. Participating artists will present works that speak to these contexts, and provide personal, familial and/or tribal perspectives on the idea of ‘unceded’.
Participating students will also be taking time during the semester to view another significant and related exhibit series entitled “c̓əsnaʔəm, the city before the city”, which opens in three locations beginning January 21, 2015. Here’s a link for more info on the c̓əsnaʔəm, the city before the city exhibit: http://www.thecitybeforethecity.com/
Written by Lou-ann Neel
The Contemporary Art Gallery presents a major solo exhibition by artist Krista Belle Stewart
Motion and Moment Always
January 23 to February 15, 2015
Opening reception: Thursday, January 22, 7-10pm.
Stewart’s practice reclaims personal and cultural narratives from archival material, situating them in dialogue with contemporary Indigenous discourse and engaging the complexities of intention and interpretation. Within this reframing of documents, Stewart’s new installation considers First Nations women’s self-representation and sovereignty. Central to the exhibition is an ongoing project, a bucket filled with distinctive dried clay from land owned by Stewart on the Douglas Lake reservation, and passed down to her from her mother’s family. Not only is this a physical connection to her heritage but also a poetic response to the continued dispossession of First Nations women’s land rights.
Working with her own personal stories and those of the women she met in Nisga’a, Stewart investigates how cultural knowledge is created and exchanged, weaving together new lens-based works with archival photographs and objects from the Nisga’a Museum. These include an image originally shot by Benjamin Haldane, a Tsimshian photographer from Alaska, picturing a Nisga’a woman in a full chief’s regalia surrounded by men dressed in traditional and western clothing. Typical of his work, it offers an example of First Nations self-representation, a counter to the more usual colonial-settler’s gaze.
There is a kinship between Haldane’s and Stewart’s practices through the production of complex and diverse documents of First Nations self-representation. Within this Stewart infiltrates narratives of colonial culture and reasserts connections to pre-colonial traditions while considering the tensions present between institutions as colonial support structures and as living entities shaped by the community they represent.
Krista Belle Stewart is a member of the Upper Nicola Band of the Okanagan Nation. She holds a BFA from Emily Carr University and is currently an MFA candidate at Bard College in New York. At Western Front, Stewart produced a collaborative multimedia performance working with, circa 1918, wax-cylinder recordings by anthropologist James Alexander Teit of her great-grandmother, Terese Kaimetko. Most recently, Stewart was commissioned by the City of Vancouver as part of the “Year of Reconciliation,” Public Art Project where Her Story (2014), a public photo mural and video installation, utilized footage of a 1967 CBC documentary entitled Seraphine: Her Own Story, a scripted interpretation of her mother’s journey from residential school to becoming BC’s first Aboriginal public health nurse. This work was also exhibited in Where Does it Hurt? at Artspeak (2014). Stewart juxtaposes the 1967 film, in which her mother plays herself, alongside a video of her mother’s 2013 Truth and Reconciliation Commission interview, generating a conversation between depiction and lived experience.
Screening and Talk- Krista Belle Stewart
Western Front, 303 East 8th Avenue, Vancouver
Thursday, January 29, 7pm
The Richmond Art Gallery in partnership with YVR Art Foundation is pleased to present Interweavings, an exhibition featuring the artwork of seven emerging BC First Nations artists and their mentors. This exhibition highlights the significance of mentoring relationships in First Nations culture, while foregrounding a growing and strengthening generation of emerging First Nations artists whose works are continuing and challenging traditions. In addition to the knowledge and skills the younger artists gain from their mentors and communities, they are also influenced by other modes of education, decolonization and globalization. Organized by Richmond Art Gallery curator Nan Capogna and guest curator Connie Watts, the exhibition includes photography, weaving, painting, jewellery and carving. A publication will accompany the exhibition.
Check out the Interweavings exhibition at the Richmond Art Gallery before it closes January 11th!
Features the artwork of Emily Carr alumni Lawrence Paul Yuxweluptun, James Harry, Xwalacktun (Rick Harry), and Tamara Skubovius.
Claiming Space: Voices of Urban Aboriginal Youth looks at the diverse ways urban Aboriginal youth are asserting their identity and affirming their relationship to both urban spaces and ancestral territories. Unfiltered and unapologetic, over 20 young artists from across Canada, the US, and around the world define what it really means to be an urban Aboriginal youth today. In doing so they challenge centuries of stereotyping and assimilation policies. This exhibit will leave visitors with the understanding that today’s urban Aboriginal youth are not only acutely aware of the ongoing impacts of colonization, but are also creatively engaging with decolonizing movements through new media, film, fashion, photography, painting, performance, creative writing and traditional art forms.
If you have a chance during the Holiday break, check out the Claiming Space exhibition at the Museum of Anthropology before it closes January 4th. It features the work of Emily Carr’s graduates and students from our degree program and Continuing Studies Summer Institutes including; Jeneen Frei Njootli, Ippiksaut Friesen, Ellena Neel, Diamond Point. Kelsey Sparrow, and Taleetha Tait