Temporary Assignment - New work @ the Richmond Art Gallery

I've just finished installing a new piece called Ingress/Egress @ the Richmond Art Gallery. The exhibition is called Temporary Assignment and it's up from November 19th - 30th, only a short run, but there will be a closing reception on Friday, November 30th from 7-9 PM and you're invited! After 20 years the gallery is re-surfacing their walls, so they've invited 10 artists to create work that goes right onto or in my case, right into the gallery wall. There's some really interesting work in the show, so I hope you get a chance to drop by. Here's the gallery's website for details about getting there: http://www.richmondartgallery.org/ 

And here's some background on my piece from the official statement:

Ingress/Egress explores notions of affect and agency and the roles that language, technology and architecture play in determining identity and defining the limitations or expectations of body and self.

 

 The two text block tableaus incorporate fragments of found language, including case study data, pop song lyrics, confessional diary entries and social media ‘status’ updates. 

 Each tableau can be read as an entry point or an exit, a virtual portal to explore or escape the public dialogues, private monologues and ambient textual noises that envelop our bodies and inform or intrude upon our innermost self.

Ingress/Egress by one definition suggests: “The power or liberty of access” in relation to “the act or right of going out”.

By carving and rendering text directly into the wall of the gallery, Ingress/Egress hopes to lead the viewer into a consideration of the spatial, textual and virtual constructions that support our public meanings and institutions  and perhaps, suggest a way to carve out our own version of self from the wall of information that increasingly defines our media saturated lives. 

                                

So much for strategy, in reality, 20 years of repeated painting made the gallery walls incredibly hard and very resistant to being intruded upon.  

Knuckles bloodied and arm muscles cramping, I persevered and adapted and some unanticipated surface applications developed alongside the more successful incursions below the surface and while my tactics for tackling the wall were severely challenged, in the end, my intentions were perhaps even better served and I'm pretty happy with how the piece turned out.

Hope you can make it to the Gallery for a look at the finished results. 

Wasted - new work in progress

Slow, silent, omnipresent, all we could see, ever increasing, more toxic than previously thought, photo degradation, malnutrition, metabolized subsequent to ingestion, particularly damaging, the term debris, manufactured and processed, insidiously and ineluctably formed or imprinted, a system of coding, something discarded, the right or duty of intervention, anywhere in the world and ever growing, in ways that are only just becoming known.

 

Glass, rubber, metal, persistent solid material, the overwhelming amount, how vast, domestic waste, unquantifiable plastic mass, buoyancy, durability, undeniable behavioral propensity, indirectly, intentionally, disposed of or abandoned, towards a legal recognition, may be shaped when soft and then hardened.

Obligations, a forage into the great garbage patch, microscopic, their “social contract”, starvation, laceration, fragmented plastic debris, infection and suffocation, new sources of global contamination, enough is enough, just below the surface, the abysmal depth.

 

Over-consuming, we’re all afraid of what we’re going to find, a cylinder of tightly packed, shredded black plastic, strong bonds of various kinds, formerly living materials, blatantly visible, beyond visual, scavengers who take, lethal nature, giving rise to yet another… 

Apologia - a new body of work

Post- Stanley Cup, pre-Occupy, Apologia re-purposes texts taken directly from the raw plywood hoardings that covered Vancouver streets after the June 2011 riots. I've mimicked the gestures and faked the textures and colours of the original scripts and then re-mixed selected portions of the narrative scrawl into a fabricated tableaux of counterfeit relics; creating, in effect - a false 'Apology Wall'.

Lost in the crowd, amidst the spectacle's shameless sermonizing and almost self- congratulatory contrition are fragments of feeling that seem to point to a deeper and potentially meaningful, collective unrest. By re-contextualizing the 'real' wall's chastening catch-phrases, randomly inserting manipulated 'profile picture' images, and assigning imaginary authorship to impersonal confessions, I'm hoping to redeem the more plausible expressions of private regret, remind people of other civic events that bear witnessing, explore genuine acknowledgements of public dissent and perhaps, by reading between the lines, discover the catalysts for inciting a lasting and constructive civic conscience.