3 SCULPTORS: SAMUEL ROY BOIS / ELSPETH PRATT / JACK JEFFREY
MAY 31 - JUNE 29, 2019
While Samuel Roy-Bois, Elspeth Pratt and Jack Jeffrey have never been brought together in an exhibition before, there are a number of serendipitous affinities within their sculptural practices that made this a compelling affair. All three artists make work that evoke the principles of factura, a term used by Russian constructivists to forefront the laboratory and experimental side of art making — demonstrating the objects’ “madeness” and distinct material properties. They also share a fascination with our designed, built and administered contemporary environment. Their quotidian observations and use of modest, readily available material, are filtered through a number of formal tropes that weave together strands of minimalism, arte povera and conceptual art into three distinct practices that situates the viewer in a state of precariousness and wonder.
Samuel Roy-Boisis widely recognized for his large-scale installations that explore the socio-political dynamics of our built environment. His work, which includes sculpture, performance, photography, drawing and writing, is motivated as much by a theoretical critique of the production of space as it is driven by a ludic drive towards a pure pleasure of making. Roy-Bois is Assistant Professor in Creative Studies and Director of the Research Studio for Spaces and Things at the University of British Columbia, Okanagan. His travelling solo exhibition Presences can currently be seen at Kamloops Art Gallery until June 29th.
Elspeth Pratt’s sculptural practice is an aesthetic investigation into the abstract nature of our constructed social environments. Utilizing humble and familiar material and introducing her own handmade gestures into the geometric language of industry, Pratt introduces a poetic dimension to her critique of social space. Pratt has shown nationally and internationally for three decades and her works can be seen in collections across Canada. Alongside her extensive exhibition record she has produced numerous public artworks, including a major commission for the Richmond Olympic Oval and Vancouver Art Gallery’s Offsite on Georgia Street, Vancouver. She is an Associate Professor and Director of Simon Fraser University’s School for Contemporary Art.
Jack Jeffrey is known for an interdisciplinary practice that includes sculpture, installation, video, writing and music. His work often shows a playful, subtle, yet critical treatment of everyday objects and spaces and makes references to the “poetry” of arte povera, the “chance” of surrealism, the “phenomenology” of minimalism, and the “activity” of process art. Jeffrey has exhibited extensively, including in Canada, Europe, Australia and China. Recently, his work was included in the Trapp Projects exhibition Serpentine Path at Terminal Creek Contemporary, Bowen Island. Jeffrey is Professor Emeritus at Emily Carr University of Art and Design, Vancouver.
GREEN GLASS DOOR
Noah Friebel, Marisa Kriangwiwat Holmes, Theo Terry and Graeme Wahn
Curated by Patrik Andersson
April 25 – May 18th, 2019
Opening Thursday April 25 6-9pm
“What goes through the Green Glass Door? A feeling, not a certainty”
Like the riddle that gives this show its title, this exhibition encourages the viewer to enter a game of visual art to make links and discover differences between the distinct practices of Noah Friebel, Marisa Kriangwiwat Holmes, Theo Terry and Graeme Wahn. All four share an interest in exploring the limits and possibilities of photography and have made work that moves beyond its documentary nature to address their conceptual and physical framing devices. All graduated from Emily Carr University of Art and Design within the last four years and share the distinction of having shown in the prestigious Philip B. Lind Emerging Artist Prize exhibition at North Vancouver’s Polygon Gallery — Marisa Kriangwiwat Holmes winning the prize in 2017.
GREEN GLASS DOOR has been made possible by the generous support of Ian Penn and Sandy Penn Whitehouse as well as Judith Steedman and Chernoff Fine Arts.
LEFTOVERS: TOPOGRAPHIES OF CHANCE
LEFTOVERS: TOPOGRAPHIES OF CHANCE
FEB 28 - APRIL 6 2019 OPEN SATURDAYS 12 - 5 PM OR BY APPOINTMENT
274 East 1st Avenue (entrance from alley)
KIM KENNEDY AUSTIN / STEVEN BREKELMANS / ANDREW DADSON / CHRISTOS DIKEAKOS / HANNAH DUBOIS / CAMERON KERR / EVAN LEE / JEAN MACRAE / N.E. THING CO. / ISABELLE PAUWELS / PARVIN PEIVANDI / RYAN QUAST
Housed in a leftover space, this exhibition gives a nod to the shifting, gentrifying elements of its building and neighbourhood, and fits nicely into the serendipity inherent in the mandate of TRAPP Projects.
Since its inception in 1997, TRAPP Projects has been inspired by the SnarePicturesof the Romanian/Swiss artist Daniel Spoerri who, in 1959, began trapping the leftovers from breakfasts, lunches and dinners to make his own psycho-geographic reading of everyday life. Similarly, this exhibition maps out a series of relations between social, economic, political and aesthetic interests. Leftoversis also a term meant to evoke material and intellectual concerns of the artists shown. From Ryan Quast’s meticulous documentation of the leftovers of his artistic production, to Parvin Peivandi’s mobilization of tattered Kurdish rugs that occupy the leftover spaces of the gallery, the exhibition traces art production that has been glanced over, left behind, or explores the very idea of leftovers.
Not unlike Daniel Spoerri’s book An Anecdoted Topography of Chance(1962), this exhibition is organized to be experienced like a stroll taken in every direction at once. Or, like Robert Smithson once said about the space between his Sites and Nonsites, it may open up a space where “one may lapse into places of little organization and no direction.”