Thursday, August 27, 2015
August 25 - September 12 2015
Through the lens of liminality, Linda and Marilyn seem to challenge existing boundaries and explore place as a threshold of fluid and shifting experience where we can begin to think and act in new ways. In these new works, they suggest a variety of interactive spaces. The result is illusory space, a projected plane of scale and colour that becomes part of an intimate physical encounter.
Linda and Marilyn are interested in taking a fresh approach to the challenges of making compositions with a persuasive sense of depth, drama and play. These paintings promise a dynamic dimension, creating subtle plays on perceptual and imaginary space.
The show, “Betwixt and Between”, is an invitation to envision, meditate, contemplate, dream, celebrate and imagine.
Tuesday, August 25, 2015
Taryn Brown & Wendy Oppelt
August 24th - September 27th
Opening Reception: Sat. Aug. 29, 2015
1 to 4 pm
The human spirit and the splendor of nature endlessly inspire contemporary artist, Wendy Oppelt. Born and raised in Edmonton, AB, Oppelt found her way to Victoria, BC, via Calgary, Vancouver, and Adelaide, AUS. She grew up in a home full of artistic expression. Her father, a bigger than life character, was a professional artist and performer. The family home was an ever-changing canvas with murals on the walls and a yard highly decorated with flowers, sculpture and paintings. It was shortly after the passing of her father in 2009 when Wendy picked up her father’s brushes and began to explore her joy and grief. Her first piece of work was accepted into the Sidney Fine Arts Show.
Taryn was born in Oliver, BC where she studied art from a young age. At the age of 18 she won the honour of having her art featured on the cover and inside of BC Art Teacher’s Magazine. She is a prolific artist who studied Art History at The University of Victoria. She received her BA from Uvic and lives in Victoria currently. Also, she studied in Malaga, Spain--Picasso's birthplace-- at the Instituto Al-Andalus in 1998. She teaches art at the secondary school level and is an active member of the FCA (Federation of Canadian Artists) and competes in juried shows at the Federation Gallery in Vancouver. Recently she won an Award of Excellence from the FCA.
Monday, August 24, 2015
2-3pm: Interactive Sculpting Demonstration
3-4pm: Try Your Hand at Sculpting!
Plus: Summer Draw, Fall Class Registration & Refreshments!
RSVP & more info: www.melaniefurtado.com/open-
Saturday, August 22, 2015
Jaedan Chayce Leimert Q&A about the show “Hollow” at the Fifty Fifty Arts Collective with Sheila R. Alonzo
1. What can you tell me about Hollow?
Hollow as a concept, is quite different than my previous work. There is a very sincere
directness in the pieces. I felt an impetus to create a new body of work that reverted back
to more natural materials, rather than synthetic ones. The show also meditates on ideas of
emptiness, transience and memory.
2. How did you decide on the specific materials?
I’m often influenced by my immediate surroundings. At the time of Hollow’s conception,
I was living in the Shuswap, staying at my family’s cabin out in the woods. In a way, the
show is a product of my time there. Being enveloped in a forested environment definitely
had an effect on me, insofar as a sense of rawness coinciding with quietness. This is more
or less the feeling I was trying to convey in using untreated pieces of wood. I’m also
drawn to the idea of material decay. Wood has a wonderful duration of wear – the change
is imperceptible in the present, yet somehow it’s materially embodied.
3. Where did you source the materials?
Some of pieces came directly from the Shuswap (the charred stump & hollowed logs),
while others were fabricated in Kelowna and Vancouver. It also helps when your father is
For me, it’s a way of appreciating both positive and negative space equally. Many of the
pieces have empty space between, or within the objects themselves. The emptiness is
contained. I think that each medium achieves this feeling in different ways. The
sculptures are obviously very physical, while the photographs for example, contemplate
more abstractly on the space that exists in memory, or perhaps more accurately, forgotten
5. When did you decide that arrangement is of equal importance to the individual pieces?
Part of what’s interesting as a viewer is to make correlations between work; finding threads of connection, whether it’s the artist’s intention or not. It was important for me to arrange the
objects in a way to best facilitate an overarching dialogue. I like to think of it in regards to
Koffka’s phrase “the whole is other than the sum of its parts.”
In terms of when, Hollow as a unified show was decided long before any of the actual
pieces were created.
6. Are there any pieces that are part of the exhibit that did not make it in the exhibition?
For certain. I find that the final decision is always contingent on the chosen exhibition
space. There were other ideas for potential sculptures or for another set of photographs,
but when I actually sat down and envisioned how I was going to arrange the works there
wasn’t really a good place for them. I decided that it was better to X them rather than to
plug them in just for the sake of it.
7. What's next?
I have a couple new ideas that I would like to work out simultaneously. One of which
will be a spatial installation, in collaboration with an engineer friend of mine, Sam
Melamed (who helped me with Fringe I-VI). It will involve laser light and resonating a
milled slab of wood. The other is to start fabricating new works for an exhibition I have
in mind entitled, disorder. The show will be based on subversion. My vision is for it to be
uncomfortable, disjointed and perhaps slightly grotesque.
Sunday, August 16, 2015
Are you the kind of person who needs to take a selfie every half hour or so? Don’t feel bad. There’s nothing wrong with a little self-obsession. There is even a show at Martin Batchelor Gallery just for you.
Soltanovich & Quiroz, the team that brought you comic book covers last year, have come up with another great idea. It’s a blatant exploitation of the selfie phenomenon. Lots of artists responded…and why wouldn’t they? Who can resist a guilt-free chance to let their inner narcissist hang out?
I’m a big fan of selfies myself, especially my own. So where to start? With my own contribution of course! It exudes wit, imagination and world-class photo-shopping skills, perhaps not too surprising given my sophisticated cosmopolitan background. It was made at great personal risk and I think it’s the most amazing piece in the show. That may just be my opinion but I’m the one writing this so I could be a little biased. It’s not egotism, just healthy self-esteem. I’m expecting it to go viral.
But hey it’s not all about me. There are some other good ones. Styles range from conventional portraiture, to photographic, collage to conceptual. Some of the faces look confident and some bemused some don’t look like faces at all. There were no rigid guidelines. Everybody participated in his/her own individual way. The opening was very well attended.
I don’t remember ever seeing such a bold, different, audacious, unusual, narcissistic, fearless….even solipsistic collection of submissions in one place at one time. It’s Me! Me! Me! everywhere. People clearly appreciate the chance to put themselves out there.
Highlights include Dame Mailarta, who isn’t known for her shyness. (Dale Roberts didn’t have time for one unfortunately.)
Jim Swain instantly recognizable.
Bruce Dean aka Johnny Cash.
An outstanding sculptural triptych by Debora Alanna.
There’s a curious piece by Will Gordon….a young (native?) man wearing a necklace of cigarette butts with a condom feather in his hair, Anina Kunstler’s Klee-like iconography, Roy Green surrounded by his various interests, a whimsical figure by Laura Balducci, Arlene Nesbitt’s variation on camera and mirror and a fragmented Sabina Proulx. There are a couple of zombies, and even some nudity!
So there you have it. Some of you are probably thinking ‘what about me?’ I worked hard on that piece and he didn’t even mention it! Call that a review?!? Well apologies to those people who got left out but it’s a big show. Don’t take it personally. All involved excelled themselves in exposing their wonderful unique talented selves to the public gaze.
The show is up until August 27th so enjoy it while it lasts. After that it’s back to obscurity and self-effacement.
Wednesday, August 12, 2015
Monday, August 10, 2015
I was born deaf. My mother would recall how I would press my hands against the living room speakers to feel the vibration of music. These electroacoustic objects, constructed to make speech and music audible, created wonder and innumerable emotions in my tiny mind and body despite my profound lack of sound perception. While I regained my hearing at the age of three, I believe the early absence of this sense gave me a hyperawareness of the importance of tangible objects in enhancing one’s reality. The art object as a tangible entity has the ability to shape experience. My work is designed with the purpose of enriching one’s life.
The influence of Canadian Art and the West Coast aesthetic has molded my practice. The spirituality of the wilderness is reflected in the incorporation of indigenous materials in my work. I have also been fortunate to be instructed under First Nations artists. While we don’t share the same faith, their ability to navigate the contemporary art world while drawing on the integrity of their traditions has been a powerful model of how I can
represent my lineage in a physical and tactile manner.
Through my sculptural practice I have realized my passion for materials and the balance of their construction reflects my desire to create meaningful experiences for the viewer. Tangible elements of color, texture, and light have the ability to reflect intangible values. As I delve more in to the creative sphere I recognize the communicative potential of a sculptural object in dispatching my thought, convictions, and ideology.
Art allows me to create tangible environments and objects that can nurture an awareness of sensory understanding in viewers that may have been silenced through past encounters or lack of experiences.