Wednesday, February 3, 2016

P. Jean Oliver at the Little Fernwood Gallery

Pulp and Process at Madrona Gallery

Tim Pitsiulak, Bow Head Whale, 48 x 96, Coloured Pencil on Paper

Pulp and Process

Contemporary Canadian Works on Paper

Madrona Gallery is pleased to present Pulp and Process, a group exhibition of works on paper by contemporary Canadian artists from coast to coast.  This show explores the various creative, often surprising, ways artists use paper in their practice. From watercolours to detailed drawings, prints to three dimensional collages.

Featured artists include Shuvinai Ashoona, Ningeokuluk Teevee, Kudluajuk Ashoona, Meghan Hildebrand, Luke Ramsey, Barry Hodgson, Morgana Wallace and Caitlin MacDonagh.  

Opening reception: Feb. 11, 2016 -  7pm 
Madrona Gallery 
606 View St.
Victoria, B.C.

Monday, February 1, 2016

Liam Hanna Lloyd - February 2016 - Artist of the Month

Liam Hanna Lloyd was born in Victoria BC; his childhood immersed in paint and ink, graphite and charcoal. Liam’s teens were spent listening to local luminaries immortalized in aerosol, drawing ideas too tall to take and realizing realistic reverie. Today and always art is not something that Liam does; it is his whole life, it is perpetual, it is an exhale. He is a self taught artist, who finds lessons in old movie posters, house sparrows, memories and the sub conscience.  His goal is to put forth a pure and humble idea which communicates to every person.

Saturday, January 30, 2016

Polychrome Fine Art and Deluge Contemporary Art - Two Duos - by Philip Willey - January 2016

There have been a lot of prominent deaths lately. Lemmy, Bowie, Glenn Frey, Paul Kantner, cultural icons some of us older folks have grown up with. There will certainly be more. Who’s next? Keith Richards seems to have some kind of exemption. Dylan maybe? Most people in their seventies are bound to wonder when and where old Grim will appear. It’s the elephant in the room.

Which may seem like a downbeat way of introducing two  enjoyable shows, Ty Danylchuk and Jason Balaam at Polychrome and another, ‘hide in plain sight’ at Deluge Contemporary Art. Apart from being duos the shows have no obvious connections to each other. 

Ty Danylchuk works with found objects and collage. This puts him in line of descent from artists like Schwitters and Rauschenberg but with his own original twist. He doesn’t like statements. The collage series are Fifties imagery against a graffiti-like background. There are tobacco pipes with smoke-like bushy tails. Duchamp comes to mind. Shawn Shepherd saw them in Ty’s studio and encouraged him to show them.

Ty Danylchuk
Jason Balaam is more forthcoming. Paintings on his website are full of colour and movement. He talks about intoxication, delirium. He even has the words tattooed on his head. But he has gone through a major transformation recently. His hair has grown back and the work at Polychrome Fine Art is more restrained, monochrome…. it appears minimal from a distance but it contains complex textural variations.

Jason Balaam
In his statement he talks about youthful psychedelic experiences and his feelings about exuberance and colour….
‘Years of handling all that chaotic colour through pattern has given me the eyes to see colours within the white and the ability to imbue these serene white surfaces with some of that old magic chaos.’

It’s a lively and inventive show. Danylchuk and Balaam have years of experimentation ahead of them. Neither of them appears to be running out of time.

Over at Deluge Contemporary Art where James Lindsay and Lance Austin Olsen, two of Victoria’s senior artists, are having a show the mood is more contemplative. The title, hide in plain sight, is apt. The work is introspective and personal but public at the same time.

James Lindsay
Lance Austin Olsen
In this show Lindsay uses discarded canvas found locally to make a series of abstract paintings….Olsen has chosen to show two energetic triptychs and some of his distinctive graphite drawings. Olsen’s work appears monumental… almost defiant where Lindsay’s is colourful, witty and surprisingly unpolitical. There is also a tableau of objects from Lindsay’s studio representing treasured memories and moments, the tangible things he has collected over a lifetime. They include Buddhas, a severed hand (plastic), joss sticks, the ubiquitous skull and various containers installed below an early seascape by Myfanwy Spencer Pavelic.

Lindsay is from Scotland, Olsen from England, but curiously, there are no references to shared history, no bagpipes, no coronation mugs, not even a hint of Stonehenge.

Perhaps after living so many years on the West Coast they have detached themselves from their antecedents and been absorbed into the prevailing ethos, but it’s still possible to make out residual traces. James Lindsay has maintained an uncompromising revolutionary position from his Chinatown loft. Lance Austin Olsen likewise is fiercely skeptical of those in power whilst striving for inner stillness in James Bay. There is a dialectic element in much of Lindsay’s work and a distrust of language in Olsen’s which makes for interesting juxtaposition and commonalities.

“The exhibition is the result of the independent investigations of each while operating as a kind of interrogatory of each other.” Deluge Contemporary Art.

This show is both timely and moving. As we age the material world becomes less and less important. Only spirit matters. Both Lindsay and Olsen are approaching the end of their respective journeys of discovery. There’s nothing morbid or gloomy about this show but there is an invisible presence. Both artists must think about death occasionally. Is it an end or a new beginning? Should we rage or go gently into the good night? These are questions  all of us have to come to terms with sooner or later.

The Polychrome Fine Art show runs until Feb. 4th..    " hide in plain sight " is at Deluge Contemporary Art until Feb. 27th.

Wednesday, January 20, 2016

Elizabeth Charters - Pictures of Light - interview by exhibit-v - January 2016

 - When you talk about the viewer situated in constructed environments is this in the context of art environment or other social environments? 
When I mention the condition of being constantly situated as a viewer, I mean to speak of the way in which we are all viewers (active or otherwise) in the constructed environments of our societies. Specifically thinking of the influx of images and texts we are provided with by the variety of marketing and advertising that floods our every day experiences; whether its online advertisements, billboards and television screens in the street, or even a bulletin board in an office or school setting.

- How neon, video, objects and signage interpret the viewer's experience in your opinion ?
Using neon and video, I am to employ the direct disruption of space that will cause a viewer to find pause through a physical engagement with sculpture or installation. With signage and text-based works, I am investigating the authority of voice, the notion of authorship, and the power of communication as it manifests in the realm of objecthood. In both instances, I hope to “interrupt” the viewer’s experience by creating a moment of hesitation, providing them with the chance to pause and reflect on their place in the experience.

 - Can you talk a little bit more about " the placeholders of memory "  ?

The placeholders of memory is a romantic idealization of objects that I see everywhere I go. I am drawn to explore the objects on mantlepieces or bookshelves in every new environment I visit. On a basic level, I see these collections of personal objects as a somewhat redundant habit we have. Often the objects we keep and display in our living rooms are sentimental in value and useless in every day life. Thus, I see objects as becoming physical placeholders of the memory they invoke for the owner.

 - What inspired you in the Peter Mettler’s documentary to used the same title for your show ? 

Peter Mettler’s documentary inspired me in a variety of ways. In explaining the link between the film and choosing to construct the show’s title after it, I think the quotation below (from the narration in the film) best explains it:

“We live in a time where things do not seem to exist if they are not captured as an image. But if you look into darkness you may see the lights of your own retina – not unlike the Northern Lights, not unlike the moments of thought. Like a shapeless accumulation of everything we have ever seen.”

Specifically, I am interested in the investigation of the notion that “things do not seem to exist if they are not captured as an image.” We live in a time where a high percentage of the population has a digital camera in their pocket at any given time. With a variety of social media platforms taking over our ways of communicating, I am curious about the veracity of Mettler’s assertion that we cannot help but attempt to capture everything we see or feel in an image.

Pictures of Light runs through Sunday, Jan. 24th, 2016
Gallery Hours: Saturdays and Sundays, 12 to 4 pm,
or by appointment.
Xchanges Gallery and Studios 

Saturday, January 9, 2016

Lorraine Betts, Joanna Pettit, Lynda McKewan and Marjorie Allen at Dales Gallery.


 Lorraine Betts,  Joanna Pettit, Lynda McKewan and Marjorie Allen 

January 5 – 31, 2016

Dales Gallery   

537 Fisgard St

Curator's Choice at Madrona Gallery

Curators' Choice

Opening Reception: January 9. 1-4 PM
Exhibition runs until January 23.

This group exhibition consists of specially selected works of Gallery artists by Theresa McFarland and Michael Warren. Within this unique collection are some of our personal favourites that we do not get to exhibit often due to space constraints or timing with other planned shows. Included are major works by Ernestine Tahedl R.C.A, Corrinne Wolcoski (Pictured above), Wendy Wacko, Nicholas Bott, John Lennard, Peter McFarlane, Halin de Repentigny, Meghan Hildebrand, Nancy Ruhl and Linda Jones.