Showing posts with label Vancouver Island School of Art. Show all posts
Showing posts with label Vancouver Island School of Art. Show all posts
Saturday, November 4, 2017
Thursday, October 12, 2017
Wednesday, March 22, 2017
Monday, May 9, 2016
Wednesday, April 13, 2016
Tuesday, February 16, 2016
Tuesday, December 29, 2015
Monday, July 27, 2015
Monday, July 6, 2015
Tuesday, June 2, 2015
Thursday, October 30, 2014
Monday, December 9, 2013
Monday, November 25, 2013
Closing party for the exhibit : Difference and Repetition
Vancouver Island School of Art
Slide Room Gallery
2459 Quadra St.
Victoria, BC Canada
Thursday, August 8, 2013
Jeremy Herndl at the Vancouver Island School of Art
You are invited to come and see the culmination of new paintings
and objects created for my upcoming exhibition at the Surrey Art
Gallery. Before the work is shipped away please join me for an Open
Studio at the Vancouver Island School of Art where I have commandeered
an entire classroom (as artist in residence) for the creation of this
project.
You will be treated to a preview of my new work, wine and beer by donation (to the school) and excellent company!
Where:
Vancouver Island School of Art
2549 Quadra Street (plenty of parking in the school yard)
When:
Friday August 16, 2013
7:00 pm - 9:30 pm
Saturday, June 1, 2013
Tuesday, March 5, 2013
Events at Vancouver Island School of Art and Slide Room Gallery
March 7
ARTIST TALK: WHITING TENIS
ARTIST TALK: WHITING TENIS
Slide Room Gallery 7pm
March 21
CURATOR’S TALK: Jenifer Papararo
Slide Room Gallery 7 pm
April 3 – 7
PROJECT SPACE: JACK COYNE
Slide Room Gallery
Diploma student Jack Coyne will be using the Slide Room
Gallery space to create a studio influenced installation that includes his work
and work of local artists of his choice. Reception, artist in attendance,
Friday, April 5 at 7:30 pm
www.slideroomgallery.com, 2549 Quadra St.
April 13-29
TALES FROM THE BACKYARD: CAT THOM
Slide Room Gallery
Final project of Independent Studio student Cat Thom.
Opening, Saturday April 13 at 2pm (in conjunction with the
Open House)
www.slideroomgallery.com , 2549 Quadra St.
April 13
OPEN HOUSE
Vancouver Island School of Art
An exhibition of student work from the Winter 2013 semester,
Saturday, April 13, noon-4pm. Art, collage making and short fiction readings.
Refreshments provided. www.vancouverislandschoolart.
Thursday, November 22, 2012
Friday, May 25, 2012
Frances Beckow, Bonnie Stebbings and Catherine Wallace at The Slide Room Gallery
Diversity
2012 Diploma of Fine Arts Graduation Exhibition
2012 Diploma of Fine Arts Graduation Exhibition
Work by Frances Beckow, Bonnie Stebbings and Catherine Wallace
will be on display in the Slide Room Gallery. This exhibition represents
the culmination of 1512 hours of study at the Vancouver Island School
of Art.
Opening Reception
Sunday June 3 at 3pm
Introductory remarks at 3:15pm
Sunday June 3 at 3pm
Introductory remarks at 3:15pm
2549 Quadra Street
Phone: 250.380.3500
Phone: 250.380.3500
Tuesday, May 8, 2012
Rebekha Johnson’s exhibit, Trousseau reviewed by Deb Gloeckler
You might expect to see a flutter of moths upon entering
Rebekha Johnson’s exhibit, Trousseau, at Exchanges Gallery. There is a strong
sense that something has just been released from the open, cedar hope chests
featured in her latest light-based sculpture. The gallery walls are lined, in
systematic repetition, with small, delicately handwritten, pages that have a
moth-like quality. Each holds a portion of Anton Chekhov’s short story, The Trousseau, and is mounted on thin
red-cedar panels. One wall is empty, as are the pages that lay on top of three white
plinths. The arrangement of the blank pages, loosely bound with ribbon between
cedar panels, suggests something unfinished; as if there was some intent to make
a book but the project was interrupted or abandoned.
Traditional ideas about marriage, women’s roles and women’s
expectations emit from the three large cedar chests propped open in the centre
of the gallery. Through the printed histories of each chest manufacturer,
Johnson describes the economic and cultural changes in society over the past
century. The chests, placed in descending order of manufacture date and weight,
hint at the fact that the role of women, the importance of marriage, the meaning
of home, and the need to stockpile material possessions, have all changed
within that time period. The purpose of the trousseau has been diluted with
each generation. Glowing light escapes through the only thing that still exists
inside the chests: motifs and words, that have been hand-cut into carefully
layered sheets of vellum, like holes in the tissue used to protect the
handcrafted items traditionally saved in a trousseau. Using words from
interviews with her own mother, cousin, daughters and daughter in-law, Johnson
illuminates the evolution of attitudes toward marriage; its importance to women
and its impact on their hopes, dreams and reality. Through the use of light,
transparency and ‘cut-outs’, the chests are made to feel empty, as if something
is missing or has been lost, bringing attention to the unfulfilled dreams or
abandoned intentions of women as they relate to the traditional idea of
marriage. In contrast, a partially opened heavy, chest drawer exposes precious wedding
photographs and ceremony cards that belong to the artist’s own family. Although
the importance of marriage and the traditions associated with marriage have begun
to disintegrate the importance of family remains solid, protected and untouched.
Johnson successfully contrasts the physical weight of the
cedar chest against the weightlessness of light, emphasizing the difference
between dreams and reality. Heavy, dark wood impresses the weight that comes
from saving, planning, and expecting, while the temporary nature and transparency
of light describe the real contents of the trousseau: hopes, dreams, intentions;
many that are never fulfilled or realized. As attitudes toward marriage and the
role of women change over time, the trousseau, as described in Chekhov’s story,
needed for the tradition of saving household and personal items for use after
marriage, has become an unnecessary commodity. Much like the short life of
Chekhov’s character, Manetchka, the trousseau has become a symbol of sadly
unfulfilled intentions and expectations. Johnson asks if we are willing to
release our own attitudes toward the tradition of marriage and family. Although
the trousseau, itself, is outdated and the significance of the traditions of
marriage have degenerated, the importance of family seems indestructible and
may be the one thing that can truly be symbolized by the promise printed on the
trousseau’s cedar lining label, “Guaranteed Against Moth
Damage”.
Sunday, April 29, 2012
Laura Gildner Art Review
Review: Robert Youds- Room Upgrade for a Pacific Northwest Afternoon at Deluge Contemporary Art
Laura Gildner, Critical Studies II
Exploring the ideas of time and space, Robert Youds' Room Upgrade For A Pacific Northwest Afternoon at Deluge is an experiment in perception. Departing from the traditional utilitarian functions of fluorescent light, Youds' use of the medium is prominent throughout the installations. At once powerful, reflective, and mesmerizing, Room Upgrade for a Pacific Northwest Afternoon creates a space where time becomes non-linear and perception must submit itself to the meditative and sometimes disorienting qualities of the atmosphere the show creates. By richly enhancing our sense of sight through the interactions of artificial and natural light in a controlled space, Youds challenges the way we perceive ourselves and our relationships to the self.
Upon entering the gallery, the viewer is most instinctively gravitated towards Room upgrade for Pacific Northwest afternoon, the show's title piece, a series of florescent light bulbs both resting against and framing a set of square wood panels. The panels, each varying slightly in size and forming a collective square backdrop, are reminiscent of a rustic and weathered structure. More organic in their raw, unfinished state, they form a stark contrast and platform upon which to display the prominent fluorescent bulbs of varying heights and sizes. These light sources are displayed in fragmented positions spaced at various distances from each other, instantly enveloping the viewer in their collective power. The pull of the light immediately forms a detachment from the world left outside the gallery, and time almost seems stand still as the viewer takes in its commanding yet tranquil glow. It is only after removing oneself from the light's hold that the awareness of its ability to momentarily suspend the self in what seems like an air pocket of time occurs.
Continuing counterclockwise through the gallery, the viewer is brought to wood is resilient in earthquakes. Formed with layers of grey and yellow plexiglass, wood is resilient in earthquakes sits low to the floor, it's brilliant yet graceful light source resting behind the layers of glass. Much smaller in scale than Room upgrade for Pacific Northwest afternoon, wood is resilient in earthquakes' light is nevertheless at once strong, glossy, and serene, glowing dynamically like a sunset over the water. The echoes and soft hums of its light source aid in creating a meditative stage upon which to reflect as thoughts are lost to the light. As soothing as it is sublime, wood is resilient in earthquakes gives the viewer a resting point between the intensity of Room upgrade and the awakening buzz of usonian cave.
Suspended from the ceiling much like a traditional lamp, usonian cave's function is anything but. The only kinetic piece in the exhibit, usonian cave is a collection of heavy, industrial chains printed on a layer of transparency rounded into a quasi lampshade. Adding a necessary tension to the otherwise static pieces of Room upgrade, usonian cave flashes rotating squares of neon light from beneath it's covering. Quietly mimicking the pace of life that exists outside the confines of the gallery walls, usonian cave is nevertheless unyielding in it's ability to remind the viewer of the power that can come from stillness. As hypnotizing as it is active, usonian cave toys with the viewer's sense of awareness and state of presence as they are led towards turn on your electric.
Perhaps the most pacifying of the installations in the gallery, turn on your electric sits eerily still before the cathedral-like windows of the gallery space. Interacting with the architecture in an almost ideological way, it exists as a moment frozen in time. Made up of two large panels consisting of an array of bright, multicolored plexiglass squares, turn on your electric orchestrates a projection of colour through the gallery as it connects with the natural light pouring in from behind. Two neon lights and a surfboard, presented preciously between the panels like an artifact from a museum of the mind, compete for the viewer's attention. These elements still fall short to the virtue of tremendous colour and luminoscity created by the natural light, however do serve as a tomb to the passing of time. Provoking a state of contemplation and introspection, turn on your electric seems to naturally free the viewer from its grasp once a state of reflection has been achieved. It is only then that an awareness of the self comes to the surface, and the viewer is brought back to the present.
Serving as a bridge back to the realities and rhythms of the real world whizzing by below the gallery, Erickson's cabin is the last piece of the exhibition. While possibly the least invasive to the senses, Erickson's cabin is also the most resonant. Muted and faded light glows steadily like an old memory under a thick box of frosted glass. Beneath it's shell, the viewer can almost sense the thought of a time experienced, unsure of of its importance. Feelings of nostalgia begin to develop before becoming interrupted by the recognition of a single cedar square placed atop of the object itself. The shingle, mirroring the wooden panels of Room upgrade, give the viewer a sense of resolution, of somehow coming around full circle to the exhibit’s experience in altered perception.
It is only after departing the gallery that the viewer can experience the full effects this show has on the psyche. Disorienting and surprising in it's immediate contrast, the repercussions in returning to the accelerated state of being outside this controlled space the leave the viewer feeling almost whiplashed back into reality. What truly resonates after experiencing Room upgrade, however, is the delicate moment in time that Youds' creates. His ability to produce an environment that transfixes the viewer into a state of surrender is truly powerful, and this beautiful escape from our perceived reality is well worth the visit.
Laura Gildner, Critical Studies II
Exploring the ideas of time and space, Robert Youds' Room Upgrade For A Pacific Northwest Afternoon at Deluge is an experiment in perception. Departing from the traditional utilitarian functions of fluorescent light, Youds' use of the medium is prominent throughout the installations. At once powerful, reflective, and mesmerizing, Room Upgrade for a Pacific Northwest Afternoon creates a space where time becomes non-linear and perception must submit itself to the meditative and sometimes disorienting qualities of the atmosphere the show creates. By richly enhancing our sense of sight through the interactions of artificial and natural light in a controlled space, Youds challenges the way we perceive ourselves and our relationships to the self.
Upon entering the gallery, the viewer is most instinctively gravitated towards Room upgrade for Pacific Northwest afternoon, the show's title piece, a series of florescent light bulbs both resting against and framing a set of square wood panels. The panels, each varying slightly in size and forming a collective square backdrop, are reminiscent of a rustic and weathered structure. More organic in their raw, unfinished state, they form a stark contrast and platform upon which to display the prominent fluorescent bulbs of varying heights and sizes. These light sources are displayed in fragmented positions spaced at various distances from each other, instantly enveloping the viewer in their collective power. The pull of the light immediately forms a detachment from the world left outside the gallery, and time almost seems stand still as the viewer takes in its commanding yet tranquil glow. It is only after removing oneself from the light's hold that the awareness of its ability to momentarily suspend the self in what seems like an air pocket of time occurs.
Continuing counterclockwise through the gallery, the viewer is brought to wood is resilient in earthquakes. Formed with layers of grey and yellow plexiglass, wood is resilient in earthquakes sits low to the floor, it's brilliant yet graceful light source resting behind the layers of glass. Much smaller in scale than Room upgrade for Pacific Northwest afternoon, wood is resilient in earthquakes' light is nevertheless at once strong, glossy, and serene, glowing dynamically like a sunset over the water. The echoes and soft hums of its light source aid in creating a meditative stage upon which to reflect as thoughts are lost to the light. As soothing as it is sublime, wood is resilient in earthquakes gives the viewer a resting point between the intensity of Room upgrade and the awakening buzz of usonian cave.
Suspended from the ceiling much like a traditional lamp, usonian cave's function is anything but. The only kinetic piece in the exhibit, usonian cave is a collection of heavy, industrial chains printed on a layer of transparency rounded into a quasi lampshade. Adding a necessary tension to the otherwise static pieces of Room upgrade, usonian cave flashes rotating squares of neon light from beneath it's covering. Quietly mimicking the pace of life that exists outside the confines of the gallery walls, usonian cave is nevertheless unyielding in it's ability to remind the viewer of the power that can come from stillness. As hypnotizing as it is active, usonian cave toys with the viewer's sense of awareness and state of presence as they are led towards turn on your electric.
Perhaps the most pacifying of the installations in the gallery, turn on your electric sits eerily still before the cathedral-like windows of the gallery space. Interacting with the architecture in an almost ideological way, it exists as a moment frozen in time. Made up of two large panels consisting of an array of bright, multicolored plexiglass squares, turn on your electric orchestrates a projection of colour through the gallery as it connects with the natural light pouring in from behind. Two neon lights and a surfboard, presented preciously between the panels like an artifact from a museum of the mind, compete for the viewer's attention. These elements still fall short to the virtue of tremendous colour and luminoscity created by the natural light, however do serve as a tomb to the passing of time. Provoking a state of contemplation and introspection, turn on your electric seems to naturally free the viewer from its grasp once a state of reflection has been achieved. It is only then that an awareness of the self comes to the surface, and the viewer is brought back to the present.
Serving as a bridge back to the realities and rhythms of the real world whizzing by below the gallery, Erickson's cabin is the last piece of the exhibition. While possibly the least invasive to the senses, Erickson's cabin is also the most resonant. Muted and faded light glows steadily like an old memory under a thick box of frosted glass. Beneath it's shell, the viewer can almost sense the thought of a time experienced, unsure of of its importance. Feelings of nostalgia begin to develop before becoming interrupted by the recognition of a single cedar square placed atop of the object itself. The shingle, mirroring the wooden panels of Room upgrade, give the viewer a sense of resolution, of somehow coming around full circle to the exhibit’s experience in altered perception.
It is only after departing the gallery that the viewer can experience the full effects this show has on the psyche. Disorienting and surprising in it's immediate contrast, the repercussions in returning to the accelerated state of being outside this controlled space the leave the viewer feeling almost whiplashed back into reality. What truly resonates after experiencing Room upgrade, however, is the delicate moment in time that Youds' creates. His ability to produce an environment that transfixes the viewer into a state of surrender is truly powerful, and this beautiful escape from our perceived reality is well worth the visit.
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