Diane Lade at Errant Art Space

Rande Cook at Empty Gallery

Regan Rasmussen at arc.hive Artist Run Centre

Kasper Boss-Moodie at The Fifty Fifty Arts Collective

The work in SOFT MOMENTS grows from the artist's personal connection to tactile experiences and observations of Identity, both public and private. The body of work offers opportunities for viewers to experience moments through tactile interactions, both individually and collectively.

Kasper Boss-Moodie is a current visual arts student at the University of Victoria. He has exhibited in British Columbia and Ontario. Kasper works with sculpture and installation to explore themes of vulnerability, the body, and tangibility.

Megan Dickie at Open Space 2017

Jeffrey Wynne at the Fifty Fifty Arts Collective

Washed Ashore Art Installation by Roberto Maralag III - Sept. 2015

Tristan J. Zastrow at the Fifty Fifty Arts Collective

Carlos Colin of Definiciones/Definitions at the LAB in AGGV - Spanish

https://www.youtube.com/watch?v=1iiuCZP0UvI

Yannick Desranleau and Chloe Lum (Séripop) at Open Space

Yannick Desranleau and Chloe Lum (Séripop)

Dates: Tuesday, June 10, to Friday, June 20, 2014
Artists: Yannick Desranleau & Chloe Lum
Genre: Visual arts
Place: Open Space, 510 Fort Street, second floor
Admission: By donation

During the month of June, Yannick Desranleau & Chloe Lum (Séripop) will be instigating a series of site-responsive installations throughout the city of Victoria.
The Montreal-based duo’s interventions—sculpted from sheets of brightly coloured, screen-printed paper—unfold a disorienting collection of narratives, aesthetic references, and histories. Improvisation and experimentation structure the installations that temporarily take over the space until they are trodden and torn by passers-by, revealing the impermanence of monumentality.

Biographies
Yannick Desranleau and Chloe Lum live and work in Montreal. In their installations, sculptures, prints, and other interventions, they explore how material entropy affects readings of a given work through the implementation of strategies displaying diverse mechanical contingency. They have exhibited in Canada and abroad, notably at YYZ artists’ outlet (Toronto, 2013), The Blackwood Gallery (University of Toronto, 2012), Musée d’art contemporain de Montréal (Quebec Triennial, 2011), Kunsthalle Wien (Vienna, Austria, 2010), BALTIC Centre for Contemporary Art (Gateshead, England, 2009), and Whitechapel Project Space (London, England, 2007). Their collaborative work has been acquired by many private and public collections, notably the Victoria and Albert Museum in London.

Troi Donnelly at the Ministry of Casual Living

Persist is an on-going project committed to constructing new objects from the remnants of an inflatable vinyl plastic air mattress. The twice constructed word 'persist', as well as an ever-growing pile of fir cones, addresses a state of insistence, a stubbornness which can be interpreted in a negative sense, and at the same time, imply a sense of optimism.

Persist will be shown in our Decade exhibition space on 1407 Government st.

Dec. 1 to Dec. 31, 2013 

Jillian Player at The Ministry of Casual Living

Jacquelyn Bortolussi and Danielle Proteau at the Fifty Fifty Arts Collective

Carly F. Smith at the Fifty Fifty Arts Collective

Shiny Happy People, featured at the Fifty Fifty Arts Collective, is a sculptural installation by Victoria-based American artist Carley Smith. Shiny Happy People is composed of recycled non-precious materials, proposing a challenge to what is considered precious, beautiful, and enjoyable. Playful and colourful, the work crosses between installation and object-based pieces that gain personalities and tendencies of their own. Often succumbing to gravity and wind currents, the environment and the materials evolve over the course of the exhibition. Change is welcomed – subtle or sudden – reflecting the pieces back into their previous material states of garbage, decay, and dysfunction. Nothing is permanent, and nothing is immune to change. As the materials undergo change, they act as metaphors for humans and the constructed society we live in, one in which people and their material things are veiled in a manicured, glitzy disguise until deemed obsolete. If art can change or deteriorate naturally and still retain its beauty, why can’t people and their objects? Are we denying a completely natural and unavoidable fact, and who truly are the Shiny Happy People?

Connie Michelle Morey at the Metchosin Art Gallery