Published on Brock University (http://brocku.ca)
in [cube] eight:
Department of Visual Arts Honours Exhibition
Rodman Hall Arts Centre
109 St. Paul Crescent
St. Catharines, ON L2S 1M3
April 3 – April 26, 2009
Opening Reception: Thursday, April 4 at 7:00 p.m.
Artist Talk, Thursday, April 24, 12:00 noon – 1:00 p.m.
In [Cube] Eight
by MARLIE CHRISTINE CENTAWER
This collection of work offers an aestheticization of the contemporary experience in various forms. By re-negotiating the everyday through disruption and intervention, these artists explore the liminal space of our contemporary existence, in which the re-articulation of form and content is paramount to understanding the present cultural condition. Although these artists follow their own individual inspirations and creative passions, their work exudes certain commonalities. As a collective, they follow the thread of a haunting dialogue with pre-existing conventions and forms, offering pivotal disruptions and poignant interpretations in the
Sonya De Lazzer confronts conventional under standings of the everyday object, disrupting pre-existing assumptions through interventions with form. Using such naturally occurring and ever-present material as wood, De Lazzer’s intricate investigation of embedded meanings come to fruition in form and content. Offering a deconstruction of form through delicate and disruptive inscriptions, these physical objects provoke curiosity through the malleability of form, and enhance the process of transformation in relation to the trans object.
Dario Ayala reconfigures our contemporary urban landscape through composite photographs that implement a photojournalism and documentary photography aesthetic. These constructed visual affirmations enhance the possibility of reconciling the alienation of the everyday urban experience in a visual medium. The manipulation of anonymous streetscapes breathes
new existence into the stillness of the city, while offering an exploration of space, time, and the subtlety of unnoticed surroundings. Intervening with the everyday, Ayala bears witness to the fragility of existence in which glimpses of events, gestures and moments are paramount.
Nijah Emery’s drawings reveal haunting examinations of presence and absence through the malle ability of the gestural form, which informs the process and conceptual basis of her work. A conduit for elements of the sublime and the uncanny, Emery’s work encapsulates the ephemeral in the gestural, implementing fluid drips and inscriptions which act as modes of
address to past and present moments of remembrance. By exploring the relationship between the object and the abject, Emery enhances the tangible presence of biomorphic forms and their relation to the ephemeral nature of memory.
Meighan Healey mends the present and past through the use of the stitch, exploring intangible elements of the world, such as emotions, thoughts and reactions in the manipulated art object. The emphasis on materiality, manipulation and reconstruction of form inform a process concerned with concealing, revealing, repression, and re-emergence of childhood memory and experience. The combination of visual, textual and aural forms create a poignant installation that acts as both a mode of address and transgress while also demonstrating the fusion of concept, memory and process. By visualizing the experiential, Healey’s work comments on the capacity of memory to take and make meaning from the past and present moment.
Evelyn Bialasik captures loss through the acquisition of pre-existing discarded fabrics, textiles and material. A bricoleur of montage and memory, Bialasik reconstructs the concept of loss using refuse material, using a synthetic environment and microcosm of experiential exploration. The dialectic between process and form is evident in the combination of visual and audio forms, which emphasizes the push-pull dichotomy between accumulation, acquisition, hoarding and manipulation. A monument to forgotten moments, your junk elevates the seemingly banal to the status of (in) stability, requiring a subjective interpretation for the
possibilities of use and refuse.
Jessica Hay explores the relationship between technology and the human hand. Her work emphasizes the time-based process of inscription and the gestural form and its relationship to production and value. Hay’s interest in the pleasure of investment, the aesthetics and aura of lost objects reiterate our contemporary cultural dependency on technology. Infusing her work as a technocratic scribe, Hay emphasizes the human hand as a kind of technology in itself, using embroidery to reinvest time, process and presence in the technologically mediated present moment, ultimately offering an exploration of the space between the immediate and mediated experience.
Anthony Perri addresses the important presence of gaming culture in our contemporary moment. Utilizing a minimalist design and aesthetic, Perri’s work evokes emotional responses from the player, stressing the pivotal relationship between the participant and the game. Objectives and achievements are irrelevant, as the experiential nature of the game and the participant are unique and subjective experiences. These evolve into a fluid form of narrative. Attempting to construct meaning through the experiential, Perri heightens the seemingly banal from a critical perspective, observing the possibilities and potential of the unstructured/structured moment.
Alana Schultz’s The Loved Ones employs materials of refuse that foster the peculiar and disturbed. Coupled with modes of portraiture, Schultz seeks to evaluate the unfamiliar by examining conventions of normalcy and arousing the melancholy pleasures of the unknown. Her work offers duplicitous meanings that provoke and incite while, at the same time, elevating distinct fictitious personalities assembled in the narrative of a bizarre nursery rhyme. Reflecting the liminality of expression and being, these fictitious figments of the imagination retaliate against the conception of social harmony and offer poignant insight into alternative modes of existence. Sifting and searching through hidden spaces and elapsed memories, these artists uncover the bypassed moments of our increasingly fragmented contemporary landscape, attempting to reconcile the proliferation of experiences embedded in the present moment. To incubate is to encapsulate. I am honoured to introduce this outstanding and inspirational collection for Brock University’s department of Visual Arts Honours Exhibition 2009.
Marlie Christine Centawer graduated from the Visual Art program and participated in the Honours Studio Exhibition in 2007. She has since completed an MA in Studies in Comparative Literatures and Arts and is currently working
toward an MA in Popular Culture.
Rodman Hall Arts Centre Gallery hours are Tuesday, Wednesday & Thursday, 12:00 noon to 9:00 p.m., Friday, Saturday & Sunday,12:00 noon to 5:00 p.m. Closed Mondays and statutory holidays.