October 8, 2006 - December 30, 2007
Artist Talk: Friday, October 20 at 1 p.m.
Opening Reception: Friday, October 20 at 8 p.m.
Tracing Night is a veil of suspended glassine paper 45 feet wide by 12 feet high that cuts across the gallery in a gentle curve. Pien's large-scale ink drawings on the glassine depict a girl asleep, accompanied by images that appear from her dream. A fan causes the entire veil to undulate gently. Beyond this suspended work, a large-scale installation in the form of an elongated figure-eight is laid out on a slight diagonal along the length of the gallery. The outer layer of this work progresses from light to dark blue, evoking the passage of day into night. Pien has overlaid silhouetted images of winged, part-human creatures on the blue-tinted surfaces. Their numbers multiply in a dense swarm as they gather towards the darkened end of the structure. Sound is used to enhance the spatial quality of the installation by activating the entire gallery space.
Ed Pien draws on sources both Eastern and Western to create his fantastic figures, including Asian ghost stories, hell scrolls and calligraphic traditions. The work, says Pien, “is initiated by the childhood wonder and fear of night. In darkness, details are lost and solid forms seem to give way to ephemeral, hard-to-define shapes. In this state, the senses appear to sharpen; yet physical perceptions succumb to wild imagination.”
Ed Pien was born in Taiwan and grew up in London, Ontario. He received his Master of Fine Arts degree from York University, Toronto, and his Bachelor of Fine Arts degree from the University of Western Ontario. He has exhibited nationally and internationally, in venues that include The Drawing Centre, New York; The New Paradise, Taipei; La Biennale de Montréal; W139, Amsterdam; Contemporary Art Gallery, Vancouver; Museum of Contemporary Canadian Art, Toronto; Canadian Cultural Centre, Paris; Middlesbrough Art Gallery, UK; Parkhaus, Berlin; Galerie Maurits van de Laar, The Hague; Pruss and Oches, Berlin; and Ex-Concento del Carman, Guadalahara. Ed Pien will also be participating in a national touring drawing exhibition curated by Kim Moodie, David Merritt and Sheila Butler. Ed Pien's work is in the collections of the Musée des Beaux Arts, Montréal; The Canada Council Art Bank; McIntosh Gallery, London; Hamilton Art Gallery; Agnes Etherington Art Gallery, Kingston and the University of Toronto. Ed Pien is represented by Galerie Pierre-François Ouelette in Montreal and by the Birch Libralato Gallery in Toronto.
Image: Ed Pien, Tracing Night (details), ink on glassine paper, 2004.
Photography by Isaac Applebaum.
Listen for light. See sound. Feel human presence.
July 13 - September 15, 2006
Opening Reception: Thursday, July 13 at 7 p.m.
The Ali and Corinne Hansen Family Fund Exhibition for 2006.
Kumlyun Lee will suspend motion-sensitive fabric tubes from the gallery ceiling at Rodman Hall in her installation entitled Listen for light. See sound. Feel human presence. Visitors to the gallery will walk between the tubes, their movement and interaction initiating sensor activated coloured light and sounds. In recent years Kumlyun Lee has been exploring the possibilities of digital technology as a medium for a reconnection of nature and humanity. For Kumlyun Lee, it is the interaction of the spectator with the art work which brings the art to life.
Kumlyun Lee was born in South Korea. She pursued post graduate studies in Japan, where she received a master's degree and a PhD in media art at Kyoto Seika University. She has been an active member of various multimedia groups and has participated in numerous international exhibitions. Currently, Lee lives and works in Seoul, South Korea, where she is as a full-time lecturer teaching digital art and scenography at Kaywon School of Art and Design.
Image: Kumlyun Lee, Listen for light. See sound. Feel human presence, multi-media installation, 2006.
NUDE OR NAKED?
Selections from the Permanent Collection
May 12 - August 27, 2006
Opening Reception: Friday, May 12 at 7 pm
Curated by Amanda Bonomo
The history of western art often places women as the primary subject, model, and the muse of the male artist — the subject of what has come to be known as “the male gaze.” This term was coined by British film theorist Laura Mulvey who identified the dominance of the male point of view in the history of cinema. Similarly, art critic John Berger observed that “men act and women appear. Men look at women. Women watch themselves being looked at” and he went on to deconstruct the subject of the female nude in art. Berger observed that “to be naked is to be one’s self. To be nude is to be seen by others and yet not recognized for oneself. A naked body has to be seen as an object in order to become nude.” It is with this collection of drawings from Rodman Hall’s permanent collection that one can question and compare the two terms; naked and nude.
Each artist has approached the female subject in a different manner. Some have chosen to see “her” as a landscape — the body as a pleasing arrangement of forms and shapes. But others have captured intimate moments of their subjects which seem to connect us to an individual. Sometime the gaze is returned, or a title names a person and a deeper, more complex relationship between the artist and the model.
Image: Sir Edward Burne-Jones (English, 1833-1898), Study for Two Figures in the Pygmalion Series, c. 1865-1870, chalk on paper, Gift of Dr. and Mrs. Albert Taliano, 1977. RH Acc. #308
RHONDA WEPPLER & TREVOR MAHOVSKY
May 12 - July 2, 2006
Opening Reception: Friday, May 12 at 7 p.m.
Vancouver artists Rhonda Weppler and Trevor Mahovsky are specialists in the translation of everyday objects into wryly poetic monuments to consumer culture. They produce representations of common objects like staples, coffee cups, flags, shopping carts and cars using processes such as casting, tracing or embossing to record the shape and surface characteristics of an object. The finished works translate the forms into commentary – crumpling slowly under their own weight they have become a presence whose emptiness is deeply felt. Weppler and Mahovksy’s work refers to a culture of things, and indicates the accompanying sense of loss that plagues our collective consciousness.
The exhibition will feature the Thirty Foot Canoe Yawl (Collapsible), 2006, in addition to a new work constructed on site.
Rhonda Weppler and Trevor Mahovsky are Vancouver-based collaborative artists. Their work has recently been exhibited at the Or Gallery, Vancouver, the Ottawa Art Gallery, Owens Art Gallery, Sackville, New Brunswick; Galerie loop-raum, Berlin; Arco, Madrid; Pari Nadimi Gallery, Toronto, and at the Southern Alberta Art Gallery, Lethbridge, Alberta. Rhonda Weppler’s work has also been exhibited in shows such as Art Hypermarkets: Contesting Consumerism, Palazzo delle Papesse, Siena (2004), and Domicile, Centre on Contemporary Art, Seattle (2004). Trevor Mahovsky’s work has been included in Crossing the Line, Queens Museum of Art, New York (2001), and These Days, Vancouver Art Gallery (2001).
Image: Rhonda Weppler & Trevor Mahovsky. Foreground:Thirty Foot Canoe Yawl (Collapsible), fir veneer, resin, clamps; dimensions variable, 2006.
Background: Hummer HZ, tinfoil, glue, 2006.
January 22 - March 4, 2006
Opening Sunday, January 22, from 2 - 4 p.m.
Please join us for a a slide illustrated talk and tour of the exhibition by the artist on Thursday, March 2, from 1 - 3 p.m.
Despite their differences, the spaces depicted in Richard Perkins's painting seemingly belong to the same, hive like structure. Yet it is an artificial world, where exterior walls suspiciously extend towards the four edges of the canvas, and where elements rarely hide their origins as crudely made models. In the absence of life and with the suggestion of abandonment, and in the free mixing of the real and the imaginary, these images depict a world of psychological states as much as physical places.
For the last eight years the painter Richard Perkins has been involved in a multidisciplinary practise. Each of his paintings has been based on a corresponding three-dimensional model. His series of paintings entitled Forms derived from papier mâché tubes that were twisted into knots. His Constructs series developed from models glued together with illustration board, and his series entitled The City emerges from complex mixed media architectural models.
Perkins creates paintings from memory, and in the process investigates the character of memory itself. His new paintings derive, in whole or in part, from specific recollections and observations from his past. His images are an amalgamation of moments, combining at times the distant memory of lived experience with references to vaguely remembered images of architectural modernism.
Richard Perkins received his BFA in Studio Art and Art History from Concordia University in Montreal and his MFA from the University of Guelph, in Guelph, Ontario. He has exhibited his work across Canada and in Sweden. He His is currently based in Cambridge, Massachusetts.For more information about Richard Perkins, go to his web site at http://www.richardperkinsarts.com
Image: Richard Perkins, The Final Construct, oil on canvas, 2005
Brock University Department of Visual Arts Honours Exhibition
April 6 - 29, 2006
Opening Reception: Thursday, April 6 at 7 p.m.
Rodman Hall Arts Centre is pleased to announce Fusion, a group exhibition of multimedia art featuring original work by seven fourth year students in Brock University’s Visual Arts Honours Program. The exhibition opens on Thursday, April 6 and closes on Saturday, April 29. The public is invited to a reception with the artists on Thursday, April 6, 2006 from 7 to 9 p.m. Gallery Hours are Monday through Thursday from noon to 9 p.m., and Friday through Sunday from noon to 5 p.m. Admission is free.
The works selected span a wide range of artistic practices, techniques, and methods to address the exhibition theme, Fusion. To merge elements into a whole is to create a fusion. Parts coalesce. Individuals unite. But there is ultimately no whole without the diverse; the distinct; the separate from which it is formed. The artists involved in the exhibition have each charted their own individual, conceptual and aesthetic path over the past eight months working at Rodman Hall. Their work represents the fusion of all that each person has accumulated over a lifetime; over this intense period of learning and research, that is university.
A Juried Exhibition of Artwork by the Students of Brock University's Visual Art Program
March 9 - April 2, 2006
Opening Reception and awards presentation: Thursday, March 9 at 7 p.m.
Juried by Arnie McBay and Lorraine Zandvliet
BLEND is a student run event that is part of the larger Arts Festival which has been running at Brock University for more than 25 years featuring student works in visual art, music and drama. BLEND will be a rich combination of the finest of Brock students' visual art.
BLEND is open to VISA students at Brock university. There is no fee for entry. No artist is allowed more than two entries. Artists wishing to be a part of BLEND can bring their art work and register at Rodman Hall Arts Centre on Monday, March 6 from 5 to 7 p.m. or Tuesday, March 7 between 10 a.m. and 4 p.m. Jury awards will be announced at the opening reception on Thursday, March 9 at 7 p.m.
November 27, 2005 - January 14, 2006
Opening Reception: Sunday, November 27, 2 - 4 p.m.
Persona Volare is a collective of twelve Toronto-based artists dedicated to the exploration of non museum sites, especially those sites that have a special symbolic charge. While their media is diverse - sculpture, photography, painting, video and new media - their single intention is to invade and transform unlikely spaces.
Catherine Bédard, Director of Visual Arts Service at the Canadian Cultural Centre in Paris, France invited the Toronto artist collective to install projects in the galleries and non gallery spaces throughout the Canadian Embassy in Paris in the spring of 2005. Installations took place in hallways, stairwells, and washrooms, in the galleries and in windows, on flagpoles, in the outdoor courtyard, as projections, projectiles and projectables.
The group's intention was to create an exhibition that contained metaphors of conversation, intoxicating highs and resolute instinct. The exhibition, designed for the unique characteristics and qualities of the Canadian Cultural Centre, will be adapted to the unique character of Rodman Hall and will be comprised of video projections and monitors, sound, digital imagery, text, film, painting, drawing, photography, print making, sculpture, as well as "liquid and electronic diversions."
Persona Volare is indeed a Canadian Club as is the well known staple of any bar, which leads the artists to describe their work in this exhibition as "spirited, euphoric and stimulating."
For more information about Persona Volare, please go their web site at http://personavolare.com/