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<channel><title><![CDATA[LAKE COUNTRY ART GALLERY - ART WORDS]]></title><link><![CDATA[https://www.lakecountryartgallery.ca/art-words]]></link><description><![CDATA[ART WORDS]]></description><pubDate>Mon, 09 Mar 2026 15:35:50 -0700</pubDate><generator>Weebly</generator><item><title><![CDATA[Reflection on Byron Johnston’s Anthropocene…]]></title><link><![CDATA[https://www.lakecountryartgallery.ca/art-words/reflection-on-byron-johnstons-anthropocene]]></link><comments><![CDATA[https://www.lakecountryartgallery.ca/art-words/reflection-on-byron-johnstons-anthropocene#comments]]></comments><pubDate>Tue, 22 Oct 2024 18:00:54 GMT</pubDate><category><![CDATA[Uncategorized]]></category><guid isPermaLink="false">https://www.lakecountryartgallery.ca/art-words/reflection-on-byron-johnstons-anthropocene</guid><description><![CDATA[written by Julie Oakes.There are three difficulties, according to Sigmund Freud's "Civilization and Its Discontents," that stand between man and a life of perfect being &ndash; the body, the natural world, and one's fellow man. Each aspect can prevent human ascendancy - the body's pain and eventual disintegration, nature with discontentment from the elements, climate and wild beasts, and societal contumely manifested from various causes, from love denied to property rights to war. But these aspe [...] ]]></description><content:encoded><![CDATA[<div class="paragraph"><span><span style="color:rgb(0, 0, 0)"><em>written by Julie Oakes.</em><br /><br /></span></span><font color="#2a2a2a">There are three difficulties, according to Sigmund Freud's "Civilization and Its Discontents," that stand between man and a life of perfect being &ndash; the body, the natural world, and one's fellow man. Each aspect can prevent human ascendancy - the body's pain and eventual disintegration, nature with discontentment from the elements, climate and wild beasts, and societal contumely manifested from various causes, from love denied to property rights to war. But these aspects are also sources of man's pleasure, graces, and fates. The process that had led to advances against these three could be termed 'civilization'. Conversely, civilization can put man back to find himself pitted against the three graces but with the three furies winning. Climate change. This potential message is served without malice, contempt, or didacticism in Byron Johnston's exhibition Anthropocene, a cautionary tale spiced with Johnston wit. It bodes not gloom and doom but hope at mankind's - and nature's - resilience.<br /><br />A vineyard is an example of man shaping the wild to his own ends as centuries of cultivation turned the grape plant (found naturally and discovered as edible) into the robust varieties of wine, jam, and juice enjoyed today.&nbsp; Not resting with picking and popping the small fruits into the mouth in place, man figured a way of pressing the berries and making juice, which, in containment and with care, became alcoholic. The ancient Greeks found this accomplishment worthy of a godly crown. Hence, Dionysus (Bacchus) entered the pantheon of gods and goddesses, influencing man and being the cause for festivals, celebrations, nuptial toasts, and a good many mornings in recovering hangovers. The significance of wine endured after Dionysus fell from cultural popularity; table wines flourished, and the Christian tradition saw it as such a staple that wine became a sacrament in their Holy Communion.<br /><br />This 'wine timeline' took place during the Anthropocene, our current geological age during which man has profoundly impacted the environment, causing climate change. Johnston has taken the slogan, "3 R's - reduce, reuse, recycle&rdquo; - where each person can counter the trend - and put it into artistic play. The Okanagan is renowned for its vineyards alongside orchards of tree fruits. The vines that Johnston used to create his pieces for the Lake Country Art Gallery exhibition are from the fallout of climate change and this domination of civilization.&nbsp; An unusual bitter cold snap this winter of 2024 brought down many Okanagan vines. Sadly, man's carefully trained plants died - a fateful morning after. When offered the bulky load of dead vines, Johnston saw it as an invitation to recycle a sculptor's material within the tangled shapes. Then, coming from his practice of creating from a variety of found and invented materials and referencing and then recycling older works, a new and artistic Anthropocene came into being, one that didn't chide as much as wryly acknowledge the downsides of civilization - always more memorable than a scolding.<br /><br />The exhibition Anthropocene embodies important and timely concerns as Johnston treats his subject matter thoughtfully, providing clues for the viewer to navigate through the installation. He intended orange to symbolize 'alert' as commonly seen in roadwork signage and Hi-Viz vests while yellow is 'safety'. Throughout the exhibition, there are seven eye-scopes or peepholes, small open circles on long stems (six are orange, one a neutral aluminum) through which a perspective can be seen. A proposed pathway through Anthropocene begins outside the gallery where a pile of dead wood (grapevines) surrounds a ballot box, and a wrinkled mirroring surface framed in the same wood detritus reflects the person standing before it. Positioning the viewer in front of the orange peephole placed directly in front of the gallery window reveals the interior with a&nbsp;huge yellow chair, with it&rsquo;s back to the room, and with it&rsquo;s front as if looking out the window.<br /><br />Entering, we are confronted with a shape common to playgrounds which refers to Johnston's concern for ongoing generations, the grandchildren. The teeter-totter that must be passed in order to enter the inner galleries has a great bulk of twisted roots and stems contained neatly in a man-made bundle, but were a man (much less a child) to try, and sit upon the aesthetically considered orange seat, his hands clasping the golden globe to steady himself, he would not be able to budge that bundle. The effect of climate change has proven to be heavy.&nbsp;&nbsp;<br /><br />Johnston grants opportunities to switch attention away from the artist towards the viewer. The work encourages inspection. Sculptures that use glass cylinders show nature's designs and purposes. The unparalleled perfection of a column of white eggs in the middle of which is a brown egg while crowning the column lays a wild bird's egg, ups quotidian to extraordinary. In another glass tube, purple grapes slump downwards, mulching as the full stack that appeared on opening night impulsively asserts its 'grape nature' and a small puddle of drips appears on the base. Knowing these food products, we are prompted to consider their life cycles as we worry about rot and fruit flies or wonder at the potential, as in the case of the rye seeds trailing through a mini tube into a pyramid, to sprout. Rye, a fast-growing crop, is planted first to prepare the ground for other grains being seeded. Johnston respects nature's ongoing processes and offers a small bow to man's ingenuity.&nbsp;<br /><br />The viewer becomes the focus when visiting Byron Johnston's Anthropocene although they do appear somewhat convoluted. Strategically placed stainless steel mirrors on snaking copper arms are set to reflect visitors, not frighteningly or even clearly, but funny, like at a carnival's House of Mirrors. And proportionately, Johnston has portrayed mankind in Lilliputian terms with a chair for a giant (yellow - a safe seat?) or with a tiny aluminum chair mounted near the ceiling where a hole has been cut for a head to poke through to see what is above. There is a piece based on the principle of a periscope for the delight of feeling mystified. Enigmatic assertions like the conveyor belt, now rusted but once used to sort apples, sport a couple of fresh apples that would be stopped in their progress by a dilapidated baby carriage filled with wood shavings - the question as to what this generation is bequeathing to the next is again introduced.<br /><br />And since Byron Johnston is kind in his delivery, Anthropocene is a wake-up call with a melodic chime. The inventiveness exhibited is testimony to man's potential to find solutions, for art to imagine the limitless forms that our existence and influence can take. Johnston's message isn't necessarily dismal. He has shown that beauty and reason can be summoned when problems are carefully phrased. </font><span><font color="#2a2a2a">&nbsp;</font><br /><br /></span><span><span style="color:rgb(0, 0, 0); font-weight:700">NOTES:</span></span><br />Civilization and Its Discontents (1930) by Sigmund Freud explores the tension between individual desires and societal norms.<br /><br />There are around 185 licensed grape wineries and 3,575 hectares (8,830 acres) of vineyards. The long, narrow Okanagan Valley runs for around 210 kilometers (130 miles) from the northern town of Salmon Arm to the border of the United States in the south.<br /><br />With El Ni&ntilde;o in place for the winter of 2023-2024, many growers were hoping for the forecast above-normal temperatures that normally occur with that event. Unfortunately, on January 13th of this year, Kelowna recorded temperatures of &ndash;30 degrees Celsius (&ndash;22 Fahrenheit).<br /><br />*Freud&rsquo;s Civilization and Its Discontents, vineyards in the Okanagan and 2023-24 winter temperatures in the Okanagan, Google Search, Google,16 October 2024<br /><br /><span><span style="color:rgb(0, 0, 0); font-weight:700">Guest Writer:&nbsp;<br /></span></span><span><span style="color:rgb(0, 0, 0)">Julie Oakes</span><span style="color:rgb(0, 0, 0); font-weight:700">:</span><span style="color:rgb(0, 0, 0)"> With a career spanning some 40 years, Julie Oakes is well known as a provocative, culturally critical, multi-dimensional artist who expresses herself through sculpture, painting, drawing, writing, video, and performance. Whether working with feminist, humanist, or spiritual themes, her work flirts with autobiographical elements. Oakes has shown her work extensively in both major Canadian and American collections.</span></span><br /><br /><span></span></div>]]></content:encoded></item><item><title><![CDATA[ARTIST AND PHILOSOPHER]]></title><link><![CDATA[https://www.lakecountryartgallery.ca/art-words/artist-and-philosopher]]></link><comments><![CDATA[https://www.lakecountryartgallery.ca/art-words/artist-and-philosopher#comments]]></comments><pubDate>Fri, 02 Aug 2024 18:25:43 GMT</pubDate><category><![CDATA[Uncategorized]]></category><guid isPermaLink="false">https://www.lakecountryartgallery.ca/art-words/artist-and-philosopher</guid><description><![CDATA[Essays by artist Ashley Johnson   	 		 			 				 					 						    Loosening Identity        Boas in Mangroves     					 								 					 						    Symbiotic Revolution        Resurrection of Looking     					 							 		 	        	 		 			 				 					 						          					 								 					 						          					 								 					 						          					 							 		 	   A few words about ASHLEY JOHNSON&nbsp;from guest curator Julie Oakes:Ashley Johnson&nbsp;was inventing alternative ways of exhibiting in a fraug [...] ]]></description><content:encoded><![CDATA[<div class="paragraph"><span style="color:rgb(42, 42, 42)">Essays by artist Ashley Johnson</span></div>  <div><div class="wsite-multicol"><div class="wsite-multicol-table-wrap" style="margin:0 -15px;"> 	<table class="wsite-multicol-table"> 		<tbody class="wsite-multicol-tbody"> 			<tr class="wsite-multicol-tr"> 				<td class="wsite-multicol-col" style="width:47.567567567568%; padding:0 15px;"> 					 						  <div style="text-align:center;"><div style="height: 10px; overflow: hidden;"></div> <a class="wsite-button wsite-button-small wsite-button-normal" href="https://www.lakecountryartgallery.ca/uploads/1/5/1/9/15194804/ashley_johnson_loosening_identity.pdf" target="_blank"> <span class="wsite-button-inner">Loosening Identity</span> </a> <div style="height: 10px; overflow: hidden;"></div></div>  <div class="wsite-spacer" style="height:11px;"></div>  <div style="text-align:center;"><div style="height: 10px; overflow: hidden;"></div> <a class="wsite-button wsite-button-small wsite-button-normal" href="https://www.lakecountryartgallery.ca/uploads/1/5/1/9/15194804/ashley_johnson_looking_for_boas_in_the_mangroves.pdf" target="_blank"> <span class="wsite-button-inner">Boas in Mangroves</span> </a> <div style="height: 10px; overflow: hidden;"></div></div>   					 				</td>				<td class="wsite-multicol-col" style="width:52.432432432432%; padding:0 15px;"> 					 						  <div style="text-align:center;"><div style="height: 10px; overflow: hidden;"></div> <a class="wsite-button wsite-button-small wsite-button-normal" href="https://www.lakecountryartgallery.ca/uploads/1/5/1/9/15194804/ashley_johnson_the_symbiotic_revolution.pdf" target="_blank"> <span class="wsite-button-inner">Symbiotic Revolution</span> </a> <div style="height: 10px; overflow: hidden;"></div></div>  <div class="wsite-spacer" style="height:10px;"></div>  <div style="text-align:center;"><div style="height: 10px; overflow: hidden;"></div> <a class="wsite-button wsite-button-small wsite-button-normal" href="https://www.lakecountryartgallery.ca/uploads/1/5/1/9/15194804/ashley_johnson_the_resurrection_of_looking.pdf" target="_blank"> <span class="wsite-button-inner">Resurrection of Looking</span> </a> <div style="height: 10px; overflow: hidden;"></div></div>   					 				</td>			</tr> 		</tbody> 	</table> </div></div></div>  <div><div style="height: 20px; overflow: hidden; width: 100%;"></div> <hr class="styled-hr" style="width:100%;"></hr> <div style="height: 20px; overflow: hidden; width: 100%;"></div></div>  <div><div class="wsite-multicol"><div class="wsite-multicol-table-wrap" style="margin:0 -15px;"> 	<table class="wsite-multicol-table"> 		<tbody class="wsite-multicol-tbody"> 			<tr class="wsite-multicol-tr"> 				<td class="wsite-multicol-col" style="width:41.153661627989%; padding:0 15px;"> 					 						  <div><div class="wsite-image wsite-image-border-none " style="padding-top:10px;padding-bottom:10px;margin-left:0px;margin-right:0px;text-align:center"> <a href='https://www.lakecountryartgallery.ca/exhibitions/what-trickles-through' target='_blank'> <img src="https://www.lakecountryartgallery.ca/uploads/1/5/1/9/15194804/20240802-122221_orig.jpg" alt="Picture" style="width:auto;max-width:100%" /> </a> <div style="display:block;font-size:90%"></div> </div></div>   					 				</td>				<td class="wsite-multicol-col" style="width:19.944777990356%; padding:0 15px;"> 					 						  <div><div class="wsite-image wsite-image-border-none " style="padding-top:10px;padding-bottom:10px;margin-left:0px;margin-right:0px;text-align:center"> <a href='https://www.instagram.com/ashleyjohnsonartist/' target='_blank'> <img src="https://www.lakecountryartgallery.ca/uploads/1/5/1/9/15194804/20240802-122253_orig.jpg" alt="Picture" style="width:auto;max-width:100%" /> </a> <div style="display:block;font-size:90%"></div> </div></div>   					 				</td>				<td class="wsite-multicol-col" style="width:38.901560381655%; padding:0 15px;"> 					 						  <div><div class="wsite-image wsite-image-border-none " style="padding-top:10px;padding-bottom:10px;margin-left:0px;margin-right:0px;text-align:center"> <a href='https://akimbo.ca/listings/ashley-johnson-at-dupont-rail/' target='_blank'> <img src="https://www.lakecountryartgallery.ca/uploads/1/5/1/9/15194804/20240802-122147_orig.jpg" alt="Picture" style="width:auto;max-width:100%" /> </a> <div style="display:block;font-size:90%"></div> </div></div>   					 				</td>			</tr> 		</tbody> 	</table> </div></div></div>  <div class="paragraph" style="text-align:left;"><span style="color:rgb(42, 42, 42)">A few words about ASHLEY JOHNSON&nbsp;from guest curator Julie Oakes:</span><br /><br /><em><strong style="color:rgb(42, 42, 42)">Ashley Johnson</strong><span style="color:rgb(42, 42, 42)">&nbsp;was inventing alternative ways of exhibiting in a fraught South Africa&nbsp;before he left. Imagery that was shocking or dislocating on first seeing Ashley Johnson's&nbsp;paintings was a result of a personal incomprehension of the narrative's origins. Also a&nbsp;committed writer, the text that accompanied his first exhibition at Headbones Gallery in&nbsp;Toronto was a way into the information behind his unique visual vocabulary and it added to&nbsp;my world view. Ashley Johnson's work became the cornerstone of the NEOPRIEST (New&nbsp;Pop Realists Intellectually Engaged in Storytelling) aesthetic that then reciprocally also&nbsp;defined Headbones Gallery. Almost twenty-five years since he arrived, Ashley Johnson&nbsp;continues to wake up the neighbourhood.</span></em><br /><br /><span style="color:rgb(42, 42, 42)"><em>The global village first cited by Canadian philosopher Marshall McLuhan was less&nbsp;possible in countries with short sighted political calculations where the instrumentalization&nbsp;of identity that imposed restrictions on artistic and intellectual freedom was constricting.&nbsp;Canada has fertile soil for cultural and artistic transformation as the arts are legislated&nbsp;towards acceptance and recognition.&nbsp;</em></span><em style="color:rgb(42, 42, 42)"><span style="color:rgb(34, 34, 34)">Not only does Canada better support the flourishing of artists like these three</span>, but Canadians are given&nbsp;an opportunity for enrichment as inherent insights&nbsp;trickle through and water our own gardens.&nbsp;Moraru, Meraji and Johnson strengthen the gene&nbsp;pool of the visual arts here in Canada, adding to&nbsp;the healthy diversity of our cultural river.&nbsp;</em><br /><br /><span style="color:rgb(42, 42, 42)">About the exhibition WHAT TRICKLES THROUGH featuring artwork by&nbsp;</span><span style="color:rgb(42, 42, 42)">Ortansa Moraru, Mahmoud Meraji, and Ashley Johnson.&nbsp;</span><span style="color:rgb(42, 42, 42)">All of the artists respresented here,</span><span style="color:rgb(42, 42, 42)">&nbsp;were artists in their country of origin before&nbsp;they immigrated to Canada. The works presented here were all created in Canada at more&nbsp;than an arms length from the birthplaces of these artists - Ortansa Moraru, born in Romania&nbsp;arrived in Canada in 2002; Mahmoud Meraji, born in Iran in 1998 and Ashley Johnson, born&nbsp;in South Africa moved from Johannesburg to Toronto in 2005. All are now Canadian&nbsp;citizens.</span></div>]]></content:encoded></item><item><title><![CDATA[Fish:BOWL words & photographs by Slava Bart]]></title><link><![CDATA[https://www.lakecountryartgallery.ca/art-words/fishbowl-words-by-slava-bart]]></link><comments><![CDATA[https://www.lakecountryartgallery.ca/art-words/fishbowl-words-by-slava-bart#comments]]></comments><pubDate>Wed, 10 Jul 2024 17:43:37 GMT</pubDate><category><![CDATA[Uncategorized]]></category><guid isPermaLink="false">https://www.lakecountryartgallery.ca/art-words/fishbowl-words-by-slava-bart</guid><description><![CDATA[       First you notice the objectified &ldquo;attractive female sleeping&rdquo; character &ndash; flat, like out of a comic book. Then you read the captions: The hardest part / Is waking up alone. And the first thing you think of is the stereotypical, cinematic loneliness of a woman waking up alone. The sun, like a halo, behind her is already up. But is she awake and just keeping her eyes shut &ndash; or is she only about to wake up? Not unlike the Mona Lisa who only just begins to smile, this  [...] ]]></description><content:encoded><![CDATA[<div><div class="wsite-image wsite-image-border-none " style="padding-top:10px;padding-bottom:10px;margin-left:0;margin-right:0;text-align:center"> <a> <img src="https://www.lakecountryartgallery.ca/uploads/1/5/1/9/15194804/published/img-3968-1.jpg?1721239595" alt="Picture" style="width:auto;max-width:100%" /> </a> <div style="display:block;font-size:90%"></div> </div></div>  <div class="paragraph">First you notice the objectified &ldquo;attractive female sleeping&rdquo; character &ndash; flat, like out of a comic book. Then you read the captions: The hardest part / Is waking up alone. And the first thing you think of is the stereotypical, cinematic loneliness of a woman waking up alone. The sun, like a halo, behind her is already up. But is she awake and just keeping her eyes shut &ndash; or is she only about to wake up? Not unlike the Mona Lisa who only just begins to smile, this character is in between, in a half dream, which we are beginning to inhabit.<br />&nbsp;<br />We know what loneliness is like. Loneliness is built into our commodified, mass-marketed bodies. The female character recurs in this artist&rsquo;s work. Like an Andy Warhol Madonna. It could be someone&rsquo;s avatar on social media. It could be any one of us. If there was a QR code to scan here, we would be raising our phones prayerfully to inhabit this icon&rsquo;s digital dimension.<br />&nbsp;<br />In the exquisite lettering around her &ndash; EXQS &ndash; we discern the hint of a hammer and sickle in the Q. The five-corner stars we noticed before now begin to acquire meaning. The circled anarchist A in one corner is balanced by the heart in the opposite. Arrows suggest movement &ndash; the movement of the mind, language, towards alternatives. If we can find a way not to be alone together, perhaps our social system would be different.<br />&nbsp;<br />Waking up to a system of exploitation can be lonely business. To be alone is also a prerequisite for awareness, knowledge. To be aware and alone yet not lonely &ndash; perhaps that is the hardest of all. And here in this Lake Country skate park, several artists have come together for the first time to create something new out of highly individualized styles. In a dialogue of style and meaning new possibilities emerge.<br /></div>  <div><div style="height: 20px; overflow: hidden;"></div> 				<div id='130480462854621782-gallery' class='imageGallery' style='line-height: 0px; padding: 0; margin: 0'><div id='130480462854621782-imageContainer0' style='float:left;width:49.95%;margin:0;'><div id='130480462854621782-insideImageContainer0' style='position:relative;margin:5px;'><div class='galleryImageHolder' style='position:relative; width:100%; padding:0 0 100%;overflow:hidden;'><div class='galleryInnerImageHolder'><a href='https://www.lakecountryartgallery.ca/uploads/1/5/1/9/15194804/img-4153-1_orig.jpg' rel='lightbox[gallery130480462854621782]'><img src='https://www.lakecountryartgallery.ca/uploads/1/5/1/9/15194804/img-4153-1.jpg' class='galleryImage' _width='789' _height='800' style='position:absolute;border:0;width:100%;top:-0.7%;left:0%' /></a></div></div></div></div><div id='130480462854621782-imageContainer1' style='float:left;width:49.95%;margin:0;'><div id='130480462854621782-insideImageContainer1' style='position:relative;margin:5px;'><div class='galleryImageHolder' style='position:relative; width:100%; padding:0 0 100%;overflow:hidden;'><div class='galleryInnerImageHolder'><a href='https://www.lakecountryartgallery.ca/uploads/1/5/1/9/15194804/img-4068_orig.jpg' rel='lightbox[gallery130480462854621782]'><img src='https://www.lakecountryartgallery.ca/uploads/1/5/1/9/15194804/img-4068.jpg' class='galleryImage' _width='800' _height='533' style='position:absolute;border:0;width:150.09%;top:0%;left:-25.05%' /></a></div></div></div></div><div id='130480462854621782-imageContainer2' style='float:left;width:49.95%;margin:0;'><div id='130480462854621782-insideImageContainer2' style='position:relative;margin:5px;'><div class='galleryImageHolder' style='position:relative; width:100%; padding:0 0 100%;overflow:hidden;'><div class='galleryInnerImageHolder'><a href='https://www.lakecountryartgallery.ca/uploads/1/5/1/9/15194804/img-3985_orig.jpg' rel='lightbox[gallery130480462854621782]'><img src='https://www.lakecountryartgallery.ca/uploads/1/5/1/9/15194804/img-3985.jpg' class='galleryImage' _width='800' _height='533' style='position:absolute;border:0;width:150.09%;top:0%;left:-25.05%' /></a></div></div></div></div><div id='130480462854621782-imageContainer3' style='float:left;width:49.95%;margin:0;'><div id='130480462854621782-insideImageContainer3' style='position:relative;margin:5px;'><div class='galleryImageHolder' style='position:relative; width:100%; padding:0 0 100%;overflow:hidden;'><div class='galleryInnerImageHolder'><a href='https://www.lakecountryartgallery.ca/uploads/1/5/1/9/15194804/img-3973_orig.jpg' rel='lightbox[gallery130480462854621782]'><img src='https://www.lakecountryartgallery.ca/uploads/1/5/1/9/15194804/img-3973.jpg' class='galleryImage' _width='800' _height='533' style='position:absolute;border:0;width:150.09%;top:0%;left:-25.05%' /></a></div></div></div></div><span style='display: block; clear: both; height: 0px; overflow: hidden;'></span></div> 				<div style="height: 20px; overflow: hidden;"></div></div>  <div class="paragraph"><span style="color:rgb(42, 42, 42)">Right opposite EXQS is the Eye Factory&rsquo;s giant eye of surveillance and consciousness. Graffiti abounds in representations of eyes &ndash; and so does ancient and modern art, from Egyptian, Buddhist, and Indigenous iconography to Salvador Dali and Stanley Kubrick. Eyes are healing, rebirth, communication. Eyes are mystery, illusion and the afterlife. Eyes are a miracle of nature. They look at us from the wings of butterflies. To represent eyes as consciousness is to become aware of awareness &ndash; an ancient practice and a condition for waking up to life, truth, a higher reality.<br /></span></div>  <div><div style="height: 20px; overflow: hidden;"></div> 				<div id='945168098310455956-gallery' class='imageGallery' style='line-height: 0px; padding: 0; margin: 0'><div id='945168098310455956-imageContainer0' style='float:left;width:49.95%;margin:0;'><div id='945168098310455956-insideImageContainer0' style='position:relative;margin:5px;'><div class='galleryImageHolder' style='position:relative; width:100%; padding:0 0 100%;overflow:hidden;'><div class='galleryInnerImageHolder'><a href='https://www.lakecountryartgallery.ca/uploads/1/5/1/9/15194804/img-4134_orig.jpg' rel='lightbox[gallery945168098310455956]'><img src='https://www.lakecountryartgallery.ca/uploads/1/5/1/9/15194804/img-4134.jpg' class='galleryImage' _width='800' _height='533' style='position:absolute;border:0;width:150.09%;top:0%;left:-25.05%' /></a></div></div></div></div><div id='945168098310455956-imageContainer1' style='float:left;width:49.95%;margin:0;'><div id='945168098310455956-insideImageContainer1' style='position:relative;margin:5px;'><div class='galleryImageHolder' style='position:relative; width:100%; padding:0 0 100%;overflow:hidden;'><div class='galleryInnerImageHolder'><a href='https://www.lakecountryartgallery.ca/uploads/1/5/1/9/15194804/img-3982_orig.jpg' rel='lightbox[gallery945168098310455956]'><img src='https://www.lakecountryartgallery.ca/uploads/1/5/1/9/15194804/img-3982.jpg' class='galleryImage' _width='800' _height='533' style='position:absolute;border:0;width:150.09%;top:0%;left:-25.05%' /></a></div></div></div></div><div id='945168098310455956-imageContainer2' style='float:left;width:49.95%;margin:0;'><div id='945168098310455956-insideImageContainer2' style='position:relative;margin:5px;'><div class='galleryImageHolder' style='position:relative; width:100%; padding:0 0 100%;overflow:hidden;'><div class='galleryInnerImageHolder'><a href='https://www.lakecountryartgallery.ca/uploads/1/5/1/9/15194804/img-4162_orig.jpg' rel='lightbox[gallery945168098310455956]'><img src='https://www.lakecountryartgallery.ca/uploads/1/5/1/9/15194804/img-4162.jpg' class='galleryImage' _width='800' _height='533' style='position:absolute;border:0;width:150.09%;top:0%;left:-25.05%' /></a></div></div></div></div><div id='945168098310455956-imageContainer3' style='float:left;width:49.95%;margin:0;'><div id='945168098310455956-insideImageContainer3' style='position:relative;margin:5px;'><div class='galleryImageHolder' style='position:relative; width:100%; padding:0 0 100%;overflow:hidden;'><div class='galleryInnerImageHolder'><a href='https://www.lakecountryartgallery.ca/uploads/1/5/1/9/15194804/img-4131-1_orig.jpg' rel='lightbox[gallery945168098310455956]'><img src='https://www.lakecountryartgallery.ca/uploads/1/5/1/9/15194804/img-4131-1.jpg' class='galleryImage' _width='800' _height='534' style='position:absolute;border:0;width:149.81%;top:0%;left:-24.91%' /></a></div></div></div></div><span style='display: block; clear: both; height: 0px; overflow: hidden;'></span></div> 				<div style="height: 20px; overflow: hidden;"></div></div>  <div class="paragraph"><span style="color:rgb(42, 42, 42)">The hills of Lake Country have eyes now. Look at how graffiti and landscape engage with each other. The hellish skull enjoining us to paint our dreams gestures towards a similar truth and visually echoes the work of the master opposite. At the other end of the park, what seems chaos up close acquires the features of Byzantine mosaics if you step back, step back far enough in time to allow connections.</span><br /><span style="color:rgb(42, 42, 42)">Working with the manic intensity of a Michelangelo, Doktoer has been up through the night, improvising a dense web of free-form connections.</span><br /><span style="color:rgb(42, 42, 42)">&nbsp;</span><br /><span style="color:rgb(42, 42, 42)">The space now is less a gallery and more a chapel &ndash; where you commune with the truth not in still supplication, but through movement. And if you ever stop, you stop midair.</span><br /></div>  <div><div style="height: 20px; overflow: hidden;"></div> 				<div id='801453499105547743-gallery' class='imageGallery' style='line-height: 0px; padding: 0; margin: 0'><div id='801453499105547743-imageContainer0' style='float:left;width:49.95%;margin:0;'><div id='801453499105547743-insideImageContainer0' style='position:relative;margin:5px;'><div class='galleryImageHolder' style='position:relative; width:100%; padding:0 0 100%;overflow:hidden;'><div class='galleryInnerImageHolder'><a href='https://www.lakecountryartgallery.ca/uploads/1/5/1/9/15194804/img-4072-1_orig.jpg' rel='lightbox[gallery801453499105547743]'><img src='https://www.lakecountryartgallery.ca/uploads/1/5/1/9/15194804/img-4072-1.jpg' class='galleryImage' _width='800' _height='534' style='position:absolute;border:0;width:149.81%;top:0%;left:-24.91%' /></a></div></div></div></div><div id='801453499105547743-imageContainer1' style='float:left;width:49.95%;margin:0;'><div id='801453499105547743-insideImageContainer1' style='position:relative;margin:5px;'><div class='galleryImageHolder' style='position:relative; width:100%; padding:0 0 100%;overflow:hidden;'><div class='galleryInnerImageHolder'><a href='https://www.lakecountryartgallery.ca/uploads/1/5/1/9/15194804/img-4125-3_orig.jpg' rel='lightbox[gallery801453499105547743]'><img src='https://www.lakecountryartgallery.ca/uploads/1/5/1/9/15194804/img-4125-3.jpg' class='galleryImage' _width='782' _height='800' style='position:absolute;border:0;width:100%;top:-1.15%;left:0%' /></a></div></div></div></div><div id='801453499105547743-imageContainer2' style='float:left;width:49.95%;margin:0;'><div id='801453499105547743-insideImageContainer2' style='position:relative;margin:5px;'><div class='galleryImageHolder' style='position:relative; width:100%; padding:0 0 100%;overflow:hidden;'><div class='galleryInnerImageHolder'><a href='https://www.lakecountryartgallery.ca/uploads/1/5/1/9/15194804/img-4147-3_orig.jpg' rel='lightbox[gallery801453499105547743]'><img src='https://www.lakecountryartgallery.ca/uploads/1/5/1/9/15194804/img-4147-3.jpg' class='galleryImage' _width='800' _height='312' style='position:absolute;border:0;width:256.41%;top:0%;left:-78.21%' /></a></div></div></div></div><div id='801453499105547743-imageContainer3' style='float:left;width:49.95%;margin:0;'><div id='801453499105547743-insideImageContainer3' style='position:relative;margin:5px;'><div class='galleryImageHolder' style='position:relative; width:100%; padding:0 0 100%;overflow:hidden;'><div class='galleryInnerImageHolder'><a href='https://www.lakecountryartgallery.ca/uploads/1/5/1/9/15194804/img-3980_orig.jpg' rel='lightbox[gallery801453499105547743]'><img src='https://www.lakecountryartgallery.ca/uploads/1/5/1/9/15194804/img-3980.jpg' class='galleryImage' _width='800' _height='533' style='position:absolute;border:0;width:150.09%;top:0%;left:-25.05%' /></a></div></div></div></div><span style='display: block; clear: both; height: 0px; overflow: hidden;'></span></div> 				<div style="height: 20px; overflow: hidden;"></div></div>  <div class="paragraph"><span style="color:rgb(42, 42, 42)">&#8203;There is an ensemble here of artists who have previously exhibited along roadsides on the outskirts, under railway bridges, and in remote corners of cities big and small across the Okanagan and BC. An ecosystem of expression emerges in Lake Country where the evolution of art, community and consciousness becomes possible. With their help we may be able to look at art and the world with new eyes.<br /><br />&#8203;<em>Slava Bart is a first-year international MFA student at UBCO. He comes from Israel and enjoys multilingual and collaborative writing with a penchant for venturing deep into the past and far into the future, reaching across borders and disciplines, to promote community and peace. His thesis in poetry reinterprets the books of Genesis and Exodus using multiple languages to tell a personal story of the loss of home after the collapse of the USSR.&nbsp;</em></span></div>]]></content:encoded></item><item><title><![CDATA[Curatorial Eessay | Fieldwork]]></title><link><![CDATA[https://www.lakecountryartgallery.ca/art-words/curatorial-essay-fieldwork]]></link><comments><![CDATA[https://www.lakecountryartgallery.ca/art-words/curatorial-essay-fieldwork#comments]]></comments><pubDate>Sun, 29 Oct 2023 17:17:12 GMT</pubDate><category><![CDATA[Uncategorized]]></category><guid isPermaLink="false">https://www.lakecountryartgallery.ca/art-words/curatorial-essay-fieldwork</guid><description><![CDATA[FIELDWORKAnnie BriardTara NicholsonMelany Nugent-NobleprOphecy sunAndreas Rutkauskas&#8203;Leah WeinsteinSeptember 30 to November 25, 2023Look after the land and the land will look after you,&nbsp;destroy the land and it will destroy you.-Aboriginal ProverbFieldwork: practical work conducted by a researcher in the natural environment rather than in a laboratory or officeLuxury: the state of great comfort and extravagant living *Because they tend to be rather dry and uneventful I rarely attend th [...] ]]></description><content:encoded><![CDATA[<div class="paragraph"><font size="4" style="color:rgb(42, 42, 42)"><span style="font-weight:700"><br />FIELDWORK</span></font><br /><br /><font size="2">Annie Briard<br />Tara Nicholson<br />Melany Nugent-Noble<br />prOphecy sun<br />Andreas Rutkauskas<br />&#8203;Leah Weinstein<br /><br />September 30 to November 25, 2023</font><br /><br /><span style="color:rgb(0, 0, 0)"><span style="color:rgb(14, 16, 26)">Look after the land and the land will look after you,&nbsp;</span></span><br /><span style="color:rgb(0, 0, 0)"><span style="color:rgb(14, 16, 26)">destroy the land and it will destroy you.</span></span><br /><span style="color:rgb(0, 0, 0)"><span style="color:rgb(14, 16, 26)">-Aboriginal Proverb</span></span><br /><br /><span style="color:rgb(0, 0, 0)"><span style="color:rgb(14, 16, 26); font-weight:700">Fieldwork</span><span style="color:rgb(14, 16, 26)">: </span><span style="color:rgb(14, 16, 26)">practical work conducted by a researcher in the natural environment rather than in a laboratory or office</span></span><br /><span style="color:rgb(0, 0, 0)"><span style="color:rgb(14, 16, 26); font-weight:700">Luxury</span><span style="color:rgb(14, 16, 26)">: </span><span style="color:rgb(14, 16, 26)">the state of great comfort and extravagant living *</span></span><br /><br /><span style="color:rgb(0, 0, 0)"><span style="color:rgb(14, 16, 26)">Because they tend to be rather dry and uneventful I rarely attend the&nbsp;</span></span><span style="color:rgb(0, 0, 0)"><span style="color:rgb(14, 16, 26)">District of Lake Country Council meetings. Yet, on one Tuesday evening (August 15th to be precise) my curiosity got the best of me, and I tuned in to a live stream. The agenda for this particular council meeting revolved around a discussion concerning a new development at what was once a family campground known as Owl's Nest in Oyama (one of the four wards in Lake Country).<br /></span></span><br /><span style="color:rgb(0, 0, 0)"><span style="color:rgb(14, 16, 26)">An out-of-province company with the motto&nbsp; 'We create the environments for amazing lives to happen' is in the process of transforming the former Owl's Nest property. Their ambitious plan involves the creation of &rsquo;38 Net Zero Luxury Homes on the picturesque shores of Kalamalka Lake, which happens to be one of the most breathtaking lakes in the Okanagan Valley.<br /></span></span><br /><span style="color:rgb(0, 0, 0)"><span style="color:rgb(14, 16, 26)">The highlight of the evening was a presentation by the Chief Operating&nbsp;</span></span><span style="color:rgb(0, 0, 0)"><span style="color:rgb(14, 16, 26)">Officer who sought Council&rsquo;s approval to install 20 motorized boat slips (down from the initial proposal of 38) on the waterfront for the use of the residents. During the meeting, several Council members voiced concerns about water intake sites, boat traffic, lake preservation, and environmental impact. It was evident, however, that not all councillors shared the same level of concern regarding these matters.<br /></span></span><br /><span style="color:rgb(0, 0, 0)"><span style="color:rgb(14, 16, 26)">The presentation to Council included a promise to uphold the utmost&nbsp;</span></span><span style="color:rgb(0, 0, 0)"><span style="color:rgb(14, 16, 26)">respect for the lake, with a commitment to do everything they possibly can to ensure that the residents and users of this property have a very keen and clear understanding of their responsibility here. The plan also&nbsp;</span></span><span style="color:rgb(0, 0, 0)"><span style="color:rgb(14, 16, 26)">mentioned placing interpretative signage near the beach to educate the residences about the lake's history, ecological formations, and&nbsp;</span></span><span style="color:rgb(0, 0, 0)"><span style="color:rgb(14, 16, 26)">Indigenous history in the area.<br /></span></span><br /><span style="color:rgb(0, 0, 0)"><span style="color:rgb(14, 16, 26)">I bring up this council meeting presentation because we are all integral members of our community, and the way we choose to treat our land, lakes, flora, and fauna collectively reflects upon us.&nbsp;</span></span><span style="color:rgb(0, 0, 0)"><span style="color:rgb(14, 16, 26)">What piques my curiosity most is the planned installation of interpretive signs.<br /></span></span><br /><span style="color:rgb(0, 0, 0)"><span style="color:rgb(14, 16, 26)">Who will be responsible for crafting the code of conduct and&nbsp;</span></span><span style="color:rgb(0, 0, 0)"><span style="color:rgb(14, 16, 26)">accountability?&nbsp; What are the consequences if the code of conduct is not upheld?<br /></span></span><br /><span style="color:rgb(0, 0, 0)"><span style="color:rgb(14, 16, 26)">Whose values will serve as the foundation for this code?&nbsp;<br /></span></span><br /><span style="color:rgb(0, 0, 0)"><span style="color:rgb(14, 16, 26)">When it comes to chronicling the history of Kalamalka Lake, whose narrative will take precedence? Will it encompass Indigenous&nbsp;</span></span><span style="color:rgb(0, 0, 0)"><span style="color:rgb(14, 16, 26)">history, and if so, whose voice and perspective will be represented?&nbsp;<br /></span></span><br /><span style="color:rgb(0, 0, 0)"><span style="color:rgb(14, 16, 26)">What about climate change? Will there be commentary on the risks to the lake ecosystem regarding motorized recreation?<br /></span></span><br /><span style="color:rgb(0, 0, 0)"><span style="color:rgb(14, 16, 26)">In fairness, a company specializing in aquatic biology consulting was&nbsp;</span></span><span style="color:rgb(0, 0, 0)"><span style="color:rgb(14, 16, 26)">mentioned regarding guidance on the proposed signage, but the idea seems perplexing. How does it happen that one develops luxury homes including water access for recreational motorized watercraft, writes a code of conduct on protecting our lakes, includes a note on Indigenous history, and aims to make a profit while considering the environment and future generations? It all seems absurd. Who demands this 'luxury,' and why is it being delivered? And for whom? Does simply saying 'Net Zero' make everything acceptable?<br /></span></span><br /><span style="color:rgb(0, 0, 0)"><span style="color:rgb(14, 16, 26)">Climate change is no longer a distant concern; it's an undeniable reality. Floods, droughts, forest fires, and unusual seasonal temperatures affect us all. When we also consider our social responsibilities, it becomes evident that charting a course for the future requires strong leadership. Yet, there are moments when looking at our elected officials can leave us feeling&nbsp;</span></span><span style="color:rgb(0, 0, 0)"><span style="color:rgb(14, 16, 26)">disheartened and uncertain about the path ahead.<br />&#8203;</span></span><br /><span style="color:rgb(0, 0, 0)"><span style="color:rgb(14, 16, 26)">The Owl's Nest development is just one among several in Lake Country. While it's easy to identify flaws in planning and the significant&nbsp;</span></span><span style="color:rgb(0, 0, 0)"><span style="color:rgb(14, 16, 26)">transformations occurring in our landscape, the inexorable march of progress continues.&nbsp; But is building luxury homes instead of&nbsp;</span></span><span style="color:rgb(0, 0, 0)"><span style="color:rgb(14, 16, 26)">affordable and accessible housing a sign of progress?</span></span><br /><span style="color:rgb(0, 0, 0)"><span style="color:rgb(14, 16, 26)">However, seeking alternative perspectives remains crucial to enrich our discussions. Turning to the realm of the arts offers us a valuable means to contemplate the questions that confront us in these times.</span></span><br /><span style="color:rgb(0, 0, 0)"><span style="color:rgb(14, 16, 26)">Being informed and actively engaged in our community is the groundwork we can all do to ensure a healthy future.<br /></span></span><br /><span style="color:rgb(0, 0, 0)"><span style="color:rgb(14, 16, 26)">Will our local elected officials visit the Lake Country Art Gallery to view this Fieldwork exhibition? Probably not, unfortunately. But you are here,&nbsp;</span></span><span style="color:rgb(0, 0, 0)"><span style="color:rgb(14, 16, 26)">reading this gallery didactic, and that's a start.</span></span><br /><br /><span style="color:rgb(0, 0, 0)"><span style="color:rgb(14, 16, 26)">Wanda Lock</span></span><br /><span style="color:rgb(0, 0, 0)"><span style="color:rgb(14, 16, 26)">Curator</span></span><br /><br /><span style="color:rgb(0, 0, 0)"><span style="color:rgb(14, 16, 26); font-weight:700">* NOTES:&nbsp;</span></span><br /><span style="color:rgb(0, 0, 0)"><span style="color:rgb(14, 16, 26)">Aboriginal proverb, from 50 Best Earth Day Quotes 2023, </span><span style="color:rgb(0, 0, 255)">good</span><a href="http://housekeeping.com/"><span style="color:rgb(0, 0, 255)">housekeeping.com</span></a></span><br /><span style="color:rgb(0, 0, 0)"><span style="color:rgb(14, 16, 26)">Fieldwork definition, from google</span></span><br /><span style="color:rgb(0, 0, 0)"><span style="color:rgb(14, 16, 26)">Luxury definition, from google</span></span></div>]]></content:encoded></item><item><title><![CDATA[Curatorial Essay | Moored]]></title><link><![CDATA[https://www.lakecountryartgallery.ca/art-words/curatorial-statement4404245]]></link><comments><![CDATA[https://www.lakecountryartgallery.ca/art-words/curatorial-statement4404245#comments]]></comments><pubDate>Sun, 30 Jul 2023 21:12:58 GMT</pubDate><category><![CDATA[Uncategorized]]></category><guid isPermaLink="false">https://www.lakecountryartgallery.ca/art-words/curatorial-statement4404245</guid><description><![CDATA[ MOOREDthe Davis Road CollectiveJane EverettLilly ThorneLysle Barmby&#8203;July 22 to September 24, 2023At the Lake Country Art Gallery we are acutely aware of the&nbsp;significance behind our summer exhibition, Moored. What could be more fitting? Lake Country finds itself enveloped by three prominent lakes: Wood, Kalamalka, and Okanagan. The&nbsp;picturesque Okanagan Valley is adorned with countless smaller mountain lakes dotting the landscape.When considering the region's tourism history, memo [...] ]]></description><content:encoded><![CDATA[<span class='imgPusher' style='float:right;height:781px'></span><span style='display: table;width:auto;position:relative;float:right;max-width:100%;;clear:right;margin-top:20px;*margin-top:40px'><a><img src="https://www.lakecountryartgallery.ca/uploads/1/5/1/9/15194804/editor/2023-moored-wanda-0027.jpg?1691864840" style="margin-top: 5px; margin-bottom: 10px; margin-left: 45px; margin-right: 10px; border-width:1px;padding:3px; max-width:100%" alt="Picture" class="galleryImageBorder wsite-image" /></a><span style="display: table-caption; caption-side: bottom; font-size: 90%; margin-top: -10px; margin-bottom: 10px; text-align: center;" class="wsite-caption"></span></span> <div class="paragraph" style="text-align:left;display:block;"><font color="#2a2a2a"><font size="4"><span style="font-weight:700">MOORED</span></font><br /><br /><font size="2">the Davis Road Collective<br />Jane Everett<br />Lilly Thorne<br />Lysle Barmby<br /><br />&#8203;July 22 to September 24, 2023</font><br /><br />At the Lake Country Art Gallery we are acutely aware of the&nbsp;significance behind our summer exhibition, Moored. What could be more fitting? Lake Country finds itself enveloped by three prominent lakes: Wood, Kalamalka, and Okanagan. The&nbsp;picturesque Okanagan Valley is adorned with countless smaller mountain lakes dotting the landscape.<br /><br />When considering the region's tourism history, memories of childhood summer holidays often evoke nostalgic sentiments&nbsp;associated with the Okanagan. The days were long and&nbsp;scorching, filled with camping adventures and refreshing swims in the local lakes. Indulgences in fresh fruit and boat rides, along with cherished family attractions and invigorating hikes, were prevalent. Today, we can add wine tours to the mix.<br /><br />The concepts and conversations explored in the Moored&nbsp;exhibition unfold right here in Lake Country. We proudly boast about the area's natural beauty, yet a leisurely stroll along the lakeshore in Okanagan Centre exposes an uninterrupted string of moored boats cluttering the water. Instead of a tranquil swim or&nbsp;SUP experience, we find ourselves amidst a traffic jam of&nbsp;privilege. Community requests for waterways to be dredged to accommodate larger watercraft, while more pressing issues like climate change, warming waters, smoke-filled skies, and harmful ash seem to receive less attention and concern from the general populace. Recreation is considered a right rather than a privilege.<br /><br />We often romanticize nature, exemplified by the sculpture of a mother bear praying for a healing earth, proudly displayed in front of the LC District Municipal Hall. Ironically, just a week prior to the unveiling of this sculpture, a mother bear and her cubs were fatally shot in rural Lake Country. Rather than respecting and preserving wildlife, such creatures are reduced to a diluted,&nbsp;Disneyfied version of themselves.<br /><br />Lake Country's natural landscape is succumbing to urban&nbsp;development, giving way to opulent wineries and cherry orchards catering to overseas markets.&nbsp;<br /><br />During a recent artist talk, Jim Kalnin eloquently highlighted the current reality: our planet now harbours more human beings than ever before, with 267 births occurring every minute. With 8 billion people currently inhabiting Earth, the future remains uncertain for all of us.<br /><br />This is precisely why we cherish the presence of artists among us, as they possess the power to reveal our true essence and shed light on our ever-evolving nature. They serve as reminders of beauty while simultaneously sounding the alarm. Few question the substantial allocation of tax dollars toward road maintenance and the accommodation of more cars. But where does this lead us? What does the future hold?<br /><br />It is quite amusing that a community of 16,000 is called Lake Country. With such a name, one would expect a fervent demand for the protection of these vital bodies of water and the lives they support. Instead, many individuals seem fixated on living in the moment, revelling in immediate gratification. The thought of&nbsp;tomorrow or the next fifty years is a concept that eludes them. We occasionally forget about the cycles&mdash;the seasons, the water cycle, lifecycles, and moon cycles&mdash;while even the slightest&nbsp;disruption (a pothole, perhaps?) alters the idiosyncrasies we cherish.<br /><br /><em>Moored </em>serves as a poignant reminder of the mystery, beauty, fragility, and power inherent in the natural world.<br /><br />Wanda Lock<br />Curator</font><br /><br /></div> <hr style="width:100%;clear:both;visibility:hidden;"></hr>]]></content:encoded></item><item><title><![CDATA[Curatorial Statement]]></title><link><![CDATA[https://www.lakecountryartgallery.ca/art-words/curatorial-statement]]></link><comments><![CDATA[https://www.lakecountryartgallery.ca/art-words/curatorial-statement#comments]]></comments><pubDate>Fri, 23 Jun 2023 05:19:34 GMT</pubDate><category><![CDATA[Uncategorized]]></category><guid isPermaLink="false">https://www.lakecountryartgallery.ca/art-words/curatorial-statement</guid><description><![CDATA[Two UBCO MFA thesis Exhibitions May-June 2023ZOORKHANEH_Nasim Pirhadi&nbsp;I Died as a Mineral_Heraa KhanIt has been approximately a year since I first met Nasim Pirhadi and Heraa Kahn, two talented artists immersed inthe early stages of their MFA Program. Over time,&nbsp; I witnessed their artistic processes unfold, filled with inquiries,contemplations, and extensive research, gradually shaping their works into remarkable presentations.For this year's UBCO MFA Exhibition, the Lake Country Art G [...] ]]></description><content:encoded><![CDATA[<div class="paragraph">Two UBCO MFA thesis Exhibitions May-June 2023<br /><br /><a href="https://15194804-243786072875590514.preview.editmysite.com/editor/main.php#"><font size="4">ZOORKHANEH_Nasim Pirhadi</font></a>&nbsp;<br /><br /><a href="https://15194804-243786072875590514.preview.editmysite.com/editor/main.php#"><font color="#8d5024" size="4">I Died as a Mineral_Heraa Khan</font></a><br /><br />It has been approximately a year since I first met Nasim Pirhadi and Heraa Kahn, two talented artists immersed in<br />the early stages of their MFA Program. Over time,&nbsp; I witnessed their artistic processes unfold, filled with inquiries,<br />contemplations, and extensive research, gradually shaping their works into remarkable presentations.<br /><br />For this year's UBCO MFA Exhibition, the Lake Country Art Gallery has been divided into two distinct exhibition spaces.&nbsp;The first space showcases Heraa Kahn's collection of miniature paintings, delicately arranged on the gallery walls,&nbsp;gently illuminated to highlight each individual piece. Through these paintings, Kahn invites viewers into a contemplative&nbsp;journey exploring themes of the natural world, human interactions, and the ensuing climate crisis. The exhibition, titled&nbsp;'I Died as a Mineral,' draws inspiration from Rumi's poem of the same name, perhaps symbolizing the cycle of life and&nbsp;incorporating materials that mirror this connection. Kahn's intricate paintings serve as cautionary tales, offering viewers&nbsp;profound insights, meanings, and interpretations of Rumi's poem.<br /><br />While standing amidst Kahn's exhibition, one's attention is drawn to a small archway that leads to another space at the&nbsp;rear of the gallery. Passing through, visitors enter Nasim Pirhadi's installation titled 'Zoorkhaneh,' which translates to&nbsp;'House of Strength'&mdash;a traditional gymnasium for men. Pirhadi has ingeniously transformed the room into an immersive&nbsp;installation, combining video, photography, sounds, scents, and exercise-related objects. The air is filled with the sweet&nbsp;fragrance of sugar and rose water. Traditionally reserved for men, the wooden equipment within the space is now open&nbsp;to all, as Pirhadi invites diverse participation in this exhibition. Notably, Pirhadi has recreated the apparatuses using&nbsp;sugar, imbuing the piece with a sense of heightened weight and transparency&mdash;an innovative reinterpretation of traditional beliefs and values concerning women's rights, human rights, and societal roles.<br />&nbsp;<br />For five days, I observed Heraa Kahn and Nasim Pirhadi meticulously navigate the gallery space, constructing walls,&nbsp;selecting paint colours, contemplating support structures, lighting arrangements, soundscapes, and strategic placement&nbsp;of their works. Every decision was made with utmost care, thoughtfulness, and thorough consideration, leaving&nbsp;no aspect to chance. Their unwavering commitment and hard work was admirable.<br /><br />In these tumultuous times we find ourselves in, these exhibitions hold tremendous significance, encouraging us to&nbsp;stay informed about global affairs. The gallery has produced two exhibition catalogues, one for each artist, to showcase&nbsp;their thesis works. The presence of Heraa Kahn and Nasim Pirhadi's art within the Lake Country Art Gallery is a true&nbsp;privilege for us&mdash;the gallery, the Lake Country community, and all those who have the opportunity to engage with their&nbsp;remarkable work.<br />&#8203;<br />Wanda Lock<br />Curator</div>]]></content:encoded></item><item><title><![CDATA[Bree Apperley]]></title><link><![CDATA[https://www.lakecountryartgallery.ca/art-words/bree-apperly]]></link><comments><![CDATA[https://www.lakecountryartgallery.ca/art-words/bree-apperly#comments]]></comments><pubDate>Sat, 18 Mar 2023 07:00:00 GMT</pubDate><category><![CDATA[Uncategorized]]></category><guid isPermaLink="false">https://www.lakecountryartgallery.ca/art-words/bree-apperly</guid><description><![CDATA[State(s) of Being&nbsp;&nbsp;The fact that women are still underrepresented in the art world of today is&nbsp; such a disappointment. I wish I could say it is also a surprise. Much like the&nbsp; civil rights movement of the 60s, after the height of the women&rsquo;s movement&nbsp; and the institutional respect and acceptance of feminist art during the&nbsp; 1970s, as a culture we had the hand-wiping attitude of a problem that had&nbsp; been solved. But not so. As with the BLM movement, the COVI [...] ]]></description><content:encoded><![CDATA[<div class="paragraph" style="text-align:left;">State(s) of Being&nbsp;&nbsp;<br /><br />The fact that women are still underrepresented in the art world of today is&nbsp; such a disappointment. I wish I could say it is also a surprise. Much like the&nbsp; civil rights movement of the 60s, after the height of the women&rsquo;s movement&nbsp; and the institutional respect and acceptance of feminist art during the&nbsp; 1970s, as a culture we had the hand-wiping attitude of a problem that had&nbsp; been solved. But not so. As with the BLM movement, the COVID pandemic&nbsp; revealed that not much had really changed within the gendered&nbsp; expectations and experiences of our society. Although the workforce&nbsp; included a greater number of women than in decades past, with most&nbsp; working full-time, women were still, for the most part, responsible for&nbsp; household and childcare duties.&nbsp;<br /><br />The pandemic removed the illusion of independent, self-sufficient, career driven womanhood by revealing the weight of all the myriad home-life&nbsp; related chores that had been outsourced to other less-privileged women.&nbsp; The same old sexist framework was still there all along, hidden beneath a&nbsp; comfy padding of dollar bills. Outwardly, for a couple of decades, it truly&nbsp; looked as though things had changed. A career and child both! A family and&nbsp; a fulfilling job! We can have it all. Look how far we have come. The&nbsp; unfortunate truth was that the mirage of freedom and equality was only&nbsp; available because of paid additional support from other women.&nbsp;<br /><br />It is this hidden skeleton of disparity that the art world too, is built upon. The&nbsp; social and political framework of capitalism favours a certain type of worker.&nbsp; A hustler, a grinder, someone who is willing to go big or go home. The&nbsp; system is built for making money, and the faster the better. Scale up. In&nbsp; fact, things truly have been scaling up, even material things like houses,&nbsp; cars, grocery stores, family vacations, post-secondary education. This is&nbsp; where unregulated capitalism brings us, and it is unsustainable.&nbsp;<br /><br />What does this have to do with the art world? Well, like any other industry,&nbsp; art is attached to a market, and as we know, the free market&nbsp; prioritizes economic growth above all else. An artist who is also a mother is&nbsp; in most cases working the &lsquo;second shift&rsquo;. That is, as detailed above, they&nbsp; are most likely to be the ones in charge of the domestic sphere, including&nbsp; the children. This reality does not jive well with a bombastic studio practice&nbsp; built around a bohemian, foot-loose lifestyle, which is the antiquated myth&nbsp; that still persists around the creation of artwork.<br /><br />&#8203;Who are the ones who can&nbsp;more readily embody this ideal? Young men, or older men who have&nbsp; remained in this role throughout their careers. There are exceptions to this&nbsp; of course, but I am generalizing to make a point.&nbsp;It is a matter of time and focus, and any artist who is also a mother is in&nbsp; short supply of these two essential ingredients. Who are the artists making&nbsp; it to all the evening gallery openings and artist talks? The meeting and&nbsp; greeting? Who are the artists with studio spaces separate from their homes&nbsp; and stuffed full of work? Who are the artists with mentors? Someone who&nbsp; looks like them? Where is the shop talk taking place? The evolving artistic&nbsp; dialogue is not happening at the family dinner table or in bed before&nbsp; storytime. Or with the other parents at school drop-off and pick-up. How&nbsp; can you be in two places at once? It is hard to contort oneself to fit a mold&nbsp; that is not designed for you. It takes extraordinary measures and a will of&nbsp; steel to climb a man-made mountain. Mercifully, one of the defining&nbsp; characteristics of an artist is someone who finds a way to be truly&nbsp; themselves, bending the world to their inner compass, letting the world in&nbsp; on how they see things, how things feel in their skin. This caveat to the&nbsp; chimerical role in society of the capital &lsquo;A&rsquo; artist may be the saving grace of&nbsp; the profession.&nbsp;&nbsp;<br /><br />Thank goodness (goddess?) for the progressive thinking of those mothers&nbsp; and artists who are able to find a way to create and be visible in the art&nbsp; scene by bending the social strictures, shattering outdated myths, finding&nbsp; loopholes and forging new paths. It takes exceptional strength of&nbsp; determination and motivation to keep in the game and succeed. The&nbsp; women chosen for the exhibition The State(s) of Being at the Lake Country&nbsp; Art Gallery - Janine Hall, Joice M. Hall, Lindsay Lorraine, Mary Smith&nbsp; McCulloch, and Rhonda Neufeld - have proven themselves to be artists&nbsp; and mothers who are supernaturally spirited. They have decided to want&nbsp; something for themselves and they are not afraid to take it. Culture and&nbsp; society benefit from these women. We need their voices and their vision.&nbsp; They are wanted and needed, not only by their children and family but by&nbsp; their art community at large, and the world beyond.&nbsp;<br /><br /><em>Bree Apperley is a Canadian mother, artist, designer and writer based&nbsp;in Syilx territory (Okanagan, B.C.). She holds degrees in both Fine&nbsp;Art and Design Art, from the Alberta College of Art + Design and&nbsp;Concordia University respectively. For more information about the&nbsp;author visit https://breeapperley.com/ and on instagram @fwuitbowl.</em><br /><br /></div>]]></content:encoded></item><item><title><![CDATA[School students respond to the Artworks in Mother(load)]]></title><link><![CDATA[https://www.lakecountryartgallery.ca/art-words/school-students-respond-to-the-artworks-in-motherload]]></link><comments><![CDATA[https://www.lakecountryartgallery.ca/art-words/school-students-respond-to-the-artworks-in-motherload#comments]]></comments><pubDate>Fri, 17 Mar 2023 07:00:00 GMT</pubDate><category><![CDATA[Uncategorized]]></category><guid isPermaLink="false">https://www.lakecountryartgallery.ca/art-words/school-students-respond-to-the-artworks-in-motherload</guid><description><![CDATA[Grade 6-7-8 Middle School students visited the exhibition Mother(load) this week - and this is what they had to say about the artworks that they enjoyed or connected to most ...All of the artworks......&nbsp;have their own message behind them. They [artists] didn't stop doing what they love. The artwork speaks to you.-grade 8the Archaeology of Motherhood, mixed media by Devon L. Muhlert.... is my favourite piece because it is made of pins and quilt pieces, paper, and other mixed media. It is ver [...] ]]></description><content:encoded><![CDATA[<div class="paragraph" style="text-align:left;"><font size="3">Grade 6-7-8 Middle School students visited the exhibition Mother(load) this week - and this is what they had to say about the artworks that they enjoyed or connected to most ...</font><br /><br /><font size="3"><em><strong>All of the artworks...</strong></em><br />...&nbsp;have their own message behind them. They [artists] didn't stop doing what they love. The artwork speaks to you.<br /><em>-grade 8</em></font><br /><br /><font size="3"><strong>the Archaeology of Motherhood</strong>, mixed media by Devon L. Muhlert.<br />... is my favourite piece because it is made of pins and quilt pieces, paper, and other mixed media. It is very interesting to look at and I think it is my favourite piece in this art gallery. It makes me feel happy to look at it.&nbsp;&nbsp; &nbsp; &nbsp; &nbsp; <em>&nbsp;-age 13&nbsp;</em><br /><br /><strong>Cradling Hope</strong>, mixed media on canvas by Jacqueline Rieger .&nbsp; &nbsp;&nbsp;<br />... is my fav art piece. I like that one because the colours are really cool and it's a really pretty painting, and I like how it pops out at you.<br /><em>-grade 7&nbsp;</em>&nbsp;<br /><br /><strong>Cradling Hope</strong>, mixed media on canvas by Jacqueline Rieger.&nbsp;<br />-&nbsp;I really like it because it looks like a lady at night Standing in front of the moon and because there's lots of colour it makes me feel happy.<br /><em>-grade 6</em><br /><br /><strong>Cradling Hope</strong>, mixed media on canvas by Jacqueline Rieger.&nbsp;<br />-&nbsp;Interesting colours makes me feel like I'm in another world. Sparks curiosity. I really liked it.<br /><em>-grade 6</em><br /><br /><strong>Cradling Hope</strong>, mixed media on canvas by Jacqueline Rieger .<br />-&nbsp;It&rsquo;s just vibrant&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; &nbsp;&nbsp;&nbsp;<br /><em>-grade 7</em><br /><br /><strong>Do Your Dream</strong>, mixed media by Lynette Stebner.<br />-&nbsp;I really like this art piece. Feels similar to my life; all the things I have to do. Makes me happy!<br /><em>-grade 6&nbsp;</em><br /><br /><strong>Embrace the Thunder</strong>, mixed media by Jill Meredith.&nbsp;<br />-&nbsp;I was drawn to the title - since our move from Ontario I feel we've been forced to embrace the noise and vibration of a new home / city / province. I like the word EMBRACE - it gives me permission to feel all the feels.&nbsp;<br /><em>-grade unknown</em></font><br /><br /><font size="3"><strong>Embrace the Thunder,</strong> mixed media by Jill Meredith.&nbsp;&nbsp;<br />-&nbsp;I enjoyed how the colours were mixed. The colour choices have a feeling of Happiness and creativity.&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; &nbsp; &nbsp;&nbsp;&nbsp; &nbsp;&nbsp;<br />&#8203;-<em>grade 6 </em><br /><br /><strong>Embrace the Thunder</strong>, mixed media by Jill Meredith.&nbsp; &nbsp;&nbsp;<br />-&nbsp;I like because it looks really beautiful and the colors really pop out<br /><em>-grade 6</em><br /><br /><strong>Eve&rsquo;s Garden</strong>, fabric/acrylic oil by Karen Stewart.<br />... lots to look at and you could never get bored<br /><em>-grade 6</em><br /><br /><strong>Family</strong>, oil by Denise Patrick.<br />-&nbsp;I liked this piece of art because I really liked all of the colours that the artist chose and I wonder what the artist was thinking/feeling when they made it.<br /><em>-grade 7&nbsp;</em><br /><br /><strong>Family</strong>, acrylic by Denise Patrick.<br />-&nbsp;Lots of Colors. The planets reminded me of a family.<br /><em>-grade 6</em><br /><br /><strong>Family</strong>, acrylic by Denise Patrick.<br />- I felt a Strong Connection with this Art because of the hue, value and the way it looks.. -I really enjoyed the Art. The Art made me feel happy and understood.<br /><em>-grade: 7</em><br /><br /><strong>is there TIME for both motherhood and art?</strong>, acrylic, pen + ink on textured wood panel by Pamela Cinnamon.<br />-&nbsp;All the different times using different symbols for showing how the time fits eg. butterfly, flowers, clocks.<br /><em>-grade unknown</em>&nbsp;<br /><br /><strong>Mixed and Unmatched</strong>, mixed media by Sara Wiens.<br />&hellip;I also thought that the one with the laundry was cool too.&nbsp;<br /><em>-grade 8</em><br /><br /><strong>Mom,</strong> oil painting by Denise Patrick.<br />-&nbsp;The beauty of this piece is indescribable, so natural, so real. Real as you could see the mother-in-law not in the painting but just in reality moving, breathing, laughing, smiling. You don't just see the painting, you see her. You see the flowers, You see life, reality, beauty.<br /><em>-grade 7</em><br /><br /><strong>Mother(load),</strong> drawings by Roberta Sutherland.<br />-&nbsp;I love how it just explains the beauty of pregnancy and fertility and how mothers are willing to give up their bodies and even their life for this unique and amazing experiment. It represents "bounce back" culture in a way and how all our bodies are different after childbirth whether they bounce back or not and it should not be expected of us. I think that because there's Stretch marks it looks like, around her body from pregnancy and you cannot get rid of those and it's natural but people still get ridiculed for it.<br /><em>-grade 7</em><br /><br /><strong>Mother, Matrix, Maatrikaa</strong>, acrylic, fabric + glass on hardboard by Rena Warren + Larkin Dunn Warren.<br />-&nbsp;The Flower to me was special because it reminded me of my grandma who loved flowers and when her mom passed away her last word was please take care of my flower garden and that is what my grandmother did. All the flowers are still there to this day. The little mirror reminded me of how a little sentence means big work because the flower [form] was smaller to bigger.&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;<br /><em>-grade 6</em><br /><br /><strong>Mother, Matrix, Maatrikaa</strong>, acrylic, fabric + glass on hardboard by Rena Warren + Larkin Dunn Warren.<br />... another piece that I liked was the big flower because it was pretty, I liked all the detail on it and the mirror in the middle was cool.<br /><em>-grade 8</em><br /><br /><strong>Mother Urge,</strong> acrylic, ink, collage by Tess Letailleur.<br />-&nbsp;I liked the bird's nest with the feather because it was pretty and creative. I really liked how the string was placed and how detailed it was. This piece of art was really pretty.<br /><em>-grade 8&nbsp;</em><br /><br /><strong>My Mother and I</strong>, fibre art/embroidery by Alice Pallett.<br />... is my favourite piece. This is my favourite because my great grandma makes stuff like this.<br /><em>-grade </em><br /><br /><strong>My Mother and I,</strong> fibre art/embroidery by Alice Pallett.<br />I don't really know why but it was really pretty and you could tell how much time it took to make.<br /><em>-grade 7</em><br /><br /><strong>Re Surfacing,</strong> acrylic + mixed medium by Kate Brown.<br />Brush stocks showing movement, showing no matter how you can be tangled you can get up.<br /><em>-grade unknown</em>&nbsp;<br /><br /><strong>Through Rose - Coloured Glasses</strong>, acrylic on canvas&nbsp; by Lisa Figueroa.<br />-&nbsp;I love all the colours and how clean it was, it really stood out from the other art<br /><em>-grade 7</em></font></div>]]></content:encoded></item><item><title><![CDATA[Principles of Enclosure]]></title><link><![CDATA[https://www.lakecountryartgallery.ca/art-words/principles-of-enclosure]]></link><comments><![CDATA[https://www.lakecountryartgallery.ca/art-words/principles-of-enclosure#comments]]></comments><pubDate>Wed, 14 Dec 2022 04:25:29 GMT</pubDate><category><![CDATA[Uncategorized]]></category><guid isPermaLink="false">https://www.lakecountryartgallery.ca/art-words/principles-of-enclosure</guid><description><![CDATA[the principles of object obsession and our undoingHyperobject in A Quake in Beingis "things that are massively distributed in time and space relative to humans." The relativity of 'our' existence&mdash;the 'human' existence&mdash;rests upon our innate compulsion to build tools to respond to our ever-changing environments. This is the human condition1. Timothy Morton continues to describe this object-making response through the term hyperobject as "long-lasting product['s] of direct human manufac [...] ]]></description><content:encoded><![CDATA[<div class="paragraph"><strong>the principles of object obsession and our undoing<br /></strong><br />Hyperobject in A Quake in Beingis "things that are massively distributed in time and space relative to humans." The relativity of 'our' existence&mdash;the 'human' existence&mdash;rests upon our innate compulsion to build tools to respond to our ever-changing environments. This is the human condition1. Timothy Morton continues to describe this object-making response through the term hyperobject as "long-lasting product['s] of direct human manufactur[ing]. [&hellip;] a sum of all the whirring machinery of capitalism." So how do we curate our spaces with equipment, gear, goods, and junk? Are these relics of innovation everlasting or short-lived? Do these mass-produced materials contribute to the earth&rsquo;s ecology positively? Can there be ways we can reassess our relationship with these materials&rsquo;adaptability?<br /><br />Principles of Enclosure looks to address these questions under the theme &ldquo;functional obsolescence.&rdquo; Artists Gambletron, Johnny Forever and zevtiefenback specifically engage with various objects,&ldquo;usefulness&rdquo; or &ldquo;desirability&rdquo; based on their outdated design feature that is difficult to alter.In this way, you get an overall sense that the artists are critiquing capitalist consumption by incorporating their relationships to production and distribution to its impossibility of being equitably sustainable. By engaging with object-making in the industrial realm, they reveal those objects' precarity.<br /><br />Objects such as:<br /><br />&nbsp;plastic columns: a contention to the contemporary depiction from classic historical architecture. Alabaster in&nbsp; &nbsp; &nbsp; &nbsp;material and embellished by a Corinthian top are redefined by a mass-produced plastic form that becomes&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;figurative once a latex sheet is draped on top.<br /><br />&nbsp; &nbsp; &nbsp; &nbsp; antennas are dismembered from their radio bodies while their bellies are dissected and reconnected to other&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;parts to form a new way of relevance.<br /><br />&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;noise: the voices of these objects speak through static utterances. A sort of nostalgic way of listening&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; where one used to scan radio waves for other signs of life.<br /><br />&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;discarded wood is repurposed in a self-reflexive way to stimulate our relationship with trees and&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;extractive pursuits with Land.<br /><br />&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;Photographic documents of property ownership become memories of bygone eras where security&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; was somewhat obtainable yet unsustainable.<br /><br />To come across these objects, equipment, gear, goods, and junk within a gallery space forces the viewer to reintroduce themselves. The artwork&rsquo;s technology or representation can be nostalgic for some or maybe totally unfamiliar. A pendulum swing between relativity to irrelevance. It is arguable to say that Principles of Enclosure is time-based and ephemeral. It is also arguablethat these works assert life on their own&mdash;beyond a human focus perspective that usually projects object relevance based on sharing space. However, these objects, equipment, gear, goods, and junk continue to exist when we are gone. When &lsquo;we&rsquo; are gone forever, these works will remain here. Some can erode. Some will not.<br /><br /><strong>Michaela Bridgemohan</strong> Guest Writer<br /><br /><font size="1">1 This is in reference to the human history of constructing objects and tools to our social spaces. However, I want to acknowledge that other animals such as crows, ravens, and other birds also make tools as to strategize hunting and foraging. .</font><br /></div>]]></content:encoded></item><item><title><![CDATA[The Relativity of Time and Space]]></title><link><![CDATA[https://www.lakecountryartgallery.ca/art-words/the-relativity-of-time-and-space]]></link><comments><![CDATA[https://www.lakecountryartgallery.ca/art-words/the-relativity-of-time-and-space#comments]]></comments><pubDate>Sun, 24 Apr 2022 00:36:58 GMT</pubDate><category><![CDATA[Uncategorized]]></category><guid isPermaLink="false">https://www.lakecountryartgallery.ca/art-words/the-relativity-of-time-and-space</guid><description><![CDATA[Catalogue essay by Carin CovinThe Lake Country Art Gallery is presenting &ldquo;The Relativity of Time and Space&rdquo;, an exhibition pairing two painters, Diane Feught and Lindsay Kirker, by the gallery&rsquo;s curator Wanda Lock.&nbsp;Painting is a two dimensional visual language, and as a means of art production has had a long, contested and interesting history.&nbsp; Beginning in the Lascaux Caves, the discourse has travelled through various patronages; of the Church, of the State, of the w [...] ]]></description><content:encoded><![CDATA[<div class="paragraph"><span><span style="color:rgb(0, 0, 0)"></span></span><a href="https://15194804-243786072875590514.preview.editmysite.com/editor/main.php#">Catalogue essay by Carin Covin<br /></a><span><span style="color:rgb(0, 0, 0)"><br />The Lake Country Art Gallery is presenting &ldquo;The Relativity of Time and Space&rdquo;, an exhibition pairing two painters, Diane Feught and Lindsay Kirker, by the gallery&rsquo;s curator Wanda Lock.&nbsp;<br /></span></span><br /><span><span style="color:rgb(0, 0, 0)">Painting is a two dimensional visual language, and as a means of art production has had a long, contested and interesting history.&nbsp; Beginning in the Lascaux Caves, the discourse has travelled through various patronages; of the Church, of the State, of the wealthy, through the Patriarchy, and on through to a place of constant critique within modernism, feminism, humanism, and structuralism. &nbsp; Within these and other &ldquo;isms&rdquo;, many scholars continue to add to this location &ndash; a place of thinking and making a mark upon a surface.&nbsp; There are different types of surfaces to paint on, and in this exhibition, the artists have chosen rag paper and canvas.</span></span><br /><br /><span><span style="color:rgb(0, 0, 0)"><em><strong><font size="3">Diane Feught</font></strong></em> is a poet and a painter.&nbsp; In her published work, &ldquo;The Pillow Book of Monsters &ndash; Mechanics of the Sublime</span><span style="color:rgb(0, 0, 0)">&rdquo; we, the viewers and the readers, have access to her written poems to help us gain entry into the ideas she has embedded in her painted works.&nbsp; Interestingly, in this exhibition we only have her titles to point us in a direction of meaning.<br /></span></span><br /><span><span style="color:rgb(0, 0, 0)">There is a measure of intimacy in the scale and the choice of using paper in the works; issues that can be placed within early feminism.&nbsp; However, I would suggest that this intimacy is extremely complicated; veiled.&nbsp; These painted collages of ideas are confounding in their compositional groupings, challenging the viewer to interpret Feught&rsquo;s trifurcation of ideas, and often, when we reassemble these ideas, we realize that Feught has suggested the unexpected to us.&nbsp;<br /></span></span><br /><span><span style="color:rgb(0, 0, 0)">Conceptualism has taught us that the idea is as important, if not more important than the finished work.&nbsp; And semiotics has taught us that we, as individuals, have an innate ability to read images, or to decode a meaning or meanings that is inserted within a complicated image. However, even with these tools, I, as a viewer, am left with emotional responses to these works, as opposed to an intellectual understanding or a comfortable resolve.&nbsp; Which means I have more to contemplate.<br /></span></span><br /><span><span style="color:rgb(0, 0, 0)">When studying these works, I was never far from my dictionary, as I needed to be sure of my understanding of the titles; some are based in the biblical, some are based in the political, some based in science, and then there are some titles that are simply placed within the human heart.&nbsp; Many of the works are bracketed by areas of pattern, specifically mapped out, with an intentional palette, colours chosen to soothe and colours chosen to visually excite. As a viewer, I am left with the impression that Diane Feught is interested in the logistics of a paradox, both intellectual and visual, and in her painted and written investigations, she has presented an arena of glorious ambiguity.&nbsp; And maybe that is what a lifetime is all about.</span></span><br /><br /><span><span style="color:rgb(0, 0, 0)"><em><strong><font size="3">Lindsay Kirker</font></strong></em> has challenged herself with a considerable task.&nbsp; Simply put, Kirker is rethinking of what it is to be a human in our natural environment.&nbsp; Her visual thesis is an interesting intertwining of a collective of disciplines.&nbsp; I immediately think of post humanism and post feminism; entry points for me into her reasoning and approach to her visual work. By this I mean that I can understand that we, as people, are just one of many intelligent living organism on the earth, and we, as women, have graduated to encompassing all the many differences within the lens of an individual. However, Kirker&rsquo;s research is polyphonic in nature: her MFA Thesis is titled &ldquo;Creating Structures: The Complexity of Making, Dwelling and Being</span><span style="color:rgb(0, 0, 0)">&rdquo; is evidence of her intellectual and personal journeys.&nbsp;<br /></span></span><br /><span><span style="color:rgb(0, 0, 0)">Kirker has travelled to regional and international destinations in the world to aide in her quest for understanding what it is to be human in our natural environment.&nbsp; She creates painted dreamscapes that she suggests is couched in the politics of the everyday, a philosophical trope of early feminism. Within this framework, Kirker has placed herself amongst scientists, environmentalists, and in doing so, has moved through many conversations of traditional and untraditional ways of knowing.&nbsp; She has come to understand that the natural environment, which has been here for known time, carries memory. Within this memory, are sites of the sacred, which often go unnoticed by our societal push for economic development. A family member suggested to Kirker that her questions were not based in physics anymore, or even science, but have moved into a place of spirituality</span><span style="color:rgb(0, 0, 0)">.&nbsp; A location within the human heart.<br /></span></span><br /><span><span style="color:rgb(0, 0, 0)">Her methodology of painting begins in a vortex of chaos.&nbsp; She has stated that she begins in an activity of throwing many things at the raw canvas &ndash; often unstapled to any support, however for this exhibition the canvas was traditionally stretched.&nbsp; Her substrate is not archival in nature as she combines gesso and house paint and sections of untreated canvas together as she builds towards an image.&nbsp; The house paint, with its higher water content, will, over time, be unable to hold its integrity, allowing for cracking and flaking.&nbsp; For me, this is an interesting metaphor for the many disrupted foundations that are visible in her bodies of work. These foundations are based in traditional Western perspective, something that Kirker understands as a reproduction of truth, not necessarily a truth in itself.&nbsp; This can also reflect the rapid expansion that Kirker witnesses, as we continue to build over nature in an effort to frame the social environments of our city spaces.<br /></span></span><br /><span><span style="color:rgb(0, 0, 0)">Kirker&rsquo;s choice of scale provides a visual impact, a choice that will catch our attention, and then invites us to engage with the multiple perspectives that she presents to us. She reminds us to question how we have arrived here, now; and to remember that our past and future on the earth are connected.<br /></span></span><br /><span><span style="color:rgb(0, 0, 0)">I am interested in how this exhibition, &ldquo;The Relativity of Time and Space&rdquo;, juxtaposes ideas focused on our inner landscape alongside ideas that reflect a gaze outward to the natural world.&nbsp; These ideas are timely in nature and acknowledge the complexity of this curious moment in time.<br /></span></span><br /><span><span style="color:rgb(0, 0, 0)">Obviously, there is much more that could be said about the works of these two artists.&nbsp; And it is also understood that Diane Feught and Lindsay Kirker are in an active and ongoing relationship with their ideas; a continuing that builds upon their responses to the world around them.<br /></span></span><br /><span><span style="color:rgb(0, 0, 0)">Carin Covin<br /><br />Exhibition, <em><strong>The Relativity of Time and Space</strong></em> features artwork by Diane Feught and Lindsay Kirker, curated by Wanda Lock and available to see at the Lake Country Art Gallery until May 28th, 2022</span></span><br /></div>]]></content:encoded></item></channel></rss>