February 8th to March 31st, 2011
Reception March 3rd, 8pm - 9pm
In the UAS +15 Gallery
A pluridisciplinary artist specializing in musical theatre, puppetry/animation, eccentric performance and circus arts, Jamie brings her love of colour and whimsy to 'La Famiglia'. Using soft sculpture/puppets and artifact assemblage, she shares the story of a mourning widow. Dressed in black, with respect and honor for the deceased, she grieves... through prayer/ritual, she contacts the zoo animal spirits to deliver her prayers beyond the grave, and reunite her with love.
In this installation Jamie is inspired by the reprieve, the triumph of life she wishes for a member of her own 'famiglia' - her Nonna, an old world Roman Catholic Italian widow, who wore black for 5 years uninterrupted after her husband died. The zoo animals are part of Jamie's own personal mythology; as there is a spiritual aspect of her Nonna's story, in her prayer and communion with church and saints, Jamie opts to tell the story within her own church of the Zoo People, using symbols and vocabularies appropriate to her notions of the sacred divine . Truly, there is an underlying regenerative catharsis involved, in examining her personal process of grieving the loss of a lover, and commencing with her desire to explore and experience 'life' after the 'death' of a partner.
(It is a pleasure to be a part of CAOS again, and Jamie would like to thank Xstine for bringing it to life.)
Exhibition: March 16th - 19th, 2011
Reception: March 19th, 6 - 9pm
On the UAS Barewalls
Shannon was an artist, a graduate of ACAD in Calgary, B.Des. She also suffered from severe depression, OCD and agoraphobia. After eight years of fighting her mental illness, in hopelessness and despair, she gave up and took her life in January of 2009. To honour her talent and her passion for art and to ensure her art is forever visible for people to enjoy, here it is.
Shannon herself did not believe she did anything useful with her life so she hid her art away and would not show it to anyone. Most people she knew later on did not know she was an artist and were totally unaware of the breadth and depth of her artistic ability. Her work demonstrates a freedom and exploration that was denied in her real life. She openly painted from her heart without restriction and with strong emotion visible in every piece. Her art shows a wide variety of styles in many media and subject matter. She never limited herself to just one style, though of interest to her was the play of light and dark, the human body, landscapes, still life and the world of imagination and illustration of her imagination. She had just started her career in design when she suddenly went into a severe depression, which she never came out of.
Had she lived it would have been interesting to follow her continued progress in art and design as it evolved over the years. However, she did leave approximately 160 pieces, which is still a considerable body of work. Unfortunately we will never know what she would have become.
Suicide is epidemic in North America. 90% of all suicides have a mental health component and the waste in human life and potential is enormous.
Through the exhibiting of her art and sale of some of her pieces, it is hoped that more can be done in the way of prevention of suicide and improving the mental health of those suffering from a mental illness. A portion of proceeds go to Canadian Mental Health Association – Calgary Region.
Please take your time to view her art, let it grow on you and appreciate the wonderful vision and passion Shannon had for her art.
Exhibition: February 18th to March 11th, 2011
Reception February 18th, 7 - 10 pm, 2011
In the UAS Mainspace
In Line Dance, Megan Dyck combines conceivably realistic representations of ribbon-like forms along side line drawings that mimic their dispositions in subtly inaccurate ways in an attempt to skew viewers spatial perception. This is achieved through integrating realistically rendered ribbons into similar looking configuration of lines that represent the perspectival characteristics of a bended or twisted ribbon in a faintly non-realistic manner. This intended in-continuity of representing accurate perspective contradicts the conception of the ribbon appearing as it would in actual space. In this series of large-scale wall drawings the artist forms a perpetual pattern of intermingling realistically rendered ribbons with nearly identical forms whose perspective is altered in such a way that the illusion of the aforementioned spacial paradox becomes perceptible. The resulting series of meandering pathways is a playful hybrid of nonsensical interpretations of the ribbon motif paired with actual life studies. Ribbons have become the central muse within Megan's recent drawings on account of their seemingly inherent ability to convey a palpable sense of physicality and spatial depth when represented two-dimensionally.