Exhibition: April 4th to May 31st, 2010
Closing Reception: May 20th, 2010
At the UAS +15 Gallery
"This series started with a chance remark, a phrase we have likely all heard or said: 'She has such beautiful bone structure.' It's not always a flattering comment about someone, so I started wondering what if our bones were beautiful, not in the sense of the wonder of the human body's design, or as a perfect armature, but as decorated objects themselves. To most people, body parts bring an image to mind of gore, decomposition, murder or war, abandoned bodies and tortured souls. To some they are merely frameworks, scientific bases to build on, yet to others therein lies a beauty of form in the abstract. This work is not necessarily meant to be 'pretty', but seeks to emanate a sense of loss; warmth; familiarity; even humour. So many common phrasings originate with the body: 'beautiful bone structure', 'thin-skinned', 'all-legs', 'air-head', 'eye-candy', 'bleeding-heart', 'body politic'---since I love word-play and puns, it seemed natural for me to explore those cues through art.
Over the past year I have been exploring interpretations of the human form in textiles and textile-techniques. The Artist's Body is a personal odyssey, with colour and line depicting the rhythms and paths my own has taken. Personal symbols radiate across each piece, showing directions I feel I am taking as I return to the basics of my stitch history. Cloth--like skin, bone, and organ--can be soft or hard depending on its treatment and use. As with fabric, we can stitch body parts together to mend or alter. Our very being is created from fiber, our bodies a network of threaded veins and seamlessly knitted bones.
Each body part presents itself as a separate entity in this series. As I've worked through this collection, it's less about figurative realism and more about emotion and the sense of what's hidden from ordinary senses."Artist St
Exhibition: April 30th to May 21st, 2010
Opening Reception: April 30th, 7-10pm
At the UAS Mainspace - 4th fl, 319 10th Ave SW
What is it that we value most in life, is it really what we value, or is it what we are conditioned to value?
In 2004 Ted Mosquin and Stan Rowe published "A Manifesto for Earth". It states that "ecocentrism is not an argument that all organisms have equivalent value. It is neither an anti-human argument nor a put-down of those seeking social justice. It does not deny that a myriad of important anthropocentric pro...blems exist. But it stands aside from these smaller, short-term issues in order to consider ecological reality. Reflecting on the ecological status of all organisms, it comprehends the ecosphere as a being that transcends in importance any one single species, even the self-named sapient one"
Over the last century or so, we in the western world have witnessed a shift in values, which may have been accelerated as a result of the 19th century American colonialist paradigms, such as "Manifest Destiny". The focus of our material culture shifted from the more ecocentric ways of indigenous peoples to the more Anthropocentric approaches of the modern military industrial complex. In addition to this (and perhaps in symbiosis with) our population has become increasingly apathetic and complicit. Marginalized (among other things) are the importance of human rights of the majority of the people on earth, and the health of our planet. There is the attitude that if it is out of sight, it is out of mind.
Interestingly, it is my experience that people in more developed countries tend to be more pre-disposed to accept propaganda (even with knowledge of its methods), whereas less-developed cultures tend to be pre-disposed to resist propagandist methods of societal direction. In my view, which is that of an artist and global resident, there is a need to promote compassion and ecocentic understanding in western social systems.
The content of my painting is about representing a sample of the flowing, unified world of ecocentric relations. The series in the gallery is a result of experimentation with the lines and forms found in nature, be it ripples in water, leaves and branches. Processes and effects perceived are the central content, not the iconography of traditional representations of nature although some works are more literally representative than others. Paint application walks the line between what I would consider an anthropocentric approach (paint applied via a brush or hand) and a more handless ecocentric approach (allowing paint to drip, morph, and dry, and the subsequent activity based on that outcome) so that evolution and spontaneous response to random possibilities are visible in the final holistic structure..