Exhibition: April 8 to May 31, 2012
Closing Reception: May 17, 7 - 8pm
At the UAS +15 Gallery
Vanitas is a sculptural landscape. A decaying horizon. The individual woven prisms are constructed by wrapping hay wire around a cardboard form. The paper is then burnt away leaving only the skeletal wire frame. A process of emptying. The prisms are then left in the elements to rust and weather over weeks. Viewed from a distance, the sculpture is a single object, a body in space. Approaching the piece reveals a lesson in the complexities of closer acquaintance and a demonstration of the power of a gathering. As in the masters’ still-life paintings of centuries past, Vanitas is a consideration of the passing of time in our landscape and of our individual role in that passing time.
I am an artist born and raised in Calgary. A devotee of the city, my sculptures have always been inspired by materials and by my environment. I am interested in finding beauty in unlikely sources. My work is heavily influenced by textile and craft traditions as well as minimalist sculpture. A graduate of the Alberta College of Art + Design Sculpture class of 2011, I now continue to live and work as an artist from my home studio in Calgary.
Exhibition Runs: May 15th to 28th, 2012
Reception May 25, 7-8PM
On the UAS Barewalls
Established two years ago at Pith Gallery and Studios, Perfect Uncle formed around a kinship which centers on the proximity, working techniques and approaches to the interdisciplinary art practices of three Calgary based artists: Ryan Scott, Shawn Mankowske and Palmer Olson. The group regularly meets to discuss and share ideas about artistic production and to collaborate on not only art pieces but on a not dissimilar musical body whose output fits squarely within such a collaborative and critical practice. Perfect Uncle utilizes a general problem solving approach to sculpture, painting and music where the effects of process dictate the most crucial aspects in the creation of artwork.
Exhibition Runs: May 18 - May 26, 2012
Closing Reception: May 25, 7-10pm
In the White Dwarf Gallery
My current work investigates the curious notions of displacement and personal physicality. In addition to this I also show interest in ideas pertaining to home, manmade structure, landscape, human presence, memory as well as representations of family within these concepts. The piece Mom, sometimes it’s hard to be a woman. is a visual analysis concerning my relationship with my mom both past and present. The subject matter seen in Mom, sometimes it’s hard to be a woman. is that of my mom and myself both at the age of three. It is fascinating that these two women are in theory the two women that I should know everything about. However I will never meet or ever know these two women. This is based on the idea that we do not recollect our own memories in our early years of life. They do not even know each other and are only brought together by means of a photographic compilation. This combination of photographs and concrete material is one of the few brief connections that I will ever form with them. Furthermore it is one of the few affiliations they will have with each other. I refer to the little girls in the photos as “women” because that is my present day observation about the trueness of my mom and me. Mom, sometimes it’s hard to be a woman. onsets a new direction in my art practice, which aims to display the presence of my identity, body and self in relation to my surroundings.
Sara Girletz grew up in small town rural Alberta. Her work originates from a painting background and today she is currently maintaining a multidisciplinary art practice. She began her formal art education in the fall of 2007 at Red Deer College and most recently received her Bachelor of Fine Arts from the Alberta College of Art+Design in spring 2011. To date she has participated in an array of both collaborative as well as solo projects. These include exhibitions in the Marion Nicoll LRT Window Gallery, Calgary, Alberta; Art Gallery of Calgary; Art Central, Calgary, Alberta; and the Red Deer Museum and Art Gallery, Red Deer, Alberta. Her latest achievement to date is undergoing an artist residency abroad during winter 2012 at the Burren College of Art located in Newtown Castle, Ballyvaughan, Co. Clare, Ireland. Sara Girletz currently resides in Calgary, Alberta.
Exhibition: April 20th - May 12th, 2012
Opening Reception: April 20, 7 - 10pm
At UAS Satellite Gallery
Cassandra Paul's practice draws parallels between the natural and man-made world, combining what's left of the lives of animals following their deaths with that of humans. Imagining a post apocalyptic planet, Paul's work concentrates on depicting what the world might look like when void of any life. Highlighting the amount of waste left behind by a single person, Paul's paintings and three dimensional works seek to focus attention on the quantity of material possessions we collect and carelessly discard of. While an animal often leaves only its bones, a human leaves behind a lifetime of accumulation, that will one day flood the landscape like an above ground landfill. Paul's two and three dimensional works superimpose elements of the two species, illustrating heaps of human waste in hard edge, bright, saturated colours along with fragments of the skeletal remains of wildlife.
In order to demonstrate these ideas, Paul's work explores the natural and the man-made, juxtaposing these two opposite aesthetics within a single work. Exploring the likely devastation of both man and nature alike, Paul's work presents these two opposing forces inanimately in harmonious union. Working from found animal skulls and bodily remains, remnants of expired life are displayed as precious and curious objects. The latin phrase “Memento mori”, meaning “Remember your mortality” or “Remember you must die” is referred to by the skulls in these works, intended to make the viewer consider man and nature's shared fate, and the lingering inevitability of death. While the discarded objects represent a human presence, the human form is void from all my works. I am primarily interested in preserving artifacts of human existence. Painting them in solid and saturated colours disguises the history of the object and discards any trace of ownership. The viewer is therefore the human presence, projecting their own histories and experiences onto the objects; identifying them as familiar or obsolete.