Exhibition Runs: March 28th to June 22nd, 2013
Reception: May 24th, 8PM to 11PM
In the UAS White Dwarf Gallery
My work explores ideas of escapism, which stems from a nostalgic view of my youth. Emerging from a rich background of gaming, model making, astronomy textbooks and television influences; this idea formulates itself into my work somewhat instinctually. This could be construed as the recreation of an earlier time of mine in the present to the outside viewer.
Space (disambiguation), Space (outer space) and Science aids my work, I draw inspiration from optical illusions to create seemingly more space from smaller literal spaces. While also drawing influence from the harsh and ultimately isolating nature of outer space. Utilizing methods of constructing such as electronic buttons, peepholes, batteries, LED’s I create narratives in isolated boxes; Isolating the narrative from the public while also protecting it in some ways. Through this I create narrative bubbles that I allow the viewer to peer into.
My current work uses the comic narrative language to achieve symbolism and archetypes that are easily understandable to more viewers. Combining these ideas I create narratives that, on their own seem unrecognizable or out of context, but upon viewing a number of them become immediately recognizable. Creating and utilizing narrative archetypes in the same manner that comic narrative does. The goal is to have a rich abundance of narratives/archetypes as to allow ideas to be formulated automatically by the viewer the same way a person can with recognizable comic book narratives.
Artists: Pierre Quinn, Michelle Lazo, Stacey Watson, Chris Tait, Shanaz Pasha, Tara Hadi, Skylar Borgstrom, Megan Lundrigan, Chris Tait, Devin Connor, Hakan Temucin, Michelle Rainey, Tekoa Predika, Andrew Petti & Dawn Gabereau.
Exhibition Runs: February 15th to March 9th, 2013.
Opening Reception: February 15th, 7-11PM.
Part of the Exposure Photography Festival.
At the UAS White Dwarf Gallery
Untitled Art Society is please to present Safe Lights in the White Dwarf Gallery. This exhibition features the work of many Calgary-based photographers who incorporate analogue developing and printing as a crucial aspect of their artistic practice.
The level of research and technological knowledge required to create these images becomes a critical part of their conceptual framework. The act of printing in a darkroom and the relationships that each artist builds with his or her process is highly physical, time consuming and intimate.
The utilization of these highly traditional processes as a means of image making re-presents the art historical context of photography in a new and contemporary light. This exhibition can function as an artificial timeline. A wide range of technological eras is being presented, but contentiously marred and subverted with cues of the present day.
There is a continual binary tension created by these works. Past and present, precious and infinite, tangible and intangible all play into how darkroom photography functions as a contrast to digital photography as a contemporary form of art.
Exhibition Runs: October 16th to October 19th, 2012 at 12-4PM
Part of the MST 6 Festival of Performative Art
At the UAS White Dwarf Gallery
“Hourglass” is a rice‐based performance that explores “deterritorialization” and “disessentialization” in the Taken‐for‐Granted world.
The action of constantly painting white rice to black is a metaphor of the hourglass. Sand in an hourglass cannot flow without rotation, just as power cannot shift without struggle. Too much power concentrated on one side is a main factor causing disharmony, confusion and dislocation, embodied on the social turbulence that we see and feel in our daily lives. In fact, power doesn’t bring growth unless we understand the essence of sharing power. The process of social transformation does not have to involve violence, and the political gesture doesn’t have to be radical. In fact, it can be done through a more peaceful way, a meditative way or through actual meditation.
The gesture of painting white rice to black is a political gesture. This performance provides an opportunity for participants to meditate on our situation while working together on a mutual goal: reconfigure the established centralized power in order to create an equal, fair and balanced world.
Chun Hua Catherine Dong is a performance artist, born in China, living in Canada. She graduated from Emily Carr University Arts & Design and is currently pursuing her MFA at Concordia University with support of SSHRC, Concordia Faculty of Fine Arts Fellowship and BC Arts Council Scholarship. Dong is interested in blurring boundaries between personal and political, between private and public, between art and life, between performance and everyday practice. Her current research interests focus on how a practice of contemporary performance art addresses the everyday performance of identity, and how strategic, essentialized performance of identity redefines the interconnected concepts of public and private self, gender, and power.