Reception: Friday, April 22, 2016, 8PM
A collaboration between Calgary-based artist Nicole Kelly Westman and Vancouver-based artist Del Hillier, Presenting Two Left-Footed Loocee and Delvis Cache unites the characters of Two Left Footed Loocee and Delvis Cache for a performative and sculptural installation that bridges the multifarious contexts of contemporary art with personal narrative, as the artists explore their shared experiences of growing up in blue collar mining families through performance. Drawing from the politics and peculiarities of both the mining industry and art institutions, Presenting Two Left-Footed Loocee and Delvis Cache offers a satirical and humorous inquiry into hierarchies of labour and the quirks of the art world, with catchy tunes to boot.
Along with the exhibition, the artists will present a series of public programs and performances including the launch of a cassette publication in partnership with Sled Island Music & Arts Festival entitled Live From UAS, Delvis and Loucey, with text by Sophia Bartholomew.
About the Artists:
Nicole Kelly Westman is a visual artist of Métis and Icelandic descent. She grew up in a supportive home with strong-willed parents—her mother, a considerate woman with inventive creativity, and her father, an anonymous feminist. Her work culls from these formative years for insight and inspiration. Creating work that exists beyond the binaries of a specific medium, Westman finds inspiration through the plumbing of archives and through deep research. She has had the pleasure and privilege to be curated into exhibitions by remarkable females including: Ginger Carlson, Kimberly Phillips, Peta Rake, Kristy Trinier, and cheyanne turions. Westman holds a BFA from Emily Carr University and is the current Director of Stride Gallery, Calgary.
Del Hillier’s work oscillates between an indoor and outdoor studio where self-learning, experimentation, serendipity, and happenstance are safely at play. Working across sculpture, performance, video, social engagement, acting, and craft, Hillier considers both the aesthetic experience of making work and the work itself of equal importance. These circumstances allow his own idiosyncratic interests to wander and build unique and novel responses to familiar objects and experiences.