DRAWING, WRITING, ETC.:
–New Miscellany (2016-Present)
–A slight so egregious it lingers beyond the dream (2015)
–The House without Orifices
–Oversized Beneath the Percolator
–Bonfire Night (2012)
–Whispers Project (2011-2012)
–Paolo vs. “The Man” (2011-2012)
–Dicework II (2008-2009)
–The Dead (2008)
–Dicework I (2008)
–The Messier Catalogue (2007)
–Brushstroke Diagrams (2006-2007)
–Tell Me What to Paint (2006)
Lives and works in Vancouver, Canada. Primarily interested in the following: a) Visual and textual lines; b) the antiseptic tempered by a quiver of the handmade; and c) the diagrammatic and/or explanatory, especially when cloaked in ostensible self-importance without necessarily being true, serious business. Adherence to stringent procedural methods allows for an iterative exploration of the above concepts ad infinitum [read more].
–Art for Life
–The Dead 2
–Hollingworth & Davie
–MAKE // BREAK // FIX
–The Pleasant Matthews
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Erika Petro and C. Golding
Nelly César Marín
Paul Antony Carr
I have work in this group show. A catalogue will accompany the exhibition. There’s a Facebook event page, and further details can be found below:
Opening Reception: Tuesday April 19th, 5-8pm.
Gallery Hours: Monday to Saturday, 11am-4pm.
UBC SUB Gallery, 6138 Student Union Blvd, Vancouver, BC V6T 1Z7 (Map).
“Picturing Intuition” is an exhibition that highlights the connections between intuition and the element of time in the process of making, exhibiting and experiencing art. This applies to the individual pieces in the exhibition, to how the artworks engage with each other and interact with the space of the gallery and, more importantly, to how they connect with the viewers’ own intuition through their sense of time.
Art works are images, objects, assemblages and events that take up a specific space, but they also possess invisible and unbound temporal qualities. The act of encountering art in a gallery associates the viewers’ present and conscious time to the temporality embedded in the works of art and that of the space of the exhibition. It provides the connection through which the visuality of the work in relation to the space it occupies can then be experienced. Without the establishment of this connection, no image or impression can find a place or meaning in the viewers’ consciousness.
The relationship between intuition and temporality is not void of politics. Often the establishment of social intersubjectivity is impossible unless it is guaranteed, beyond logic and language, through the process of indirect swaying and influencing of subject’s intuition through the sense of time.
“Picturing Intuition” is curated by Mo Salemy.