Ways of Thinking is designed for anyone interested in exploring contemporary art and its exhibition framework. This section offers succinct and synthesized information on the exhibition’s concept, the artists and the works featured. One finds a general presentation, areas of inquiry and ideas to reflect upon as well as suggested Internet links and bibliographic references that allow one to gain a general understanding of the artist’s approach to artmaking, the works featured and the curatorial framing adopted. Ways of Thinking’s primary objective is to draw the public into the Gallery so that it can experience first hand the work in the exhibition and gain insight into the issues at work in contemporary exhibition making. Once the exhibition is over, Ways of Thinking becomes part of a documentation database of particular interest to students, teachers and researchers interested in the Gallery’s exhibition program.
IGNITION
STEVE BATES, AMÉLIE GUÉRIN, MARK IGLOLIORTE,
MIRIAM SAMPAIO, MEERA MARGARET SINGH, MALENA SZLAM
Exhibition produced by the Leonard & Bina Ellen Art Gallery with the support of the Canada Council for the Arts. The Gallery and the artists gratefully acknowledge Hexagram and CIAM – Centre Interuniversitaire des arts médiatiques, for their technical support.
The work featured in this edition of IGNITION was selected by independent artist-curator Susannah Wesley and Michèle Thériault, Director of the Leonard & Bina Ellen Art Gallery.
IGNITION is an annual, curated exhibition that features work by M.F.A. students in the Studio Arts program. It provides an up-and-coming generation of artists with a unique opportunity to present ambitious, interdisciplinary work in the professional context of a gallery with a national and international profile. It places an emphasis on innovative and experimental work that engages in an exploration of diverse media and practices.This 5th edition of Ignition features six artists whose practices include photography, video and sound installation, painting, drawing, and sculpture.
Steve Bates’ video installation, Radio Forest,
is an abstracted representation, in image and sound, of the lengthy
network of antennae that run along Northern Ontario’s Trans-Canada
Highway, symbolic of transience and communication but also of
human presence and absence. Amélie Guérin’s sculptural
installations question the paradoxical role of modern, manufactured
design objects for the home by re-investing these as objects of
contemplation and reflection. Mark Igloliorte’s
large-scale painting allegorically evokes the experiences of Inuit
youth in the remote, northern communities of Newfoundland and
Labrador where he was born, and which today are plagued by high
rates of suicide and shifts in cultural and economic values. Through
her video installation, Miriam Sampaio attempts
to piece together her immigrant family’s history; a past which
was largely lived in exile and secrecy, creating what the artist
calls a “trans-generational haunting”. Meera Margaret
Singh’s photographic portrait series Harbinger,
depicts aging individuals in liminal states – in mid-speech, mid-gesture
– revealing truth and fiction, pleasure and pain, history and
the present. Cronograma de un tiempo inexistente / Chronogram
of Inexistent Time, by Malena Szlam explores
the architectural possibilities of moving images by projecting
digital video and 16mm film onto several layered, textured screens.
Steve Bates
Amélie Guérin
Mark Igloliorte
Miriam Sampaio
Meera Margaret Singh
Malena Szlam
|
STEVE BATES
Steve Bates currently lives in Montréal where he is an MFA candidate in Studio Arts at Concordia University. He works on music, radio, and installation projects both independently and collaboratively. While his past production has primarily focused on live performance, a new concentration in installation and video work has emerged.
Mistakes. Tape hiss. Accidents. Layers. Residue. Skips. Feedback loops. All of these have a place in my work.
My current projects explore the detail in surface and the
minute, unheard or ignored sounds around us, usually emphasizing
texture over rhythm. I frequently use sound material that
is site-specific in an attempt to uncover place and consider
Henri Lefebvre’s concepts surrounding the production of
space as points of departure. Recent collaborations include
100 Lines with jake moore and soundFIELD,
an outdoor installation at the International Garden Festival,
Reford Gardens/Jardins de Métis, with landscape architect
Douglas Moffat.
THE WORK
Radio Forest, 2008.
Radio Forest is an installation consisting of projected video footage of passing antennae along Northern Ontario’s Trans-Canada Highway, itself a networked circuit. Accompanying the video footage, but separate from it, are audio signals collected and processed from shortwave radio broadcasts. Connecting the two entities is a flickering light, acting as a beacon, emitted from a video monitor receiving the audio signal via its video input.
Steve Bates, Radio Forest, 2008.
Video still from audio/video installation, courtesy of the artist.
EXPLORE
By experiencing this work you will explore:
- the various levels at which sound and image interact with each other in Radio Forest;
- notions of space and the production of space and how they are addressed in this work.
ADDITIONAL SOURCES OF INFORMATION
Jardins de Métis. Sound Resonates in the Garden! Online posting. International Garden Festival. 4 Dec. 2008, <http://www.jardinsmetis.com/english/festival/concepteurs2007.htm>.
Sound Field. Landscape Architecture Magazine April (2007) : 68-69.
AMÉLIE GUÉRIN
Amélie Guérin holds a Baccalauréat en arts visuels
et médiatiques from Université du Québec à Montréal
and is currently completing an MFA, with a concentration
in Painting and Drawing, at Concordia University. She recently
participated in the Reverse Pedagogy thematic residency
at the Banff Centre. Her work has been exhibited in Québec,
France and Scotland.
My work consists of installations that incorporate sculpture, painting, found objects and texts all put into play inside choreographed environments. I strive to absorb, copy, transform and occasionally question my immediate environment via popular culture, art, fashion, sport, design, music and my own personal experience. I investigate contrast and contradiction in an attempt to underline the places or instances in which art and life overlap.
THE WORK
Untitled/Sans titre, 2008.
Untitled/Sans titre is an installation consisting of paintings, textual components, self-portraits, found objects and sculptures. The elements are orchestrated to generate a dialogue between them and to evoke a surreal domestic environment that oscillates between the familiar and the unknown.
Amélie Guérin, Untitled/Sans titre, 2008.
View of mixed media work in progress, courtesy of the artist.
Photo : Simon Bilodeau
EXPLORE
By experiencing this work you will explore:
- what is made reference to in this work and how it affects the “dialogue” that takes place between the work’s constituent parts;
- the ways in which presentation is important to our understanding of this work.
ADDITIONAL SOURCES OF INFORMATION
Dumas, Julie. Les différentes saisons d’Amélie Guérin-Simard. Traces Magazine Nov. 2007.
Guttman, k.g., Tegan Forbes, Solomon Nagler, and Caroline Boileau. Compression : Concordia University MFA Studio Arts Group Show/Université Concordia maîtrise en beaux-arts exposition collective. Montreal : MFA Program, Concordia University, 2007.
Saito, Daichi, and Malena Szlam. STRATA: Concordia University MFA Group Exhibition 2008/Exposition collective de la maîtrise en beaux-arts de l’Université Concordia 2008. Montreal : MFA Program, Concordia University, 2008.
MARK IGLOLIORTE
Mark Igloliorte holds a BFA from the Nova Scotia College of Art and Design, a B.Ed from Memorial University, and is currently completing an MFA with a concentration in Painting and Drawing at Concordia University. His work has been exhibited in Canada and the United States.
My work consists primarily of painting and drawing and incorporates elements of sculpture, performance and new media. Through my work I seek a kind of balance between being Inuit and my Newfoundland/Canadian identity. I explore and negotiate that which is innate, being born of mixed heritage, and that which is chosen, being a painter as well as an avid skateboarder and snowboarder.
THE WORK
My Name, My Home, 2008.
My Name, My Home consists of one painting that is 13 feet long and two videos showing skateboarding and snowboarding trick sequences. This work is based on recent experiences on the coast of Labrador and is a response to being in an area with a high suicide rate. It continues an ongoing negotiation of identity in which I examine the relationship between my art practice and my Inuit ancestry.
Mark Igloliorte, My Name, My Home, 2008.
Video still from installation, courtesy of the artist.
EXPLORE
By experiencing this work you will explore:
- identity, how it is constructed and the ways in which this is addressed in My Name, My Home;
- painting and its role in Mark Igloliorte’s examination of identity and ancestry.
ADDITIONAL SOURCES OF INFORMATION
Amber Berson and Laurie Filgiano. In your Footsteps: Indigenous Artists at Concordia. Online posting. Making Marks: First Nations, Inuit and Métis Art History. 4 Dec. 2008 <http://makingmarks.concordia.ca/html/footstepshow.html>.
Grant, Phyllis. Capturing Beauty in the Everyday. Say Magazine Fall, 2004.
MIRIAM SAMPAIO
In 1998, Miriam Sampaio completed a BFA in Interdisciplinary Studies at Concordia University. She is currently completing an MFA in Studio Arts, with a concentration in Open Media, also at Concordia University. Since 2002, she has exhibited her work in Canada, Portugal and Cyprus. She divides her time between Montréal and Lisbon.
My photographic/film practice is marked by an obsession with collecting, hoarding and archiving. It is a means of visibly charting lived experience and marking moments that have passed. My Super 8 images offer impressions of a distant past and a dislocated present. I feel compelled to document, preserve and thwart disappearance. I situate myself within a constructed myth where I blur and distort elements of truth. I am exploring the moment when silence begins to fill with secrets.
THE WORK
Fractured Bones, Porous Outlines, 2008.
Fractured Bones, Porous Outlines, completed in 2008, is composed of video, performance and photography. It traces, through a continuous process of recapturing, reworking and rephotographing, an ongoing personal quest to reconstruct memory.
Miriam Sampaio, Fractured Bones, Porous Outlines, 2008.
Video still from installation, courtesy of the artist.
Photo : Steve Bates
EXPLORE
By experiencing this work you will explore:
- the image, the various ways in which it is reworked and represented and why this is important to the construction of meaning in Fractured Bones, Porous Outlines;
- notions of amassing, collecting and archiving and the ways in which they operate in this work.
ADDITIONAL SOURCES OF INFORMATION
La Centrale. Miriam Sampaio (Montréal), photographie et vidéo : Murmur. Online posting. Murmur. 4 Dec. 2008 <http://www.lacentrale.org/Sampaio.html>.
Hashmi, Aneesa. Miriam Sampaio : Murmur. Gatineau : DAÏMÕN, 2002.
MEERA MARGARET SINGH
Meera Margaret Singh is a visual artist based in Montréal. She holds a BA in Anthropology and a BFA in Photography, both from the University of Manitoba, as well as an MFA from Concordia University. Singh has participated in residencies and is the recipient of numerous awards. Her work has been exhibited in Canada and the United States.
My work explores relationships that exist between individuals and their environment. In either domestic or exterior settings, I construct and examine points of intersection between the body and the environment while also occupying the interstice between fact and fiction. I use photography both to elicit intimacy and as a means of constructing narratives that are based on actual events. The subjects I work with, whether family, friends, or strangers who I have approached on the street, assist in the creation of these narratives.
THE WORK
Harbinger, 2008.
Harbinger explores the interaction between the aging body, the landscape (interior and exterior), and light. The work revolves around my interest in exploring the fine line that exists between truth and fiction, the historical and the contemporary, and between pleasure and pain. All of the images draw on my fascination with historical painting and sculpture.
Meera Margaret Singh, Sonja, 2008.
Image from the series Harbinger, c-print, courtesy of the artist.
EXPLORE
By experiencing this work you will explore:
- notions surrounding the portrait;
- the ways in which references to historical painting and sculpture are present in this work and why they are important to our understanding of it.
ADDITIONAL SOURCES OF INFORMATION
Meera Margaret Singh, official Web site, www.meeramargaretsingh.com
Borderviews. The Desiring Dark : Meera Singh. Border Crossings 94 (2005) : 12-13.
Dahle, Sigrid, and J.J. Kegan McFadden. Meera Margaret Singh : You’re All I Ever Think About. Winnipeg : PLATFORM Centre for Photographic and Digital Arts, 2006.
Enright, Robert. Winnipeg’s New Litter of Art Pups. The Globe & Mail 16 Feb. 2006, national ed. : R1+.
MALENA SZLAM
Born in Chile, Malena Szlam is a visual artist working in the realms of cinema, photography, and installation. She is currently completing an MFA in Studio Arts at Concordia University and is a member of Double Negative, a Montreal-based group of film, video and installation artists interested in creating, curating and disseminating experimental film. Her work has been screened in Winnipeg, Victoria, Toronto, Montréal, Seoul and Paris.
I explore the displacement of notions of cinema through installations that incorporate the use of photography, film, video, electro-mechanical systems and organic materials. My work expresses the physicality of images as gestures in light, and creates interplay between both open and contained spaces and their limits. A poetic reflection on the language of time through still and moving images, my work attempts to unfold perceptual experiences at odds with the linearity of time.
THE WORK
Cronograma de un tiempo inexistente / Chronogram of Inexistent Time, 2008.
Cronograma de un tiempo inexistente / Chronogram of Inexistent Time consists of projected film and video loops. The work is based, among other things, on an exploration of the architectural possibilities of images; ephemeral images, their displacement and the traces that they leave behind; repetition and time.
Malena Szlam, Cronograma de un tiempo inexistente / Chronogram of Inexistent Time, 2008.
Video still from installation, courtesy of the artist.
EXPLORE
By experiencing this work you will explore:
- the ephemeral nature of the image;
- notions of stillness, motion and time and the ways in which they all come into play in this work.
ADDITIONAL SOURCES OF INFORMATION
Cifuentes, Guillermo. Una montón de imágenes rotas. Santiago, Chile : Galleria Anímal, 2005.
Saito, Daichi, and Malena Szlam. STRATA: Concordia University MFA Group Exhibition 2008/Exposition collective de la maîtrise en beaux-arts de l’Université Concordia 2008. Montreal : MFA Program, Concordia University, 2008.
Szlam, Malena. Una Esfera. (cuyo centro està en todas partes y su circunferencia en ninguna). Pausa Nov. 2004 : pp. 62-67.
|
Produced with the support of the Frederick and Mary Kay Lowy Art Education Fund.
|
Visit our page on Facebook
Follow us on Twitter