Love Mansion is comprised of nine 16" x 20" colour prints designed to be arranged in a tic-tac-toe grid to form one large single artwork, with a pendant 'didactic panel'. The edition of eight portfolios, each stored in a lacquer-red archival box, was published in 1998.
Love Mansion is based on the social and architectural history of an ocean front house in Santa Monica, California. This house, the 'love mansion' of the title, was originally built by silent screen star Norma Talmadge in the late 1920s. The house was subsequently the home of various famous people, including Irving Berlin, Howard Hughes, Grace Kelly, and finally, Sharon Tate and Roman Polanski. The intriguing history of the building is referenced in Love Mansion through a variety of interwoven strategies. The nine images that constitute the main body of the work were constructed by double exposing mysterious interior views of the house with X's and O's, ambiguous liquid blobs, and polyhedral dice. David Askevold, winner of the 1996 Chalmers Award, lived in Halifax and Los Angeles until 2008.
RAY TRACINGS is a portfolio of seven archival pigment prints on IFA 49, each measuring 14 ⅝” x 16 ⅞” (42.8 x 37.1 cm), and housed in a custom portfolio box. The portfolio was published in 2013 in an edition of ten, with two proofs.
Jessica Eaton has been widely acclaimed for her innovative experiments in colour photography. She creates vibrant images using unique analog techniques that manipulate properties of light. The photographs in this new series are derived from the effects of light bending through glass prisms. As in previous works, here she pushes the rhetoric of abstraction to provoke a sensory experience of colour and space. These optically-charged photographs animate the flux between objects, image, and perception. Making explicit the fact that photographs come from drawing with light, this series references modernist art, such as Berenice Abbot’s science photographs of light rays.
Cast A Pall is a portfolio of two 18" x 19" giclée prints on Hahnemühle Watercolour paper. These are archivally mounted in custom gloss black lacquer frames. A Certificate of Authenticity is part of the set. The portfolio was published in 2008 in an edition of fifteen, with two proofs.
Rodney Graham's two portfolio images are the artist's favourites from his Black Squares (My Top 100) monochromes that were exhibited at the 50th Venice Biennale in 2003. The series is composed of record albums that are overpainted with India ink; the visibility of the underlying image is dictated by the ink's adherence to the surface finish.
This diptych was originally designated as the front and back cover for the artist's second rock album, to be called Cast A Pall. The project evolved into Rock Is Hard, a double LP of original songs, which was ultimately released with a revised cover.
Là tout n'est qu'ordre et Beauté is comprised of ten 11" x 14" gelatin silver prints mounted in 16" x 20" overmats. The images have been selected from a series of water(land)scapes produced in the mid 1990s. Published in 1998 in an edition of ten, stored in an archival fabric covered box.
Là tout n'est qu'ordre et Beauté is permeated with the spirit of Baudelaire. The title is part of a refrain from Baudelaire's poem L'invitation au voyage, published in Les Fleurs du Mal. This set of ethereal and evocative photographs mirrors the sense of artistic ennui coupled with acute observation that characterized Baudelaire's world-view. Just as the words in his poems are never quite what they propose to be, so these photographs are suggestive of another landscape beyond their poetic beauty. The poem I Am a Lake, by the Canadian poet Lorna Crozier, accompanies the images, and suggests an entirely different reading of these seemingly benign images. Angela Grauerholz lives in Montreal. Her work has been exhibited in major shows including Documenta IX, the Carnegie International and the Sydney Biennale.
Hadley + Maxwell
Based on the answer that ten Vancouver arts professionals gave to the question "If you were to be banished to a desert island, by yourself, for the rest of your living days, what one object would you choose to take with you?" Survival Kit contains photographs of the resulting selection of items, custom fitted with individual flotation devices by Hadley + Maxwell. Each portfolio of ten images is housed in a custom-modified archival container. The portfolio is an edition of ten, and was published in 2006.
Hadley + Maxwell have exhibited and published their collaborative work across Canada and internationally, most recently at the Contemporary Art Gallery in Vancouver and Western Bridge in Seattle. In 2005 they received a VIVA award, and in 2006-7 participated in the international residency program at the Künstlerhaus Bethanien in Berlin. Survival Kit is representative of their continuing interest in collaborative processes with individuals and communities.
Japanese Cooking is comprised of eight 10" x 12" x 2.5" shadow boxes in a custom-made packing crate. Each hand-altered pop-up digital colour print is mounted behind a magnifying lens in a solid oak shadow box, ready to hang on the wall. The edition of ten portfolios was launched in 2005, with production scheduled for completion in 2006.
Hoffos' whimsical buffet of Japanese Cooking is marked by a convergence of the artist's interests in stereo photography, lenticular postcards, pop-up cut-outs and - of course - vintage cookbook illustration. Like much of his installation work, the works create primitive, momentary 3D illusions. The found images are carefully manipulated by hand - cut, bent, folded, propped up - to create an appearance of dimensionality from a 2D source, an effect enhanced by the magnifying lens. The technique used is similar to the traditional craft of paper tolle. His choice of subject is no accident: the artist states, "Japanese Cooking is all about visual appeal and presentation - simple ingredients prepared with craft and care."
Military Through the Ages is a portfolio of ten black and white photographs printed on 11" x 14" Agfa fibre-based paper. They are mounted in 16" x20" mattes and archivally packaged in a custom-made Baltic ash plywood box. A letterpress-printed title page and text page are part of the set. The portfolio was published in 1996 in an edition of eight.
The photographs were taken at various military re-enactment events in the United States between 1991 and 1994. They were then digitally marked with stains resembling those found on old, poorly processed photographs. For the artist, these ersatz chemical spills parallel the condition of living history participants who emerge from mock battles unscathed and "virtually younger, like travelers returned from another timescape. In the same spirit of conservation, the photographs here suffer no threat from their disfiguring blotches – a digital spill hasn't the juice to destroy the image."
Language is Means comprises ten 20" x 24" Kodacolour prints presented in three sections – The Language Chain, The Named Forest and Visible Signs – and includes an artist's statement. Published in 1991, the portfolio is an edition of ten.
Language is Means uses a distinctive collage technique that Sourkes' has developed over many years. Each image is a richly layered combination of text and illustration with photographs. In this series concerned with sacred associations of trees and alphabets, Sourkes extends her ongoing interest in processes of codification, "to expose a constellation of lost meanings" and "to address the degradation of the symbolic which we experience in contemporary culture" (artist's statement). Cheryl Sourkes lives in Toronto.
Les temps satellites, a portfolio of ten 8" X 10" gelatin silver prints, was published in 1986. The images are printed on Agfa Brovira and mounted on 16" X 20" mats. Each overmat is covered with a sheet of briliant red acetate which then constitutes the frame for each photograph. The portfolio is an edition of ten.
Les temps satellites is an episodic narrative characteristic of the art of Ramonde April. This work has an intimate and cinematic quality. She has said of her photography: "Il n'y a pas de théâtre, il n'y a pas charactuers. C'est arrivé. Il n'y a pas de scène, juste une distance minimale et essentielle, comme un fil, come un objectif. Il y a du cadrage, du triage, puis le mur et les punaises." (from Voyage dans le monde des choses, Musée d'art contemporain de Montréal.) Raymonde April lives and works in Montréal.
Accompaniment to a Cinematographic Scene: Ruskin B.C. is a series of ten Kodacolour photographs taken with a large format camera. The prints are mounted in 16" x 20" mats and are accompanied by a text panel that is an integral part of the work. The portfolio was published in 1992 in an edition of ten.
The landscape images contained in this portfolio are location photographs for a subsequent film installation, "Ruskin, B.C.: Pursuit of Fear and Catastrophe" and are sequenced to resemble a film loop. Douglas draws out the lyricism of a dissonant landscape revealing the interactions of nature and industry. Informed by a conceptualist sensibility, this work alludes to the dynamics of social change through the specifics of the history of Ruskin, a small B.C. town. Stan Douglas lives in Vancouver. His film and video installations have been shown at prestigious institutions worldwide.
La Campagna Romana is comprised of ten gelatin silver contact prints on AZO paper mounted in 12" x 20" overmants. Published in 1991, the portfolio is an edition of twelve. The images have been selected from the artist's book of the same name published by Editions Galerie Rene Blouin.
La Campagna Romana presents a journey through the Roman countryside via a lyrical documentation of architecture and cultivated landscape. For many years, Geoffrey James has been photographing park and garden scenes with a 1920's Kodak Panoramic camera. He has said that "the panoramic shape comes closer to the horopter of human vision, more closely duplicating our peripheral sense of inhabiting space." James considers his detailed studies of specific landscapes as acts of conservation and commemoration: "More than other works of art, gardens are vulnerable to the passage of time, victims not only of the encroachments of nature but the caprices of fashion and premises of speculation." Based in Montreal, Geoffrey James has exhibited widely.
My Heroes in the Streets- – Studies for Pictures on Canvas was published in 1986 in an edition of ten. Each of the images consists of an Ektacolour photograph mounted on a 15" x 22" sheet of Stonehenge lithographic paper. These sheets have been printed with two references to the idea of 'the gallery': an outline rectangle for the photograph, and a line representing the intersection of the floor and wall.
Ian Wallace has described some of the ideas informing this series of works, which has also taken the form of large-scale canvases as follows: "The street is the site, metaphorically as well as in actuality, of all the forces of society and economics imploded upon the individual, who, moving within the dense 'forest of symbols' of the modern city, can achieve the status of the 'heroic'…" Ian Wallace lives in Vancouver. His paintings, photographs and critical writing have received international exposure.