January 7 - February 5, 2005 in the Main Space
This exhibition features life-size portraits of friends and family with whom Smale has intimate connections. These portraits will be painted without hair in an experiment to de-personalize the figures, and to perhaps remove traces of personality or ego. Drawing on a long history of icons, Smale tries to create a sense of reverence or austere spirituality with the works.
Smale was born and educated in Edmonton and has community ties here still. A strong painter with uncanny commitment to the finished work, this painting series is of an extremely high calibre.
Containers & Content
January 7 - February 5, 2005 in the ProjEx Room
Smith, an emerging artist from Edmonton, will feature an exhibit of portrait work of magical creatures. This includes a rabbit, a re-occurring idea in his work for the past four years.
March 4 - March 26, 2005 in the Main Space
"For a number of years I’ve been working on drawing together my interests in video as a real-time medium, in the process of technological obsolescence, and in specific ways that moving images and sounds can be presented to audiences in and outside of gallery spaces.
Flowchart began as a project to deal with the impact that technology (specifically technology that had become ‘obsolete’) was having on my life. I was interested in looking at what happens to technological systems that are deemed to have reach the end of their usefulness: having being categorized as obsolete, artefacts representing enormous social investments are transformed from functioning systems into either garbage or into collectors’ items’. I saw my role in this domain as an exploration of process of collection, categorization, remembering and speculation. By ‘irrationally’ reversing some of these common processes (saving broken items, valorizing obsolescent features, subordinating my lifestyle to ‘antique’ technological approaches and procedures), I have created a scenario in which my own role is no longer associated with ‘objected’ inquiry, but is embedded in more ambiguous discourses of obsessionality and nostalgia." - Tim Dallett
March 4-26, 2005 in the Projex Room
This series of figurative paintings by Edmonton painter Cam Wallace features realistic life activities of various subjects throughout different neighbourhoods in the city of Edmonton that take on a sense of isolation and loneliness.
The Alberta Wildlife Show
Artists: Tom Bagley, Penny Buckner, Fish Griwkowsky, Dara Humniski, Colleen Langford, Tandie Mcleod, Ted Wright
April 8 - May 7, 2005 in the Main Space
Bathroom wall Graffiti. It’s good to look, there may be something there. It’s not so much the statements or punch lines, but the overall collaboration that’s impressive. The image, of often, hundreds of marks on a sterile wall riffing off or answering the finished piece or first draft above it, holds valid information on the community. When a wall is filled like that, the individual cursives, styles, monikers and motifs tend to really stand out when in such close proximity. Despite the variations on sharpie, ballpoint pen and key scrapes, the wall still reads as one piece, even if one side contradicts the other- it still has a kind of collective consciousness. More so it’s the feral act itself that’s tantalizing, and that the inner city drew or pulled the same commitment from a number of different people in the same place.
Though linked, commonly, to rural settings, the inner city has its own definitions of wildlife. The inspirations can be literal or conceptual when the woods are out of reach. We can respond with images from our past or picture books as homage to the untouchable wilderness, with the idea of wilderness possibly being fictional. Urban areas can also transform a forest full of animals into glass, concrete, and an 8 hour work day, the only discourse being to draw connections between the inner city experience and how it turns us into animals itself. In either case, a small cross section of people inspired by similar geography can pick up on different subtitles and show us a side we haven’t seen, just in case there is something there.
April 8 - May 7, 2005 in the ProjEx Room
This series of strong, hyper-realistic figurative paintings by Edmonton painter Cam Wallace features realistic life activities of various subjects throughout different neighbourhoods in the city of Edmonton that take on a sense of isolation and loneliness.
POD and Wind Array Cascade Machine
June 24 - July 6, 2005 in the Main Space
POD (2003) is the first installation created for the wind Array Cascade Machine (WACM) data network. POD is a 64 channel installation that uses 2880 light emitting diodes (LEDs) to portray a 4 dimensional picture of the wind. Each of 64 “pods”, function as a velocity amplitude meter from the 64 sensors of the WACM data network. Pod is designed to operate from either live streamed data from the installed WACM system in Montreal, or from recorded wind data previously generated by the WACM system. In 2004, POD was exhibited at OBORO, Montreal, directly after its European premiere at the Museum of Contemporary Art Kiasma, Helsinki, Finland, for ISEA 2004. In 2005, POD won an Honourable Mention in Interactive Media at Prix Ars Electronica, Linz, Austria.
JO What do You Mean, I’m Ambivalent?
June 24 - July 6, 2005 in the ProjEx Room
When it comes to the topic of love and relationship, I have a difficult time expressing myself with words. Communication telepathically would make things easier- then again, maybe not.
I started drawing stick- figure cartoons relating to love and relationships out of a need to express myself more simply, without the elaborate defence of too many words.
Stripped down to visual language of stick-figures, these cartoons let me convey a personal, and somewhat conflicted, range of emotional content I would normally have a hard time expressing.
In truth, these small and intimate works are about finding humour and connection. I’ve observed that when people relate to something, they usually laugh. At the very least, there is a sense of sympathy. My experiences and responses are personal, but I hope that others will be able to find something to find something to relate to in these stick-figure drawings. It’s about seeking understanding. It’s about sharing a common Experience. It’s about relationships.
Her Life Was Saved by Rock & Roll
July 30-August 25, 2005 in the Main Space
"My love affair with lyrics started back in the 1970s when I would spend hours listening to music on my prized Panasonic doughnut radio. That radio went everywhere I did teaching me all about seasons in the sun, radar lovers and smoking in the boys room. Long before I had my own experiences to consider, my education on love, loss and desire was brought to me through its tinny little speaker.
When I reached the age where I was experiencing some of the things the songs spoke of, music provided solace and reinforcement of my feelings. Wedging my head between the speakers and listening to Led Zeppelin’s Dy’er Mak’er over and over after a break-up gave me comfort I could not find anywhere else. Blasting the Sex Pistols in my bedroom gave voice to the turmoil of emotions I could not articulate to my parents during my high school years. The thrill of being underage and sneaking into nightclubs and concerts is re-awakened in me every time I hear New Order, The Smiths and The Cure. To this day, I will jot down snippet of a song in my journal or sketchbook when I find my own means of expression are inadequate. " -Jane Irwin
Works In Paper
September 9 - October 15, 2005 in the Main Space
Sauve, a former Edmontonian artists explores the experiences of having to somewhat reinvent oneself when one moves to a new city. Laced with Lacanian and Proust references this work attempted to speak to the lonely and unsure person in all of us.
You Look Like You Where As I Tend To Look Like Me
September 9 - October 15, 2005 in the ProjEx Room
"A year and a half ago, I began buying-up entire garage sales, and using these collections as materials for art projects. In my mind, these works have two axes through which they operate. First, the action of buying up a person’s or family’s collection of surplus goods that they are offering up for sale. These collections provide an anthropological insight into the tastes, lifestyle, class, and failed or forgotten desires of the people selling them. Intrinsic in the objects themselves, is the failed idealism of a culture. Like Walter Benjamin’s arcades, garage sales also provide insight into the recently outmoded, in terms of style and technology. The action of buying up the entire garage sale as a whole, rather than one or two selected items, can be seen as a way of preserving the assortment of objects as a unique collection. I like to imagine this action as being similar to the way that art collectors buy and horde artists’ entire body of work, or the way a conservator at a museum collects and preserves a collection of artefacts.
The second axis of these works is the creation of a project or “art work”. These works necessarily operate within the existing interrelations of the objects as a ore-defined collection, but also within the pre-defined frame work of art history. I like to think of the second layer of the work as research in which my interaction with the materials, as well as with theoretical discourse, generate the final form or structure of the work." -Kara Uzelman
October 21- November 26, 2005 in the Main Space
Joanne Lyons is a Saskatoon artist whose work has often explored the areas of fashion, culture and the body. Several of her more recent projects have involved photographing and digitally manipulated images of fashion mannequins. A loaded contemporary symbol, the fashion mannequin is the embodiment of our consumerist-shaped desires. The cold, emaciated forms of the mannequin reflect the management of our uncontained needs, unrestrained hunger, and uncontrolled impulse. Amid their vacant and haunted stares, lay the wasteland of our dreams for love, success and beauty .
The Clothes Project
October 21 - November 26, 2005 in the ProjEx Room
Our Process has been to pick up clothing found on the street, launder it, and return it neatly folded to its original location. We’ve carried this out in several cities- Vancouver, Victoria, Calgary, Saskatoon and now Edmonton. Every city has its particularities in geographical and social terms and the project changes immensely from one place to another.
In turn, the installation or methods of construction in relation with the gallery also change. In Edmonton, we have been given the opportunity to use Latitude 53’s ProjEx room as a kind of base-camp from which to begin and end our days moving throughout the city.