New blood (part II)

Benjamin Freedman

Statement about the project: In November 2014 I began a two month residency in northern Iceland where I became interested in the countries unique topographic features. Its low mountains and fascinating geological specimens inspired this sci-fi photo book that is meant to playfully illustrate a fictional story about a lunar phenomenon taking place in a sleepy little town. As a medium that boasts power and authority, photography remains a complex tool that inherently elicits the truth while simultaneously hinting at the possibility of fiction. These images, constructed using rocks found from the surrounding landscape, are playfully rearranged and photographed within the context of a scientifically ambiguous narrative. Like images mined from forgotten archives, the photographs borrow reoccurring elements from space and forensic photography. Collectively, the work creates a mosaic that re-presents situations from a research project performed in a remote town. Weaving together photographs of possible lunar samples, scientific machinery and cosmic landscapes, the book forms an eclectic visual journal of a man and his relationship with the cosmos.

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© Benjamin Freedman, selected works from the project OFORT(Observation of Foreign Objects in a Remote town) More can be seen here.

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Jordanna Kalman

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© Jordanna Kalman, selected works from the project The Hole Sea. More can be seen here.

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Anna Snyder

Statement about the project: ‘Symbiosis’ .

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© Anna Synder, selected works from the projects 1000 Islands (first three photographs) and The Gatherer (last three photographs). More can be seen here.

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Mara Gajic

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© Mara Gajic, selected works from the different projects. More can be seen here.

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Rachelle Bussières

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© Rachelle Bussières, selected works from different years. All unique gelatin silver prints. More can be seen here.

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٠ Les Automatistes and the ‘resplendent anarchy’ ٠

artreview1_46824tumblr_mn6nh8UHCb1qex654o1_500sullivan_216-Sullivan© Françoise Sullivan, Danse de la Neige (Dance in the Snow), 1948. 17 black & white photographs by Maurice Perron

“[…]
The society that was born of faith will die at the hands of reason…
The fatal disintegration o f our collective moral strength into strictly individual and sentimental power has undermined the once formidable shield of abstract knowledge behind which society takes cover to enjoy its ill-gotten gains at leisure .
It took t h e last two wars to achieve this absurd result. The horror of the third war will be decisive. We are on the brink of a D-day of total sacrifice.
The rats are already fleeing a sinking Europe by crossing the Atlantic. However, events will eventually overtake the greedy, the gluttonous, the sybarites, the unperturbed, the blind and the deaf.
They will be mercilessly swallowed up.
A new collective hope will dawn.
It is already demanding the passion of exceptional insights, anonymous union in renewed faith in the future, in the future collectivity.
The magical harvest magically reaped from the unknown lies ready in the field. It was gathered by all the true poets. Its powers of transformation are as great as the violence practiced against it, as its continued resistance to attempts to make use of it.
None of these treasures is accessible to our society as yet. They are being preserved intact for future use. They were created spontaneously outside of and in spite of civilization. Their effects on society will be felt only when our present needs are clear.
Meanwhile, our duty is plain.
We must abandon the ways of society once and for all and free ourselves from its utilitarian spirit. We must not willingly neglect our spiritual side. We must refuse to turn a blind eye to vice, to scams masquerading as knowledge, as services rendered, as payment due. We must refuse to live out our lives in the only plastic village, a fortified place but easy enough to escape from. We must insist on having our say-do what you will with us, but hear us you must-and refuse fame and privilege (except that of being heard), which are the stigma of evil, indifference and servility. We must refuse to serve, or to be used for, such ends…
Make way for magic! Make way for objective enigmas! Make way for love! Make way for what is needed!
We accept full responsibility for the consequences of our total refusal.
Self-interested plans are nothing but the stillborn children of their parents.
Passionate actions have a life of their own.
We are happy to take full responsibility for tomorrow. Rational effort can only release the present from the constraints of the past when it stops looking back.
Our passions will spontaneously, unpredictably, necessarily forge the future.
Although we must acknowledge the past as the birthplace of the future, it is far from sacred. We owe it nothing.
It is naive and unhealthy to think that, because historical persons and events happen to be famous, they are endowed with special qualities to which we ourselves cannot aspire. These qualities are indeed out of the reach of facile academic affectedness, but anyone who responds to the deepest needs of his or her being or recognizes his or her new role in a new world will attain them automatically. This is true for anyone, at any time.
The past must no longer be used as an anvil for beating out the present and the
future.
All we need fro m the past is what we can put to use today. The present will inevitably give way to the future.
We need not worry about the future until we happen upon it …
[…]
Unity is the road to success.
Yesterday we stood alone and irresolute.
Today we form a strong, steady group whose ramifications are already pushing the limits.
We also have the glorious responsibility of preserving the precious treasure that has been left to us. This is also part of our history.
Its tangible values must constantly be reinterpreted, be compared and questioned anew. This is an exacting, abstract process that requires the creative medium of action.
This treasure is our poetic resources, the emotional renewal that will inspire the generations of the future. It cannot simply be passed down but must be ADAPTED, else it will be distorted.
We urge all of those who yearn for adventure to join us.
Within the foreseeable future , we expect to see people freed from their useless chains and turning, in the unexpected manner that is necessary for spontaneity, to resplendent anarchy to make the most of their individual gifts.
Meanwhile we must work without respite, united in spirit with those who long for a better life, without fear of long delays, regardless of praise or persecution, toward the joyful fulfillment of our fierce desire for freedom.”

excerpt from the Global Refusal Manifest, by Paul-Emile Borduas (1948). The Manifest of Les Automatistes.

┐ Laurie Kang, multiple folds and a print └

IMG_9213sm© Laurie Kang, Untitled, C-print, 2013

Untitled04sm_905© Laurie Kang, Untitled form (Sufficiency), Chromogenic paper, clamp, nail, 2012

RES01_905© Laurie Kang, Untitled Forms (Sufficiency) Chromogenic paper, nail, clamp and C-print, nail, clamp, 2013

01psychogeography© Laurie Kang, Psychogeographic Waterfall, C-prints, 16″ x 20″, 2011

full01SM_905_905© Laurie Kang, Confused archive, 2013

IMG_9246sm_905© Laurie Kang, Natural Image (Unknown duration, Found paper and binder’s board, 2013

Laurie’s website here

┐ Mark Peckmezian’s youth on “youth” └

stream6_07© Mark Peckmezian, Untitled,

Mark Peckmezian Two Day 46© Mark Peckmezian, Untitled, chromogenic print

Mark Peckmezian Two Day 18>© Mark Peckmezian, Untitled, fiber gelatin silver print

4776579979_b60b1cc73d_b>© Mark Peckmezian, Untitled, @ G20, fiber gelatin silver print

5210098664_1c789b9e41_z© Mark Peckmezian, Untitled, fiber gelatin silver print

“I was thinking that the “straight” or naive approach to the theme would be to just play to popular conceptions or idealizations of youth — and I certainly have photos that do that. I used to make a lot of work like this. But in the past few years, I don’t know….I don’t really buy it anymore, I guess. I think a lot of what we see in such photos, by myself or others, is to some degree performance: all these kids, my peers, are hyper self-conscious and incredibly media-savvy. All too often I’ll be out shooting snapshots and hear someone whisper that the photo just taken of them would make a good Facebook profile pic, or some such comment. Once I heard someone, who was running around with some friends on an golf course at night, shout out “why isn’t this being photographed?!”

I think that I now try to approach this subject in a more clear-eyed and honest way — showing the good and bad, wonderful and absurd. I have started an informal project to document this culture more critically (I think there is so much vanity and superficiality among this generation) but also, if I am to actually transcend that at all, with more empathy as well (not pretending that the vanity undermines all the good that also exists, and also understanding that vanity as something woefully, and sort of beautifully, human). The photo of the “kids in the grass” plays to this (Heather says: come to the show to see what image he’s referring to…) – I love that you said “kids,” that’s exactly what I was going for, I wanted to render them (these over-the-top hipster friends of mine, these peacocks, so highly decorated) as children playing in grass, stripped of their affect, innocent.

Finding a good balance is hard though, because I still want to document it relatively straight. I think I’m still working out the kinks, refining my understanding and expression. It’s been a big undercurrent in my work these past few years, I’m sort of on a mission to do this right.” via HMAb

More of Mark’s work here

┐ Caitlin Rueter └

How To Be is a series of exercises that revisit and reimagine early 19th century primers for “young ladies.”


I stumbled upon these manuals while researching 19th century etiquette books. Most include etiquette but only as part of a more comprehensive course of education. They were intended for upper-class girls and women who had few opportunities for formal schooling. Instead, girls took their lessons from these books, serials and pamphlets and from their mothers or older sisters at home. The manuals include subjects ranging from etiquette and fashion to archery and riding, from botany, entomology and mineralogy to painting, dancing and embroidery. Each was meant to help a young woman navigate society and to keep her occupied, to battle the boredom that could lead to rebellion or other transgressions.


How To Be uses these young ladies’ manuals to address themes of gender, class, and the dialogue between personal and political histories, identity and space. I methodically select and execute lessons from the primers, consider them in their historical context, then reconsider and reconceive them in the context of my own history. The first three exercises in the series are currently on exhibition at O’Born Contemporary. Lesson I: Ablutions, Lesson II: Moral Deportment, and Lesson III: The Cabinet Council, introduce central themes of the project.


Lesson I: Ablutions (9 works)
Ablutions takes as its starting point early 19th century instructions for developing a sense of “style.” I have paired self-portrait photographs with illustrations of period hair arrangements and headdresses taken from one of the young ladies’ manuals.

94_ablutions12web© Caitlin Rueter, Ephemeral Fashion and Personal Peculiarities, 2012

94_ablutions181920web© Caitlin Rueter, A Moderate Share of Popularity, 2012

Lesson III: The Cabinet Council (9 works)
The cabinet is “a secret receptacle, a repository… a small private chamber or room… a room devoted to the display of works of art; a gallery” or “the council-chamber in which the inner circle of government meet.” A bedroom can be all of these things, a microcosm of the home and a safe, autonomous space.
In this exercise I have captured images of girls’ bedrooms from television shows that I watched as an adolescent; shows that purported to guide their audience toward specific ways of being. I have removed the figures from each of the stills and inserted images of objects that form my own private spaces.

93_caitlin-004web© Caitlin Rueter, Exquisite Specimens of the Different Styles to Which They Belong, 2012

93_caitlin-006web© Caitlin Rueter, Let Us Resist All Euphonious Temptations, 2012

more of Caitlin’s work here

┐ Adad Hannah └

© Adad Hannah, Safari #2, from the project Safari, 2011

“Safari is a collaboration between film director Denys Arcand and artist Adad Hannah produced for the exhibition Big Bang, which celebrates the Montreal Museum of Fine Arts’ 150th Anniversary and the opening of a new pavilion.
The set for Safari is the Safari Seating Environment designed by the Florence based Archizoom Associati in 1968 and produced by Poltronova. Archizoom was founded by a group of architects and designers in 1966 and dissolved in 1974.
Arcand and Hannah developed a 7-minute scene that takes place in the back of a nightclub in the middle of the 1980’s. The scene revolves around the Safari Seating Environment, its sleek white sides and leopard print covered seats providing the stage for the set of actions performed on it. The actors featured in Safari are all employees of the museum with no formal acting training. After workshopping the scene for two days Arcand and Hannah shot the same 7-minute sequence from six different angles. Each actor had a set trajectory, performing certain actions at a set place in the timeline and remaining as still as possible the rest of the time. The result is a staccato and haunting recording of a single scene performed over and over for the camera.”

© Adad Hannah, Lunge, from the project Traces, 2010

“In 2007, Michelle Jacques, assistant curator at the Art Gallery of Ontario, contacted me about creating a new project for Toronto’s Nuit Blanche. I proposed taking over Toronto’s oldest jazz bar, The Rex, to create a temporal shift by staging possible localized histories within the aging interior. The project was called Traces. Several weeks before the one night event I shot a series of over twenty videos of tableaux vivants arranged around the patchwork of tables that make up the sprawling bar. During Nuit Blanche the videos were shown in the very location where they were made, creating a dialogue between photography, video, and performance. The installation lasted from 7pm on the night of September 29th, 2007 until 7am the next morning. This selection includes four photographic details as well as four autonomous videos.”

Two Views, Installation with 2 HD videos, 2 plasma screens, 2 stuffed birds, 2 wooden crates, acrylic paint, and other materials. Installed at DAÏMÕN / AXENÉO7, Gatineau, 2011

“Making a self-contained project that integrates both the artwork and the production of the artwork is something I have been working towards for a while. I am interested in the way video and photography bridge index and fiction, the here and now and the same place at a slightly different time.
The two crates each contain everything needed for the installation, the windows, the branch with the stuffed bird, the plasma screen, the wooden stands, the costumes, the book the model is holding, and the media player used to play the video. The videos were shot inside the same crates they are then exhibited on – the plasma screen simply replacing the camera.”

More of Adad’s work here

┐ Moyra Davey └

© Moyra Davey, The Coffee Shop, The Library, 2011 25 C-prints, tape, postage, ink

© Moyra Davey, Musik, 2010

© Moyra Davey, The Whites of Your Eyes (for Bill Horrigan), 2010 25 C-prints, tape, postage, ink

© Moyra Davey, The Whites of Your Eyes (for Bill Horrigan), 2010

I’d say that these pictures are about the life of objects. I had a funny revelation recently–and in a way this takes me back to my art school days as a nascent photographer–that my Fridge picture is very similar to Edward Weston’s toilet. In his diaries and notebooks, which I read in my early 20’s, and loved, he talks about photographing his toilet over and over, each time refining the composition until he attained a formalist perfection. And he writes about his exaltation at finally getting it right. Perhaps it’s odd to be identifying with Weston at this point in my life, but I have to admit that my process with the fridge was strangely similar. It involved a slow, methodical deliberation, a stalking of light, of waiting for the precise moment of solar illumination in an otherwise dim room. To get back to your question about the concepts in my work, maybe this comparison to Weston speaks to the idea of ‘slow time’, “the cyclical and durational” that Miwon Kwon mentions in relation to my photographs.


(…)
JTD: Can you speak about your interest in everyday objects, including objects that are often overlooked or regarded as a nuisance, such as dust and empty bottles, and how these objects influence your photographs?


MD: Bottles, especially the clear glass ones, refract light in beautiful and surprising ways. I began the bottle series because of an accident, a blurred Johnny Walker bottle that turned up at the tail end of a B&W contact sheet. I loved the look of it and began to take intentional pictures of empty whiskey bottles consumed in my household, and did this for a period of five years, realizing at the end of this term that the totality of the images constituted a kind of calendar, a finite block of time denoted by the consumption of a particular type of spirits. I followed the B&W series with a color series, also documenting five years of consumption.


JTD: What is your attraction to dust, and what do you believe it conveys to the viewer about human nature?


MD: I’m kind of obsessed with dust as this nuisance substance, and just the whole Sisyphean nature of it that Simone de Beauvoir talks about in relation to the futility of housework, the housewife’s ‘endless, hopeless battle against dust and dirt’. Beauvoir says that the only way out of this trap is to embrace the “life in death” in decay. Dust is made up of dead matter, but it’s also totally alive in its entropic, inescapable fashion. If you can find a way to make your peace with it then you won’t be doomed to “the general and the inessential.(…)

excerpt of an interview by Jess T. Dugan, in Big Red & Shiny. continue reading here

more of Moyra’s work here

┐ Todd McLellan └

© Todd McLellan, Old Camera, from his recent work Disassembly

© Todd McLellan, Apart Camera, from his recent work Disassembly

© Todd McLellan, Old Typewriter, from his recent work Disassembly

© Todd McLellan, Apart Typewriter, from his recent work Disassembly

‘disassembly’ by canadian photographer todd mclellan is a series of images capturing old relics of our past in its dismantled form. including items such as a typewriter, push lawn mower and a rotary phone, the collection delineates the astounding intricacies and craft of these mechanical objects. every piece and component are positioned in an almost obsessive-compulsive arrangement – by type, size, function – resulting in a clear portrait of an era that we have seemingly left behind.

More of Todd’s work here

┐ Pierre Dalpé └

© Pierre Dalpé, Manny and Josephine, 1999

© Pierre Dalpé, Saul, Sarah and Johanne, 1998

“Capitalizing on the multiplicity of an individual’s personality and the many selves housed within all of us, Pierre Dalpé approaches each of his subjects with a duplicitous heart: he twins his subjects within the frame to expose the construction of identity while questioning the authenticity of the photographic image. Interested in the process of transformation, Dalpé collaborates with his subjects to express different facets of their personalities. Through this partnership, he is able to coax out identities that lay just below the surface, blurring the boundaries of who is real and who is not, producing family portraits derived from a single subject. Capturing two and sometimes three personas, Dalpé manipulates these portraits in a digital environment, placing them side-by-side within his frame to expose the construct of “truth” in documentary photography. By playing with era, gender, costuming, setting, subtle theatrics, poses, and appearance, Dalpé constructs images that both take advantage of these superficial elements for their formal qualities, and question their authenticity for the viewer, ultimately challenging his audience with the very elements that make up his photographs. The simultaneously historic and timeless quality of his images further adds an aura of nostalgia to the viewer’s experience, authenticating the image through its masquerading historical context.”

introduction to “Pierre Dalpé’s Duplicitous Heart”, by Dayna McLeod

Pierre’s web home here

┐ Brendan George Ko #2 └

@ Brendan George Ko, I used to love you, from Reminiscence, 2008-10

@ Brendan George Ko, We have a history, from Reminiscence, 2008-10

And now I see what the glass door is. It is the door of a coffin-mine. Not a coffin, a sarcophagus. I am in an enormous vault, dead, and they are paying their last respects.” (Pirsig, Zen)


We are observers to our past, and through time the memory of our history changes as we change. When Robert M. Pirsig set out on his motorcycle journey across America with his son, Chris, and a couple, John and Sylvia, he wasn’t interested in the destination, but in the discovery along the road. He was investigating the history of someone who he once was; someone he had forgotten and was no longer, Phaedrus; his severed personality. Seeing everything around him; revisiting his past, Pirsig found his memory of who he once was. And as he investigated deeper and deeper he learned of who Phaedrus was to the people he once knew, and of his words that matched each terrain, recalling him of Phaedrus’ studies and later, of his insanity.

I am searching for shades of myself, investigating my past, and finding captions that speak for each moment I had forgotten. Instead of a motorcycle, I use my feet for this journey; searching the terrain that surrounds me for my past self that has so rapidly changed over the course of half decade. And like the glass chamber that filled the dream of Phaedrus, I am only an observer to my history; completely powerless to influence change. But it is our history that makes who we are today, and it is who we are today that makes who we are tomorrow. Through my own investigation, I am reading old journal entries, and biographical fiction I wrote in different times of my life. My words will find themselves on windows of places that hold a certain memory, and after they are documented they will remain as mementos to remind me of this act as well as to engage to others who pass by. The sceneries behind these windows will be out of focus like the memory of the captions have faded through time, becoming less clear and less real. I was searching for my history, and I was learning who I was through my past, but I discovered my future in the process as I started a history with someone that was right in front of me this whole time.

Zen and the Art of Motorcycle Maintenance, Robert M. Pirsig, 1974, excerpts from Chapter 23

Brendan’s work here

┐ The noise we can └

Protest in Montreal against the rise of tuition fees in Quebec and the new law 78.
Every evening at 8pm people meet in the street with their pots and pans and make all the noise they can.

The song (INTUITION #1 – Avec pas d’casque / avecpasdcasque.bandcamp.com/album/astronomietranslated) reads something like this:

You will say, you will say that it is instinct that guided you here, the intuition of a feeling that will never return
You will say, you will say all your senses were betting on the same side, for the same cause, moved by a strange force
And this will be your home base and this will be your home base
You will say, you will say that it is instinct that guided you here, a necessary imprudence from time to time
And this will be your home base and this will be your home base

 

 

┐ Noel Rodo-Vankeulen └

@ Noel Rodo-Vankeulen, hood, from the series Flower City (work in progress)

@ Noel Rodo-Vankeulen, gray, from the series Flower City (work in progress)

@ Noel Rodo-Vankeulen, twin, from the series Flower City (work in progress)

In Flower City I’m focusing on the area where I live (Brampton, Ontario), a relative nowhere city transformed by a failed greenhouse industry, as a stand in for photographic experience. I’m really interested in how the medium functions as both art and photography, specifically how these two distinct aspects of a greater whole can alter and mediate what we see.
For the whole series I’ve worked with a large format camera and shot everything on black and white film, making the body of work a cryptic play not only on the ambiguous nature of photography itself, but showing the medium’s specific nature of looking. There is something archaic in using a 4×5 camera and how it can render basic and minimal compositions of people, places and objects as almost alien or distanced. In this respect I’ve specifically chosen to photograph subjects that range the gamut from quasi-exotic to the completely mundane. I’m interested in how these two extremes can have the same presence and become almost mythologized or iconic.

excerpt from Mossless magazine

More of Noel’s work here

┐ Carole Condé and Karl Beveridge └

© Carole Condé and Karl Beveridge, 1909, from the series Work in Progress, 1980

© Carole Condé and Karl Beveridge, 1956, from the series Work in Progress, 1980

“Work in Progress is a short history of working women from 1909 to 1979. Each decade is represented by a different woman posed in a kitchen in which the props change with each period. Each image has a window into which a documentary photo indicates the politics of the period, a calendar that indicates the predominant type of work in which women were employed and a family photo that indicates the family structure of the time (from extended family to a single mom).


The women are posed in relation to their job. 1909 shows a woman doing piecework at home with the last remnants of the slave trade in the window. 1919 shows a woman about to go out the door to work with her lunch bag while she is momentarily distracted by the window which shows the Winnipeg General Strike. 1928 shows a office worker (telephone operator) with Soviet woman tractor drivers in the window. 1938 shows an unemployed woman looking through the want ads with women from the Spanish Civil War in the window. 1945 has a woman war worker with soviet women pilots in the window. 1956 shows a woman retail or service worker fading into the background with a baby bottle (women being pushed back into the home) with the Hungarian uprising in the window. 1968 portrays a Quebecois woman with the Vietnam war pictured in the window. 1979 shows a South Asian women holding a photo of union women with women celebrating the independence of Zimbabwe.”

Carole and Karl’s

┐ Brendan George Ko └

© Brendan George Ko, Ablution, from the series The Barking Wall, 2010-11

© Brendan George Ko, Tomb, from the series The Barking Wall, 2010-11

I remember as a kid I used to cover my face with my hands, and peek at the world through my fingers. I could see the world, but the world couldn’t see me. Nowadays I find myself assimulating with the hybrid, a creature I share a betwixt nature with, for we are both between two worlds, having multiple origins, and demand our own realm, such as a gothic castle, a tomb, or limbo to serve as a haven, I seek to create a peace with a conflict of belonging.
The Barking Wall serves as a vault; a collection of visual memories that cross-pollinate with lived experience, and extended history (of past generations, oral tradition, and cinema), and spawn new hybrid moments. Applied layer after layer, these confused memories let go of specific places and time, and drift like phantoms, roaming free through the fields of imagination, meeting the visitor half-way, and letting one create their own narrative

Brendan’s work is here

┐ Alex Kisilevich #2 └

I published one of Alex’s photographs from a work in collaboration with Lindsay Page more than a year ago but I ran into his work again and though his process is worth a little more attention than the one given before, so here’s Alex comeback.

© Alex Kisilevich, Salesman, 2009

© Alex Kisilevich, Stick-Figure, 2011

“Describe your process of creating a piece. What materials do you normally work in?

I used to have this rigid process where I had an exact idea of what I wanted for my image and its particular meaning. I would draw a terrible drawing and try to meticulously recreate it as a photo. This method worked for a while but I’m quite content that I grew out of it. I’ve learned to trust myself a bit. I try to go with the flow to allow for unplanned things to unfold – not to say that everything is completely improvised. I’ll come in with some sort of idea that could include a location or object or something that connotes a certain feeling or idea and then I take it from there. I just don’t try to plan out every detail. This allows me to be more in tune with my surroundings and has generally produced better results. For materials: a camera, a lens, film, a film scanner, computer, Kodak photo paper. Also, anything from second hand stores is fair game.”

excerpt from Artist profile by Sara Titanic for “Now Magazine”, 2010

More of Alex’s work can be seen here

┐ Marisa Portolese └

© Marisa Portolese, Maya, from the series Imagined Paradise

© Marisa Portolese, Celia, from the series Imagined Paradise

“The Imagined Paradise series is about having an aesthetic experience that is surreal and attainable only through flight of the imagination.
The images present the viewer with two distinct universes, the real and imagined. The subjects are solemn, still, contemplative and in awe. Their desire to escape is evident by what they see through the mind’s eye. And what they pine for is a place that is ethereal, vibrant, effervescent, but also beyond reach, fantastical and larger than life.”

More of Marisa’s work here

┐ Meryl McMaster └

© Meryl McMaster, Sentience, from the series In-between worlds, 2010

© Meryl McMaster, Viage, from the series In-between worlds, 2010

In-Between Worlds explores the mixing and transforming of my bi-cultural identities – Aboriginal and Euro-Canadian – and addresses the idea of liminality; of being betwixt and between cultural identities and histories. The series presents a sequence of moments that appear out of the ordinary and can be interpreted as being in a state of suspended belief. Talisman and prop-like sculptures become extensions of the body that suggest a collaging of identities. In-Between Worlds is a dialogue in which the viewer questions him or herself and the world in new ways.”

More of Meryl’s work here