┐ Laurie Kang, multiple folds and a print └

© Laurie Kang, Untitled, C-print, 2013 © Laurie Kang, Untitled form (Sufficiency), Chromogenic paper, clamp, nail, 2012 © Laurie Kang, Untitled Forms (Sufficiency) Chromogenic paper, nail, clamp and C-print, nail, clamp, 2013 © Laurie Kang, Psychogeographic Waterfall, C-prints, 16″ x 20″, 2011 © Laurie Kang, Confused archive, 2013 © Laurie Kang, Natural Image (Unknown duration, Found paper and binder’s board, 2013 Laurie’s website here Continue reading ┐ Laurie Kang, multiple folds and a print └

┐ Mark Peckmezian’s youth on “youth” └

© Mark Peckmezian, Untitled, © Mark Peckmezian, Untitled, chromogenic print >© Mark Peckmezian, Untitled, fiber gelatin silver print >© Mark Peckmezian, Untitled, @ G20, fiber gelatin silver print © 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 … Continue reading ┐ Mark Peckmezian’s youth on “youth” └

┐ 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 … Continue reading ┐ Caitlin Rueter └

┐ 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 … Continue reading ┐ Adad Hannah └

┐ 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 … Continue reading ┐ Moyra Davey └

┐ 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, … Continue reading ┐ Todd McLellan └

┐ 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 … Continue reading ┐ Pierre Dalpé └

┐ 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, … Continue reading ┐ Brendan George Ko #2 └

┐ 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 … Continue reading ┐ The noise we can └

┐ 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 … Continue reading ┐ Noel Rodo-Vankeulen └

┐ 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 … Continue reading ┐ Carole Condé and Karl Beveridge └

┐ 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 … Continue reading ┐ Brendan George Ko └

┐ 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 … Continue reading ┐ Alex Kisilevich #2 └

┐ 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 … Continue reading ┐ Marisa Portolese └

┐ 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 … Continue reading ┐ Meryl McMaster └

┐ Luce Pelletier └

© Luce Pelletier, Le leurre de l’hêtre, from the series The Lure, 2004 © Luce Pelletier, Le leurre du plantain, from the series The Lure, 2004 “The series of The lure (2004) is composed of ten photographs in big format are imprinted on silk cloth (127 x 154cm). The Lure’s representing glove plants, placed in situ so as to make belief that they come from nature. These photography’s suggest the influence of biotechnologies over the environment – objects/hands prepared with vegetable matter – sewn, stitched with string thread, weaved and produced on a small scale. Equivalences are established between the … Continue reading ┐ Luce Pelletier └

┐ Éliane Excoffier └

© Éliane Excoffier © Éliane Excoffier “Excoffier’s tableaux bespeak a coherent narrative of the human drama. Despite postmodernism’s grandiloquent discourse about “paradigm shifts,” our tragicomedy most often unfolds incrementally, rather than by leaps and bounds. Likewise, the theatre of our lives resides rarely on mountaintops, but instead usually at the myriad interstices that we overlook amidst the hustle and bustle of day-to-day living. Its details furnish the backdrop for Excoffier’s scenes. She accordingly fleshes out her storyline through mundane phenomena – the texture of cloth, smudges on a mirror, creases in a plastic tarp, limp apparel, a run in nylons, … Continue reading ┐ Éliane Excoffier └

┐ Chih-Chien Wang └

© Chih-Chien Wang, Banana skin on chair, from the Jelly Project #2, 2009 © Chih-Chien Wang, Feet with dry leaves, from the series The centre of the forest is a lake like mirror, 2005 © Chih-Chien Wang, Crabs, from the series The centre of the forest is a lake like mirror, 2005 “In his photographs, we have the impression of seeing time frozen in a process of research, of assemblages and minute maneuverings. The goal of which is, according to the artist, to ‘rediscover’ what is around him. To do this, Wang produces modest and efficient compositions that demonstrate an … Continue reading ┐ Chih-Chien Wang └

║ Erik Osberg ║

© Erik Osberg, Erik and Carl, 1988, from the series Layla, Ryan, Erik, and Carl, 2007 © Erik Osberg, from the series Layla, Ryan, Erik, and Carl “I think photography and writing are very similar, in so far as their various forms and traditions are simultaneously concrete and elastic. There are people who make genre-based work: romance, sci-fi, biography, portrait, landscape, journalism, etc. And there is an audience of people who expect these genres, as well (imagine yourself working in a used bookstore being barked at about the whereabouts of How the Scots Invented the Modern World, or going to … Continue reading ║ Erik Osberg ║

║ Lisa Klasptock ║

© Lisa Klapstock, Beige sofa, from the series Living room, 2004 © Lisa Klapstock, Yellow armchair, from the series Living room, 2000 “Since 1998, I have been developing a body of work shot exclusively in laneways around my neighbourhood in downtown Toronto. The laneway is a discrete and relatively uncontrolled urban space where the boundary between public and private realms is mutable. The mutability of thresholds separating public and private space creates an uneasy, but potent ambiguity. A garage door opens and becomes a window into another space that opens into yet another, the backyard. The garage becomes public when … Continue reading ║ Lisa Klasptock ║

║ Janieta Eyre ║

© Janieta Eyre, Motherhood, from the series Motherhood © Janieta Eyre, Two pages from my diary, from the series Lady Lazarus “Speaking of photographs of racing horses, Rodin once said ‘It is the artist who is truthful and the camera that lies because, in reality; time does not stand still”. When Janieta Eyre states that “The media and photography have something in common: they are both more fiction than fact” she is reaffirming Rodin’s reasoning in an up-to-date way. She is also confirming that, despite appearances, she is the heir to a tradition that is far older than is usually … Continue reading ║ Janieta Eyre ║