Fade to Black
Curated by Marcie Bronson
October 4, 2013 – January 5, 2014
Informed by her background in textile design, Joy Walker employs a range of methods and media to explore line, geometry, pattern and texture. Often beginning with a set of formal structures into which she introduces the element of chance as a creative tool, her practice is characterized by a series of small, simple actions that yield quietly monumental results. This exhibition pairs Walker’s tape installations and photographic prints of altered sheets of paper, two distinct bodies of work that are rooted in her interest in process and share an approach that bridges drawing and sculpture. Through subtle manipulation of common materials, Walker calls attention to the ephemeral and overlooked elements of everyday life.
Joy Walker, Untitled (Light Blue), 2011, archival pigment print. Courtesy of the artist and MKG127.
JEANNIE THIB & JOY WALKER
Curated by Marcie Bronson and Stuart Reid
September 28, 2013 to January 5, 2014
Coinciding with their independent solo exhibitions, Jeannie Thib and Joy Walker collaborate on an installation for the Rodman Hall Project Space that draws out their shared interest in geometry, decorative pattern, textiles and the history of design. Inspired by a book by Italian designer, artist and inventor Bruno Munari called The Discovery of the Circle (1964), Thib and Walker use the circle as a shared departure point for their individual works. As Munari's text explores the recorded history of the circle and its fundamental role in art, architecture and design, through their project Thib and Walker add another incarnation to the encyclopedia of uses of the circle.
Jeannie Thib and Joy Walker, The Circle, 2013, archival pigment print. Courtesy of the artists.
Curated by Tila Kellman
Organized and circulated by Saint Mary’s University Art Gallery
September 21 – December 1, 2013
Ornamental motifs are distilled and reconfigured in Jeannie Thib: Hyperflat. Toronto artist Jeannie Thib borrows decorative patterns from textiles and domestic surfaces, reconstitutes them through operations of cutting and piling, and reinvents them with magnification, repetition and excision. Thib translates historical designs into contemporary industrial materials, and extends them into three dimensional, sculptural forms.
In Thib's manipulation of ornament, Curator, Tila Kellman sees a critique of modernist, rectilinear space and our built environment. Kellman writes: “Thib begins her exploration by contesting the relationship between ornament and viewers. Ornamentation in our daily lives is usually small, adorning our furniture, dishes and clothes. Even most architectural ornament is small enough not to challenge the scale of our bodies (columns being an exception). Thib’s small architectural-like models gleam in wood, Plexiglas, steel, aluminum and marble. They have a jewel-like beauty augmented by their containment in vitrines that seduces viewers to wander visually through them and accept them as miniature worlds.”
Image: Jeannie Thib, Cube, 2012, polystyrene. Photo: Steve Farmer. Courtesy of the artist and Katzman Contemporary.
MARY ANNE BARKHOUSE
June 21 to September 8, 2013
Curated by Stuart Reid
Running concurrently with her outdoor sculpture installation called Settlement, Mary Anne Barkhouse responds to the ornately appointed parlours of historic Rodman Hall with a new exhibition called Regency. The definition of a “regent” is someone who stands in the place of the monarch. This is a potent concept in 2013, as Aboriginal people organize and demand discussion around treaty rights in the international Idle No More movement. Barkhouse calls many aspects of colonial privilege into question with new works that set the stage for a Victorian Tea in the galleries of Rodman Hall. Barkhouse eschews Victorian convention and invites the animals of the boreal forest to sup and take up a place at the table. Working with cast bronze, glass and ceramic figures, Barkhouse creates life-size replicas of flora and fauna that transform the traditional tea party into a respected conference of animal witnesses.
January 25 to September 8, 2013
Curated by Stuart Reid
Olia Mishchenko’s intricate drawings depict urban spaces existing on the topographic and historical ledge. Ravine World is based on an aggregate study of the current and historic conditions of ravines in the cities around the Golden Horseshoe. The drawings include high-rise buildings, ravine properties, parklands and civic points of interest, both real and utopian. This cumulative drawing project will imagine new uses for the ravine spaces of the city and will propose a post-utopian vision for a site where the man made and the natural intersect in a strange, delinquent balance.
Still Life Photographs, 1997–2012
May 25 to September 8, 2013
Organized by the Denver Art Museum. Circulated by the School of Art Gallery, University of Manitoba, in collaboration with the artist and Yancey Richardson Gallery, New York.
For more than fifteen years, Canadian-born artist, Laura Letinsky, has explored the possibilities of still life photography. The generally subdued colors of her work lend it an air of lightness and tranquility that is often at odds with the moldering produce and mass-produced remnants of daily life she orchestrates in her photographs. On close inspection, playful manipulations of balance, space, and scale reveal both her curiosity about human perception and her rigorous search for meaningful form.
While Letinsky’s earlier photographs evoke feelings of melancholy—often awakening a sense of absence or an awareness of time that has just passed—her recent work has focused on elaborate paper constructions that produce complex spatial and perceptual puzzles when photographed. Intrigued by the shifting relationship between ideas and their corresponding representations in visual art, she uses the time-honored genre of still life both to explore the way we see and to challenge our understanding of what we observe.
This major touring retrospective of Letinsky’s work has its first Canadian venue at Rodman Hall Art Centre. It will also tour to Carleton University Art Gallery, Ottawa and School of Art Gallery, University of Manitoba, Winnipeg.
KEVIN YATES with ROBERT YATES
Usher the Fall of the House
January 19 – June 16, 2013
Curated by Marcie Bronson
Known for his highly realistic miniatures that are at once familiar and strangely unsettling, Kevin Yates’s works possess a quiet, meditative quality, often likened to the pause of a film still. Responding to the historic character of Rodman Hall’s Hansen Gallery, Yates presents a major new sculptural work and a video produced in collaboration with his brother Robert Yates, an experimental filmmaker. Dream-like in their subversion of the expected, these works further Yates’s consideration of the uncanny, exploring domestic spaces as sites of memory, mystery, wonder, and fantasy.
Almost There: Brock University Department of Visual Arts Honours Exhibition
April 20, 2013 – May 5, 2013
Curated by Stuart Reid and Marcie Bronson
Featuring TJ Charlton, Simon Parker, Joaquin Manay, Rebekah Steele
The second of two chapters, this exhibition displays the work of selected graduating Brock University Visual Arts students. Occupying Rodman Hall’s third floor studios during the academic year, students in the Honours Studio course are mentored by professors Duncan MacDonald and Donna Szőke, learning how to develop a focused body of work from concept to public exhibition.
Almost Here: Brock University Department of Visual Arts Honours Exhibition
March 30 – April 14, 2013
Curated by Stuart Reid and Marcie Bronson
Featuring Timothy Goertzen, Daniel Manchego-Badiola, Joel Therrien, Katie Zack
The first of two chapters, this exhibition displays the work of selected graduating Brock University Visual Arts students. Occupying Rodman Hall’s third floor studios during the academic year, students in the Honours Studio course are mentored by professors Duncan MacDonald and Donna Szőke, learning how to develop a focused body of work from concept to public exhibition.
All That is Solid
January 19 - March 24, 2013
Our modern world is one that is filled with screens. Computers, smart phones, digital advertisements; the world is now perceived through a rectangular frame. How does this experience augment our view of reality? Does it make the two worlds, the virtual, and the real, less separate than they once were? This exhibition is a response to some of those questions.
Simone Jones, a Toronto-based artist and professor at OCAD University, has been investigating the artistic application of robotics and technology for over two decades. An evolving practice, her work started with analog robots made from bits and pieces she could find at surplus stores and now includes CGI (Computer Generated Images) and video installation.
In All That Is Solid, Jones explores spatial contradictions; near and far, surface and depth, illusion and realism. Using photography, film, and CGI, Jones explores how we document, and how our perception of reality can shift through various applications of what we record. In the central work of the exhibition, four screens lean against the wall with images, both black and white and CGI, flowing one into the other. Jones, by conjoining images, is attempting to create a hybrid space—asking the viewer to focus their attention on the nature of the images themselves.
In a related work, Jones produces stereograms—images that allow us to see in three dimensions without the use of external visual aids. Alongside this, a video installation combines illusion and reality, and a dialogue is created between what is real and what is “fake”. However, for the viewer, just one single reality is the result.
Simone Jones’ installation has been curated by Linda Jansma of the Robert McLaughlin Gallery, Oshawa . The touring exhibition is accompanied by a catalogue including texts by Stuart Reid and Chris Gehman, produced in collaboration with Rodman Hall Art Centre; Thames Art Gallery, Chatham, Ontario; and The Reach, Abbotsford, British Columbia.
Image: All That Is Solid, 2011, four-screen 3D animation with stereo sound, 12 minute loop, installation.