View allAll Photos Tagged ARTlab
Sometimes in the night, the fox slips by
January 7-21, 2022
Artlab Gallery
Anahí González, Philip Gurrey, Dong-Kyoon Nam, Sasha Opeiko
Studio PhD candidates from the Department of Visual Arts present Sometimes in the night, the fox slips by, a group exhibition of recent work by Anahí González, Philip Gurrey, Dong-Kyoon Nam and Sasha Opeiko. The show gathers a broad spectrum of investigations sharing a common interest in the relationship between poetic and theoretical potential in making. Some orient themselves toward the political, looking at labour issues both in Canada and abroad. Others probe the language of modernism with strategies centered on improvisation and decay. Others still, use a posthumanist perspective to deconstruct notions of the readymade or to renegotiate representations of melancholy. In concert they are the fox of John Burnside’s poem, deftly weaving a path through fence and thicket.
Anahí González
Bueno, Bonito y Barato, is deeply involved in exploring the Mexican cues portrayed in visual culture, evoking quiet tensions of nationalism and labour representation. By bringing this approach of Mexican labour visual representation on a mobile wood billboard together and allowing them to interact within the gallery, the work engages with concepts of temporality, mobility, the USMCA and institutionalism.
Dong-Kyoon Nam
Praxis of New Assemblage
My work focuses on reconstructing ordinary objects encountered in daily life into ‘animate things’: things understood as dynamic, temporal, yet precarious assemblages animated in a relational field that encompasses humans/nonhumans and organic/inorganic matter.
The method of assemblage I use is not based on the sculptural representation of an assumed and pre-existing whole, rather it refers to a process wherein a visualization of the potential movement of things, and the relationships between their parts, rhythms, affects, and intensities are privileged.
My studio process is semi-impromptu, a horizontal attunement with things, entangled in chance and necessity. My bodily sensibility starts from meticulous attention to fleeting, small occurrences that would otherwise remain unacknowledged.
re | cycling
On a mechanical level, these works reclaim parts of digital home appliances that usually remain invisible, and in so doing, momentarily stabilize the rapid cycle of production, consumption, and disposal. Installed on the wall by adhering them at right angles on a canvas panel, each singular assemblage stands alone and simultaneously exists in relation, signaling both continuity and discontinuity in turn. The works are abstract, like drawings of fluid lines and fragmented outlines, yet still concrete and sensorial. They take the form of artificial assemblages made of e-waste that paradoxically imply ecological precarity and complexity. On a mechanical level, these works reclaim parts of digital home appliances that usually remain invisible, and in so doing, momentarily stabilize the rapid cycle of production, consumption, and disposal. Installed on the wall by adhering them at right angles on a canvas panel, each singular assemblage stands alone and simultaneously exists in relation, signaling both continuity and discontinuity in turn. The works are abstract, like drawings of fluid lines and fragmented outlines, yet still concrete and sensorial. They take the form of artificial assemblages made of e-waste that paradoxically imply ecological precarity and complexity.
Sasha Opeiko
In Something like Fan Object Objects the banal object of study is a used domestic desk fan with a missing safety grill. It was found as a discarded, unwanted item sold in a thrift store. Damaged and disentangled from its previous function, the object is melancholically symptomatic and its image is mediated into multiple manifestations of loss and disintegration. The fan was visualized through faulty 3D scanning, rendered into a rotating 360° animation, and exported as 1400 individual frames, which were fed into a machine learning algorithm that produces new images based on the data it received. The fan itself is rendered useless, its melancholic image diffracted into 10,000 iterations of manufactured glitch. They are presented in video not so much as an animation, but a kind of factual flickering of machine-produced visual data. The nonhuman gaze of image data processing unravels a gapped 3-D representation into a myriad of fractured views, flatly glitching in a dark melancholic refusal to be coherent.
#melancholy began with a collection of screenshots of Instagram posts that were coming up under #melancholy. The screenshots are samples of the prevalence of sublime, mostly Nordic landscapes that the general population locates as representative of melancholy, branding it into named images for dissemination. Working with 460 screenshots, an AI algorithm on Runway ML was used to produce new images based on what it learned from the collection of screenshots. The AI model generates "#melancholy" Instagram landscape images and has the capacity to produce a video of these generated images morphing into one another. The images are disintegrated but new reintegrated versions of what a nonhuman gaze recognizes to be a #melancholy landscape image.
In Forged Afterimage Compression six rotating 3D scans are presented as a result of a remediation process that started with 3D scans of provisiona, transitory physical constructions of found objects and images. This first set of 3D scans, already full of gaps and distorted by the nature of the scanning app Trnio, was made into rotating animations that were then 3D scanned again off of a laptop screen. The outcome is a kind of forged afterimage, compressed into a digital skin or something like a distorted geological compound, resulting from the app’s inability to fully comprehend a 3D representation on a flat screen. These are remnants forged from remnants.
Artlab Gallery
JL Visual Arts Centre
Western University
London, Ontario, Canada
© 2022; Department of Visual Arts; Western University
Wednesday, October 12, 2016
7:30 pm - 8:30 pm
John Labatt Visual Arts Centre (VAC)
Artlab Gallery
Room: 128
The Artlab Gallery is pleased to announce Canadian Poet and essayist, Lisa Robertson will be joining us Wednesday October 12th when she will be reading from her soon to be launched book, "3 Summers".
In "3 Summers", Robertson takes up her earlier concerns with form and literary precedent, and turns toward the timeliness of embodiment. What is form's time? Here the form of life called a poem speaks with the body's mortality, its thickness, its play. The ten poem-sequences in "3 Summers" inflect a history of textual voices – Lucretius, Marx, Aby Warburg, Deleuze, the Sogdian Sutras – in a lyricism that insists on analysis and revolt, as well as the pleasures of description. The poet explores the mysterious oddness of the body, its languor and persistence, to test how it shapes the materiality of thinking, which includes rivers and forests. But in these poems' landscapes, the time of nature is inherently political. Now only time is wild, and only time – embodied here in Lisa Robertson’s forceful cadences – can tell.
By installing your artwork in the John Labatt Visual Arts Centre, you agree to have it photographed and release all rights in and consent to the use of this photo for all legal purposes. Would you like to see your work properly captioned? vrlibrary@uwo.ca
© 2016; Department of Visual Arts; Western University
Symphony of Lights: An Exploration of Stained-Glass Windows in St. John the Evangelist Anglican Church, London, ON
Exhibition dates: February 8th - 19th, 2021
Artist: Anahí González
Curators: Iraboty Kazi and Anahí González
Editor: Dr. C. Cody Barteet
“Give light, and the darkness will disappear of itself.” - Desiderius Erasmus
This exhibition explores the visual and aural sensations of being inside St. John the Evangelist Anglican Church in London, Ontario. The parish community was founded in 1864. The present Gothic-inspired church (at the corners of Wellington and St. James Streets) was begun in 1888 and has remained an important feature in London’s Old North community for well over a century. Now part of the Bishop Helmuth Heritage District the church and its facilities are a hub of activity for the community.
The videos and photographs taken by artist Anahí González during visits to the church inspired our explorations of the stained-glass windows in relation to art and local history. Stained-glass windows that adorn the neo-Gothic building connect the church’s ambiance to medieval practices, reinforcing a line of contact from ancient history to our own. At the same time, the dynamic shifting of light based on the hour of the day is a reminder of the ephemeral beauty of our daily lives. We also explore the play between light, sound, and their effects on the visitor with recordings of bells and organ music played in St. John the Evangelist church.
Symphony of Lights focuses primarily on four fascinating ecclesiastical windows created by London- and Toronto-based artists and workshops: Meikle Stained Glass Studio, Sunrise Studios, Yvonne Williams, and Robert McCausland Limited. Combining modern technology with historical windows allows for exploration of the varying styles, techniques, colours, artist signatures, and details that would otherwise be overlooked.
This exhibition is a part of Dr. Cody Barteet’s research program: Preserving the Cultural and Artistic Heritage of St. John the Evangelist, London, Ontario as a Model for the Anglican Diocese of Huron, a project funded by the University of Western Ontario.
Due to COVID-19 safety measures, the Artlab Gallery and Cohen Commons will be operating virtually. In-person visits are not permitted at this time. We will be posting exhibition documentation, videos, and virtual walk-throughs on the Artlab’s website.
Artlab Gallery
JL Visual Arts Centre
Western University
London, Ontario, Canada
© 2021; Department of Visual Arts; Western University
June 7-20, 2018
The ArtLab Gallery is pleased to present the MFA thesis exhibition and where is the body? by Tyler Durbano. Durbano’s practice employs hair and silicone as primary materials, using juxtaposition, and assemblage as tools to produce sculptural works that evoke a bodily feeling. Many of the sculptures are created by inserting single strands of hair, one at a time, into corresponding silicone forms, to begin a conversation about labour and queer identity. Referencing modes of drag, and their associated props, the work explores ideas of vulnerability, maintenance of the body, and performance. With this new work, Durbano creates a conceptual entry point through which the deeply personal, yet global, relationship people have to their identities, their bodies, and to one another can be explored.
Opening Reception: Friday, June 8 from 6-8pm
About the Artlab Gallery
Located in the John Labatt Visual Arts Centre, Western University, the Artlab Gallery is a vital component of the Department of Visual Arts. Established in 1994 the gallery focuses on exhibitions, events, and projects that respond to social and cultural issues, supporting the research, and practice of students, faculty and artists from the region and beyond. The work presented in the gallery explores conceptual and experimental production incorporating a diverse range of mediums and methods.
Artlab Gallery
John Labatt Visual Arts Centre
Department of Visual Arts
Western University
London, ON
© 2018; Department of Visual Arts; Western University
Most learning games focus on teaching educational standards, but games and game development can also help players build empathy and challenge stereotypes. This two part mini-talk discussed current research into social emotional learning through games, why games that promote social emotional learning are important, and how the Smithsonian and other museums are addressing critical issues related to emotional intelligence. With James Collins (Smithsonian Center for Learning and Digital Access), Bradford Lewis (Corporation for National and Community Service), and Cody Coltharp (Smithsonian Hirshhorn Museum and Sculpture Garder ARTLAB+).
Photo Credit: Michelle Auyoung
Sometimes in the night, the fox slips by
January 7-21, 2022
Artlab Gallery
Anahí González, Philip Gurrey, Dong-Kyoon Nam, Sasha Opeiko
Studio PhD candidates from the Department of Visual Arts present Sometimes in the night, the fox slips by, a group exhibition of recent work by Anahí González, Philip Gurrey, Dong-Kyoon Nam and Sasha Opeiko. The show gathers a broad spectrum of investigations sharing a common interest in the relationship between poetic and theoretical potential in making. Some orient themselves toward the political, looking at labour issues both in Canada and abroad. Others probe the language of modernism with strategies centered on improvisation and decay. Others still, use a posthumanist perspective to deconstruct notions of the readymade or to renegotiate representations of melancholy. In concert they are the fox of John Burnside’s poem, deftly weaving a path through fence and thicket.
Anahí González
Bueno, Bonito y Barato, is deeply involved in exploring the Mexican cues portrayed in visual culture, evoking quiet tensions of nationalism and labour representation. By bringing this approach of Mexican labour visual representation on a mobile wood billboard together and allowing them to interact within the gallery, the work engages with concepts of temporality, mobility, the USMCA and institutionalism.
Dong-Kyoon Nam
Praxis of New Assemblage
My work focuses on reconstructing ordinary objects encountered in daily life into ‘animate things’: things understood as dynamic, temporal, yet precarious assemblages animated in a relational field that encompasses humans/nonhumans and organic/inorganic matter.
The method of assemblage I use is not based on the sculptural representation of an assumed and pre-existing whole, rather it refers to a process wherein a visualization of the potential movement of things, and the relationships between their parts, rhythms, affects, and intensities are privileged.
My studio process is semi-impromptu, a horizontal attunement with things, entangled in chance and necessity. My bodily sensibility starts from meticulous attention to fleeting, small occurrences that would otherwise remain unacknowledged.
re | cycling
On a mechanical level, these works reclaim parts of digital home appliances that usually remain invisible, and in so doing, momentarily stabilize the rapid cycle of production, consumption, and disposal. Installed on the wall by adhering them at right angles on a canvas panel, each singular assemblage stands alone and simultaneously exists in relation, signaling both continuity and discontinuity in turn. The works are abstract, like drawings of fluid lines and fragmented outlines, yet still concrete and sensorial. They take the form of artificial assemblages made of e-waste that paradoxically imply ecological precarity and complexity. On a mechanical level, these works reclaim parts of digital home appliances that usually remain invisible, and in so doing, momentarily stabilize the rapid cycle of production, consumption, and disposal. Installed on the wall by adhering them at right angles on a canvas panel, each singular assemblage stands alone and simultaneously exists in relation, signaling both continuity and discontinuity in turn. The works are abstract, like drawings of fluid lines and fragmented outlines, yet still concrete and sensorial. They take the form of artificial assemblages made of e-waste that paradoxically imply ecological precarity and complexity.
Sasha Opeiko
In Something like Fan Object Objects the banal object of study is a used domestic desk fan with a missing safety grill. It was found as a discarded, unwanted item sold in a thrift store. Damaged and disentangled from its previous function, the object is melancholically symptomatic and its image is mediated into multiple manifestations of loss and disintegration. The fan was visualized through faulty 3D scanning, rendered into a rotating 360° animation, and exported as 1400 individual frames, which were fed into a machine learning algorithm that produces new images based on the data it received. The fan itself is rendered useless, its melancholic image diffracted into 10,000 iterations of manufactured glitch. They are presented in video not so much as an animation, but a kind of factual flickering of machine-produced visual data. The nonhuman gaze of image data processing unravels a gapped 3-D representation into a myriad of fractured views, flatly glitching in a dark melancholic refusal to be coherent.
#melancholy began with a collection of screenshots of Instagram posts that were coming up under #melancholy. The screenshots are samples of the prevalence of sublime, mostly Nordic landscapes that the general population locates as representative of melancholy, branding it into named images for dissemination. Working with 460 screenshots, an AI algorithm on Runway ML was used to produce new images based on what it learned from the collection of screenshots. The AI model generates "#melancholy" Instagram landscape images and has the capacity to produce a video of these generated images morphing into one another. The images are disintegrated but new reintegrated versions of what a nonhuman gaze recognizes to be a #melancholy landscape image.
In Forged Afterimage Compression six rotating 3D scans are presented as a result of a remediation process that started with 3D scans of provisiona, transitory physical constructions of found objects and images. This first set of 3D scans, already full of gaps and distorted by the nature of the scanning app Trnio, was made into rotating animations that were then 3D scanned again off of a laptop screen. The outcome is a kind of forged afterimage, compressed into a digital skin or something like a distorted geological compound, resulting from the app’s inability to fully comprehend a 3D representation on a flat screen. These are remnants forged from remnants.
Artlab Gallery
JL Visual Arts Centre
Western University
London, Ontario, Canada
© 2022; Department of Visual Arts; Western University
Artlab Gallery at Western University is pleased to present "not bad, considering" the second year MFA fall exhibition. Through material engagements with the digital and handmade, mundane and precious, they have discovered that they are driven by a need to ask increasingly difficult questions for which there may not be definitive answers.
What role do garments play in identity politics? How does one navigate the violent spaces constructed by toxic masculinity? What happens when social aspirations are materialized in veneer? How can we see, and be seen if our vision is mediated by screens? In this exhibition the artists consider how it feels to rummage through basements and unpack closets, peer through thresholds, and step into imagined vistas. not bad, considering what awaits.
With work by MFA candidates:
Kate Carder-Thompson, Johnathan Onyschuk, Lydia Santia & Zhizi Wang
Opening Reception:
Thursday, September 27, 2018, 5:00pm - 7:00pm
Exhibition Dates:
September 27 - October 11, 2018
About the Artlab Gallery:
Located in the John Labatt Visual Arts Centre, Western University, the Artlab Gallery is a vital component of the Department of Visual Arts. Established in 1994 the gallery focuses on exhibitions, events, and projects that respond to social and cultural issues, supporting the research, and practice of students, faculty and artists from the region and beyond. The work presented in the gallery explores conceptual and experimental production incorporating a diverse range of mediums and methods.
Artlab Gallery
John Labatt Visual Arts Centre
Department of Visual Arts
Western University
London, ON
© 2018; Department of Visual Arts; Western University
Artlab Gallery, Western University, London, ON
Over thirty works of art and scholarly publications by Faculty and Staff members from Western’s Department of Visual Arts.
Oct. 27- November 10, 2016
Opening Reception: Thursday, November 3rd, 5-7PM
Remarks:6pm
Performance by Christof Migone 6:15pm
The Faculty & Staff exhibition, a line has two sides borrows its name from the Oblique Strategies project (subtitled Over One Hundred Worthwhile Dilemmas) created by Brian Eno and Peter Schmidt in 1975. The project produced a boxed set of 100 playing cards each containing a one-line phrase intended to assist artists and musicians break creative blocks by encouraging lateral thinking. 1
Framed within the context of this exhibition, a line has two sides provides audiences with a glimpse into the research, writing and artworks of over 30 individuals who embody the teaching and technical practices fostered within the Department of Visual Arts, Western
Participating Faculty & Staff
Cody Barteet
Sarah Bassnett
Ron Benner
Dickson Bou
Parker Branch
Kathy Brush
Colin Carney
Jessica Desparois
Micheal Farnan
Wyn Gelenyse
Sky Glabush
John Hatch
Patrick Howlett
Kelly Jazvac
Tricia Johnson
Neil Klassen
Madeline Lennon
Patrick Mahon
David Merritt
Christof Migone
Kim Moodie
Kim Neudorf
Kirsty Robertson
Judith Rodger
Andrew Silk
Geordie Shepherd
Daniela Sneppova
Christine Sprengler
Gabriella Solti
Kelly Wood
Curated by Susan Edelstein
1. Taylor, Gregory. “Introduction.” A Primer On Oblique Strategizing.1997. Accessed August 20, 2016. www.rtqe.net/ObliqueStrategies/OSintro.html
By installing your artwork in the John Labatt Visual Arts Centre, you agree to have it photographed and release all rights in and consent to the use of this photo for all legal purposes. Would you like to see your work properly captioned? vrlibrary@uwo.ca
© 2016; Department of Visual Arts; Western University
Annual Juried Exhibition: March 2 – 16, 2023
Opening: Thursday, March 2 from 6–8PM
People’s Choice voting: 6:00-6:45pm
AJE Award Announcements: 7:00pm
Celebrating twenty-one years the "Annual Juried Exhibition" continues to be one of the Department of Visual Arts most highly anticipated undergraduate exhibitions. This diverse show supports the production of new work made in a variety of mediums including painting, sculpture, print, video, and photography. Exhibited works were selected by a professional jury who consider creativity, concept, materiality and technique. This year’s show is indicative of the resilience and dedication our students continue to demonstrate.
Featuring work by: Tammy Abela, Bridget Beardwood, Laila Bloomstone, John Cocker, Giulia Commisso, Stefania Dragalin, Kate Dunn, Sebastian Evans, Cheyne Ferguson, Megan Goddard, Morea Haloftis, Katelyn Halter, Emma Hardy, Emily Kings, Bridget Koza, Victoria Kyriakides, Myles Lynch, Darcy McVicar, Grace Maier, Amy Murray, Venus Nwaokoro, Dhra Patel, Olivia Pattison, Bridget Puhacz, Michaela Purcell, Hilary Rutherford, Chloe Serenko, Abbygale Shelley, Marissa Slack, Maggie Shook, Madison Teeter, Timothy Wiebe, Sophie Zhang
Jury Members: Anna Madelska (Faculty), Jessica Karuhanga (Faculty), Dickson Bou (Artlab Gallery Preparator) Liza Eurich (Artlab Gallery Manager), by proxy Teresa Carlesimo (FCG Director)
artLAB Gallery
JL Visual Arts Centre
Western University
London, Ontario, Canada
© 2023; Department of Visual Arts; Western University
Most learning games focus on teaching educational standards, but games and game development can also help players build empathy and challenge stereotypes. This two part mini-talk discussed current research into social emotional learning through games, why games that promote social emotional learning are important, and how the Smithsonian and other museums are addressing critical issues related to emotional intelligence. With James Collins (Smithsonian Center for Learning and Digital Access), Bradford Lewis (Corporation for National and Community Service), and Cody Coltharp (Smithsonian Hirshhorn Museum and Sculpture Garder ARTLAB+).
Photo Credit: Michelle Auyoung
D927_025b
13/08/2019 : Lausanne, EPFL : ArtLab (Kengo Kuma, 2016)
Bing Bang (Etienne Krähenbühl, 2016)
Sometimes in the night, the fox slips by
January 7-21, 2022
Artlab Gallery
Anahí González, Philip Gurrey, Dong-Kyoon Nam, Sasha Opeiko
Studio PhD candidates from the Department of Visual Arts present Sometimes in the night, the fox slips by, a group exhibition of recent work by Anahí González, Philip Gurrey, Dong-Kyoon Nam and Sasha Opeiko. The show gathers a broad spectrum of investigations sharing a common interest in the relationship between poetic and theoretical potential in making. Some orient themselves toward the political, looking at labour issues both in Canada and abroad. Others probe the language of modernism with strategies centered on improvisation and decay. Others still, use a posthumanist perspective to deconstruct notions of the readymade or to renegotiate representations of melancholy. In concert they are the fox of John Burnside’s poem, deftly weaving a path through fence and thicket.
Anahí González
Bueno, Bonito y Barato, is deeply involved in exploring the Mexican cues portrayed in visual culture, evoking quiet tensions of nationalism and labour representation. By bringing this approach of Mexican labour visual representation on a mobile wood billboard together and allowing them to interact within the gallery, the work engages with concepts of temporality, mobility, the USMCA and institutionalism.
Dong-Kyoon Nam
Praxis of New Assemblage
My work focuses on reconstructing ordinary objects encountered in daily life into ‘animate things’: things understood as dynamic, temporal, yet precarious assemblages animated in a relational field that encompasses humans/nonhumans and organic/inorganic matter.
The method of assemblage I use is not based on the sculptural representation of an assumed and pre-existing whole, rather it refers to a process wherein a visualization of the potential movement of things, and the relationships between their parts, rhythms, affects, and intensities are privileged.
My studio process is semi-impromptu, a horizontal attunement with things, entangled in chance and necessity. My bodily sensibility starts from meticulous attention to fleeting, small occurrences that would otherwise remain unacknowledged.
re | cycling
On a mechanical level, these works reclaim parts of digital home appliances that usually remain invisible, and in so doing, momentarily stabilize the rapid cycle of production, consumption, and disposal. Installed on the wall by adhering them at right angles on a canvas panel, each singular assemblage stands alone and simultaneously exists in relation, signaling both continuity and discontinuity in turn. The works are abstract, like drawings of fluid lines and fragmented outlines, yet still concrete and sensorial. They take the form of artificial assemblages made of e-waste that paradoxically imply ecological precarity and complexity. On a mechanical level, these works reclaim parts of digital home appliances that usually remain invisible, and in so doing, momentarily stabilize the rapid cycle of production, consumption, and disposal. Installed on the wall by adhering them at right angles on a canvas panel, each singular assemblage stands alone and simultaneously exists in relation, signaling both continuity and discontinuity in turn. The works are abstract, like drawings of fluid lines and fragmented outlines, yet still concrete and sensorial. They take the form of artificial assemblages made of e-waste that paradoxically imply ecological precarity and complexity.
Sasha Opeiko
In Something like Fan Object Objects the banal object of study is a used domestic desk fan with a missing safety grill. It was found as a discarded, unwanted item sold in a thrift store. Damaged and disentangled from its previous function, the object is melancholically symptomatic and its image is mediated into multiple manifestations of loss and disintegration. The fan was visualized through faulty 3D scanning, rendered into a rotating 360° animation, and exported as 1400 individual frames, which were fed into a machine learning algorithm that produces new images based on the data it received. The fan itself is rendered useless, its melancholic image diffracted into 10,000 iterations of manufactured glitch. They are presented in video not so much as an animation, but a kind of factual flickering of machine-produced visual data. The nonhuman gaze of image data processing unravels a gapped 3-D representation into a myriad of fractured views, flatly glitching in a dark melancholic refusal to be coherent.
#melancholy began with a collection of screenshots of Instagram posts that were coming up under #melancholy. The screenshots are samples of the prevalence of sublime, mostly Nordic landscapes that the general population locates as representative of melancholy, branding it into named images for dissemination. Working with 460 screenshots, an AI algorithm on Runway ML was used to produce new images based on what it learned from the collection of screenshots. The AI model generates "#melancholy" Instagram landscape images and has the capacity to produce a video of these generated images morphing into one another. The images are disintegrated but new reintegrated versions of what a nonhuman gaze recognizes to be a #melancholy landscape image.
In Forged Afterimage Compression six rotating 3D scans are presented as a result of a remediation process that started with 3D scans of provisiona, transitory physical constructions of found objects and images. This first set of 3D scans, already full of gaps and distorted by the nature of the scanning app Trnio, was made into rotating animations that were then 3D scanned again off of a laptop screen. The outcome is a kind of forged afterimage, compressed into a digital skin or something like a distorted geological compound, resulting from the app’s inability to fully comprehend a 3D representation on a flat screen. These are remnants forged from remnants.
Artlab Gallery
JL Visual Arts Centre
Western University
London, Ontario, Canada
© 2022; Department of Visual Arts; Western University
No Thanks, Just the Cheque - Practicum Exhibition
March 29 - April 8, 2021
“Did you save any room for dessert over here?”
We’re confronted by the question that imposes the end of our four-year feast. A question that acknowledges the end of four years of development, four years of discovery, four years of community. We’ve come this far knowing with certainty that we would end up here, confronted with this decision. It’s now that we know with absolute certainty, that we can answer this question confidently.
“No Thanks, Just the Cheque.”
This year’s Practicum Class exhibition, No Thanks, Just the Cheque, accumulates recent works of 21 artists created during the 2020/2021 term. This exhibition also serves as the cumulation of the work that these artists have put into developing their individual practices over the course of their experiences in the Bachelor of Fine Art’s program. No Thanks, Just the Cheque signifies the end of a journey taken into the BFA program.
Tia Bates, Laura Butler, Natalie Chevalier, Peter Dickson, Rachel Elias, Sam Erdelyi, Skye Gibson, Hualei Gu, Aisha Hassen, Kaitlyn Hwang, Jimin Lee, Mackenzie Smith, Ashley Staines, Lili Thornton-Nickerson, Helia Trinh, Felicia Vosberg, Sam Wagter, Jade Williamson, Janelle Wilson, Courtney Wong, Joy Zheng
View a digital version of the exhibition's complementary catalogue, No Thanks, Just the Cheque.
Due to COVID-19 safety measures, the Artlab Gallery and Cohen Commons will be operating virtually. In-person visits are not permitted at this time. We will be posting exhibition documentation, videos, and virtual walk-throughs on the Artlab's website.
Artlab Gallery & Cohen Commons
JL Visual Arts Centre
Western University
London, Ontario, Canada
© 2021; Department of Visual Arts; Western University
Old invoices from the Scholz family business on spikes hanging in special display case designed by Artlab Australia
Sometimes in the night, the fox slips by
January 7-21, 2022
Artlab Gallery
Anahí González, Philip Gurrey, Dong-Kyoon Nam, Sasha Opeiko
Studio PhD candidates from the Department of Visual Arts present Sometimes in the night, the fox slips by, a group exhibition of recent work by Anahí González, Philip Gurrey, Dong-Kyoon Nam and Sasha Opeiko. The show gathers a broad spectrum of investigations sharing a common interest in the relationship between poetic and theoretical potential in making. Some orient themselves toward the political, looking at labour issues both in Canada and abroad. Others probe the language of modernism with strategies centered on improvisation and decay. Others still, use a posthumanist perspective to deconstruct notions of the readymade or to renegotiate representations of melancholy. In concert they are the fox of John Burnside’s poem, deftly weaving a path through fence and thicket.
Anahí González
Bueno, Bonito y Barato, is deeply involved in exploring the Mexican cues portrayed in visual culture, evoking quiet tensions of nationalism and labour representation. By bringing this approach of Mexican labour visual representation on a mobile wood billboard together and allowing them to interact within the gallery, the work engages with concepts of temporality, mobility, the USMCA and institutionalism.
Dong-Kyoon Nam
Praxis of New Assemblage
My work focuses on reconstructing ordinary objects encountered in daily life into ‘animate things’: things understood as dynamic, temporal, yet precarious assemblages animated in a relational field that encompasses humans/nonhumans and organic/inorganic matter.
The method of assemblage I use is not based on the sculptural representation of an assumed and pre-existing whole, rather it refers to a process wherein a visualization of the potential movement of things, and the relationships between their parts, rhythms, affects, and intensities are privileged.
My studio process is semi-impromptu, a horizontal attunement with things, entangled in chance and necessity. My bodily sensibility starts from meticulous attention to fleeting, small occurrences that would otherwise remain unacknowledged.
re | cycling
On a mechanical level, these works reclaim parts of digital home appliances that usually remain invisible, and in so doing, momentarily stabilize the rapid cycle of production, consumption, and disposal. Installed on the wall by adhering them at right angles on a canvas panel, each singular assemblage stands alone and simultaneously exists in relation, signaling both continuity and discontinuity in turn. The works are abstract, like drawings of fluid lines and fragmented outlines, yet still concrete and sensorial. They take the form of artificial assemblages made of e-waste that paradoxically imply ecological precarity and complexity. On a mechanical level, these works reclaim parts of digital home appliances that usually remain invisible, and in so doing, momentarily stabilize the rapid cycle of production, consumption, and disposal. Installed on the wall by adhering them at right angles on a canvas panel, each singular assemblage stands alone and simultaneously exists in relation, signaling both continuity and discontinuity in turn. The works are abstract, like drawings of fluid lines and fragmented outlines, yet still concrete and sensorial. They take the form of artificial assemblages made of e-waste that paradoxically imply ecological precarity and complexity.
Sasha Opeiko
In Something like Fan Object Objects the banal object of study is a used domestic desk fan with a missing safety grill. It was found as a discarded, unwanted item sold in a thrift store. Damaged and disentangled from its previous function, the object is melancholically symptomatic and its image is mediated into multiple manifestations of loss and disintegration. The fan was visualized through faulty 3D scanning, rendered into a rotating 360° animation, and exported as 1400 individual frames, which were fed into a machine learning algorithm that produces new images based on the data it received. The fan itself is rendered useless, its melancholic image diffracted into 10,000 iterations of manufactured glitch. They are presented in video not so much as an animation, but a kind of factual flickering of machine-produced visual data. The nonhuman gaze of image data processing unravels a gapped 3-D representation into a myriad of fractured views, flatly glitching in a dark melancholic refusal to be coherent.
#melancholy began with a collection of screenshots of Instagram posts that were coming up under #melancholy. The screenshots are samples of the prevalence of sublime, mostly Nordic landscapes that the general population locates as representative of melancholy, branding it into named images for dissemination. Working with 460 screenshots, an AI algorithm on Runway ML was used to produce new images based on what it learned from the collection of screenshots. The AI model generates "#melancholy" Instagram landscape images and has the capacity to produce a video of these generated images morphing into one another. The images are disintegrated but new reintegrated versions of what a nonhuman gaze recognizes to be a #melancholy landscape image.
In Forged Afterimage Compression six rotating 3D scans are presented as a result of a remediation process that started with 3D scans of provisiona, transitory physical constructions of found objects and images. This first set of 3D scans, already full of gaps and distorted by the nature of the scanning app Trnio, was made into rotating animations that were then 3D scanned again off of a laptop screen. The outcome is a kind of forged afterimage, compressed into a digital skin or something like a distorted geological compound, resulting from the app’s inability to fully comprehend a 3D representation on a flat screen. These are remnants forged from remnants.
Artlab Gallery
JL Visual Arts Centre
Western University
London, Ontario, Canada
© 2022; Department of Visual Arts; Western University
Sometimes in the night, the fox slips by
January 7-21, 2022
Artlab Gallery
Anahí González, Philip Gurrey, Dong-Kyoon Nam, Sasha Opeiko
Studio PhD candidates from the Department of Visual Arts present Sometimes in the night, the fox slips by, a group exhibition of recent work by Anahí González, Philip Gurrey, Dong-Kyoon Nam and Sasha Opeiko. The show gathers a broad spectrum of investigations sharing a common interest in the relationship between poetic and theoretical potential in making. Some orient themselves toward the political, looking at labour issues both in Canada and abroad. Others probe the language of modernism with strategies centered on improvisation and decay. Others still, use a posthumanist perspective to deconstruct notions of the readymade or to renegotiate representations of melancholy. In concert they are the fox of John Burnside’s poem, deftly weaving a path through fence and thicket.
Anahí González
Bueno, Bonito y Barato, is deeply involved in exploring the Mexican cues portrayed in visual culture, evoking quiet tensions of nationalism and labour representation. By bringing this approach of Mexican labour visual representation on a mobile wood billboard together and allowing them to interact within the gallery, the work engages with concepts of temporality, mobility, the USMCA and institutionalism.
Dong-Kyoon Nam
Praxis of New Assemblage
My work focuses on reconstructing ordinary objects encountered in daily life into ‘animate things’: things understood as dynamic, temporal, yet precarious assemblages animated in a relational field that encompasses humans/nonhumans and organic/inorganic matter.
The method of assemblage I use is not based on the sculptural representation of an assumed and pre-existing whole, rather it refers to a process wherein a visualization of the potential movement of things, and the relationships between their parts, rhythms, affects, and intensities are privileged.
My studio process is semi-impromptu, a horizontal attunement with things, entangled in chance and necessity. My bodily sensibility starts from meticulous attention to fleeting, small occurrences that would otherwise remain unacknowledged.
re | cycling
On a mechanical level, these works reclaim parts of digital home appliances that usually remain invisible, and in so doing, momentarily stabilize the rapid cycle of production, consumption, and disposal. Installed on the wall by adhering them at right angles on a canvas panel, each singular assemblage stands alone and simultaneously exists in relation, signaling both continuity and discontinuity in turn. The works are abstract, like drawings of fluid lines and fragmented outlines, yet still concrete and sensorial. They take the form of artificial assemblages made of e-waste that paradoxically imply ecological precarity and complexity. On a mechanical level, these works reclaim parts of digital home appliances that usually remain invisible, and in so doing, momentarily stabilize the rapid cycle of production, consumption, and disposal. Installed on the wall by adhering them at right angles on a canvas panel, each singular assemblage stands alone and simultaneously exists in relation, signaling both continuity and discontinuity in turn. The works are abstract, like drawings of fluid lines and fragmented outlines, yet still concrete and sensorial. They take the form of artificial assemblages made of e-waste that paradoxically imply ecological precarity and complexity.
Sasha Opeiko
In Something like Fan Object Objects the banal object of study is a used domestic desk fan with a missing safety grill. It was found as a discarded, unwanted item sold in a thrift store. Damaged and disentangled from its previous function, the object is melancholically symptomatic and its image is mediated into multiple manifestations of loss and disintegration. The fan was visualized through faulty 3D scanning, rendered into a rotating 360° animation, and exported as 1400 individual frames, which were fed into a machine learning algorithm that produces new images based on the data it received. The fan itself is rendered useless, its melancholic image diffracted into 10,000 iterations of manufactured glitch. They are presented in video not so much as an animation, but a kind of factual flickering of machine-produced visual data. The nonhuman gaze of image data processing unravels a gapped 3-D representation into a myriad of fractured views, flatly glitching in a dark melancholic refusal to be coherent.
#melancholy began with a collection of screenshots of Instagram posts that were coming up under #melancholy. The screenshots are samples of the prevalence of sublime, mostly Nordic landscapes that the general population locates as representative of melancholy, branding it into named images for dissemination. Working with 460 screenshots, an AI algorithm on Runway ML was used to produce new images based on what it learned from the collection of screenshots. The AI model generates "#melancholy" Instagram landscape images and has the capacity to produce a video of these generated images morphing into one another. The images are disintegrated but new reintegrated versions of what a nonhuman gaze recognizes to be a #melancholy landscape image.
In Forged Afterimage Compression six rotating 3D scans are presented as a result of a remediation process that started with 3D scans of provisiona, transitory physical constructions of found objects and images. This first set of 3D scans, already full of gaps and distorted by the nature of the scanning app Trnio, was made into rotating animations that were then 3D scanned again off of a laptop screen. The outcome is a kind of forged afterimage, compressed into a digital skin or something like a distorted geological compound, resulting from the app’s inability to fully comprehend a 3D representation on a flat screen. These are remnants forged from remnants.
Artlab Gallery
JL Visual Arts Centre
Western University
London, Ontario, Canada
© 2022; Department of Visual Arts; Western University
Sometimes in the night, the fox slips by
January 7-21, 2022
Artlab Gallery
Anahí González, Philip Gurrey, Dong-Kyoon Nam, Sasha Opeiko
Studio PhD candidates from the Department of Visual Arts present Sometimes in the night, the fox slips by, a group exhibition of recent work by Anahí González, Philip Gurrey, Dong-Kyoon Nam and Sasha Opeiko. The show gathers a broad spectrum of investigations sharing a common interest in the relationship between poetic and theoretical potential in making. Some orient themselves toward the political, looking at labour issues both in Canada and abroad. Others probe the language of modernism with strategies centered on improvisation and decay. Others still, use a posthumanist perspective to deconstruct notions of the readymade or to renegotiate representations of melancholy. In concert they are the fox of John Burnside’s poem, deftly weaving a path through fence and thicket.
Anahí González
Bueno, Bonito y Barato, is deeply involved in exploring the Mexican cues portrayed in visual culture, evoking quiet tensions of nationalism and labour representation. By bringing this approach of Mexican labour visual representation on a mobile wood billboard together and allowing them to interact within the gallery, the work engages with concepts of temporality, mobility, the USMCA and institutionalism.
Dong-Kyoon Nam
Praxis of New Assemblage
My work focuses on reconstructing ordinary objects encountered in daily life into ‘animate things’: things understood as dynamic, temporal, yet precarious assemblages animated in a relational field that encompasses humans/nonhumans and organic/inorganic matter.
The method of assemblage I use is not based on the sculptural representation of an assumed and pre-existing whole, rather it refers to a process wherein a visualization of the potential movement of things, and the relationships between their parts, rhythms, affects, and intensities are privileged.
My studio process is semi-impromptu, a horizontal attunement with things, entangled in chance and necessity. My bodily sensibility starts from meticulous attention to fleeting, small occurrences that would otherwise remain unacknowledged.
re | cycling
On a mechanical level, these works reclaim parts of digital home appliances that usually remain invisible, and in so doing, momentarily stabilize the rapid cycle of production, consumption, and disposal. Installed on the wall by adhering them at right angles on a canvas panel, each singular assemblage stands alone and simultaneously exists in relation, signaling both continuity and discontinuity in turn. The works are abstract, like drawings of fluid lines and fragmented outlines, yet still concrete and sensorial. They take the form of artificial assemblages made of e-waste that paradoxically imply ecological precarity and complexity. On a mechanical level, these works reclaim parts of digital home appliances that usually remain invisible, and in so doing, momentarily stabilize the rapid cycle of production, consumption, and disposal. Installed on the wall by adhering them at right angles on a canvas panel, each singular assemblage stands alone and simultaneously exists in relation, signaling both continuity and discontinuity in turn. The works are abstract, like drawings of fluid lines and fragmented outlines, yet still concrete and sensorial. They take the form of artificial assemblages made of e-waste that paradoxically imply ecological precarity and complexity.
Sasha Opeiko
In Something like Fan Object Objects the banal object of study is a used domestic desk fan with a missing safety grill. It was found as a discarded, unwanted item sold in a thrift store. Damaged and disentangled from its previous function, the object is melancholically symptomatic and its image is mediated into multiple manifestations of loss and disintegration. The fan was visualized through faulty 3D scanning, rendered into a rotating 360° animation, and exported as 1400 individual frames, which were fed into a machine learning algorithm that produces new images based on the data it received. The fan itself is rendered useless, its melancholic image diffracted into 10,000 iterations of manufactured glitch. They are presented in video not so much as an animation, but a kind of factual flickering of machine-produced visual data. The nonhuman gaze of image data processing unravels a gapped 3-D representation into a myriad of fractured views, flatly glitching in a dark melancholic refusal to be coherent.
#melancholy began with a collection of screenshots of Instagram posts that were coming up under #melancholy. The screenshots are samples of the prevalence of sublime, mostly Nordic landscapes that the general population locates as representative of melancholy, branding it into named images for dissemination. Working with 460 screenshots, an AI algorithm on Runway ML was used to produce new images based on what it learned from the collection of screenshots. The AI model generates "#melancholy" Instagram landscape images and has the capacity to produce a video of these generated images morphing into one another. The images are disintegrated but new reintegrated versions of what a nonhuman gaze recognizes to be a #melancholy landscape image.
In Forged Afterimage Compression six rotating 3D scans are presented as a result of a remediation process that started with 3D scans of provisiona, transitory physical constructions of found objects and images. This first set of 3D scans, already full of gaps and distorted by the nature of the scanning app Trnio, was made into rotating animations that were then 3D scanned again off of a laptop screen. The outcome is a kind of forged afterimage, compressed into a digital skin or something like a distorted geological compound, resulting from the app’s inability to fully comprehend a 3D representation on a flat screen. These are remnants forged from remnants.
Artlab Gallery
JL Visual Arts Centre
Western University
London, Ontario, Canada
© 2022; Department of Visual Arts; Western University
featured: Abedar Kamgari
Friday, June 7, 2019
3:00 pm - 6:00 pm
Join us for the Museum for Future Fossils' Open House from 4-6pm, an artist talk by Abedar Kamgari from 3-4pm and a series of screenings presented by LOMAA
Museum for Future Fossils is a series of events and projects, including exhibitions, a workshop, and a graduate summer school, bringing together a key group of people working on museums, contemporary art, the Anthropocene, and climate change.
Since June 1, graduate students participating in the MFFF project have been using the Artlab as a laboratory and meeting place. This exhibition is a living archive of the discussions and learning taking place as they consider the transnational implications of ecological crises – and art worlds – that cross borders and Indigenous lands and waters.
Learn more: www.museumforfuturefossils.com
Broad Topics: A Matrilineage of Media is an intersectional series of artist talks with additional screenings, performances, and workshops featuring regional, provincial, and national Canadian femme-spectrum media artists.
LOMAA is an emerging, enthusiastic and devoted non-profit artist-run collective that fosters collaboration, investigation and innovation by tapping into the talent and serving the needs of media artists in the London region. www.lomaa.ca
Artlab Gallery
John Labatt Visual Arts Centre
Department of Visual Arts
Western University
London, ON
© 2019; Department of Visual Arts; Western University
Continuing Accountability
Kelly Greene
April 21 - May 17, 2022
Artlab Gallery
The Artlab Gallery is pleased to present an exhibition titled “Continuing Accountability” by current Indigenous Artist-In-Residence Kelly Greene. Presented in partnership with the Office of Indigenous Initiatives and the Department of Arts and Humanities, this exhibit brings together work completed by Greene over the course of her nearly thirty year artistic career.
ARTIST STATEMENT:
This exhibit is a continuation of my exhibit “Accountability” that was briefly on display at McIntosh Gallery for a week in March, 2020 before everything shut down. But “Accountability” has another meaning besides referring to the previous exhibit, as this word was and is the premise for both shows, since it encompasses the concepts of the artworks.
Some topics include alternative viewpoints of historic occurrences once viewed as celebratory by most, though now wondering when history books will be changed. And since recent revelations have been made of resulting conditions from enforced ownership, we may question how reparation can be made.
Yet despite it all, somehow Indigenous cultures, traditions, and languages are still alive. Although they’ve struggled to remain alive, the onus to pass knowledge from one generation to the next is imperative so nothing more will be lost.
Moreover, it is the responsibility all humans must now offer to care for our Earth, our Mother, who has endured much devastation especially during the past century after the industrial revolution and the rise of technological advancements. We are now in a position to make drastic changes to ensure that the future may somehow be free from the current conditions we’re experiencing, resulting from us making strides without heed of repercussions.
My hope is we’ll be able to outrun the machine we’ve created.
Kelly Greene is a multi-media artist whose work includes painting, sculpture, installation, and photography. She is of Mohawk-Oneida-Sicilian ancestry, a member of the Six Nations of the Grand River Reserve, and a descendant of the Turtle Clan.
Greene has lived in London, Ontario since 1989 where she obtained a BFA from the University of Western Ontario. She began her visual art studies at the University of New Mexico in Albuquerque, where she moved with her family when she was a child.
She has exhibited in Canada and the United States for over thirty years in solo and group exhibits, primarily at the Woodland Cultural Centre in Brantford, Ontario but also Banff, Alberta; Vancouver, B.C.; Montreal, Quebec; Ottawa, Thunder Bay, Toronto, and London, Ontario; Santa Fe, New Mexico, and Howes Cave, New York. Her work is in numerous public and private collections, and in 2012 and 2015 she was commissioned to complete two permanent outdoor installations at the Woodland Cultural Centre. She has been awarded grants from the Canada Council for the Arts and the Ontario Arts Council and was most recently awarded the first Indigenous Artist in Residence at Western University in 2021.
Her art focuses primarily on environmental and political topics, as well as revealing stereotypes that are still prevalent towards Indigenous cultures, using ironic humour when possible. Recognizing the impact colonization has had on our Earth and the First People who have always lived on the land now known as Canada, Greene specifically refers to the Haldimand Treaty granted to the people of Six Nations, as well as the Mohawk Institute Residential School, or “Mush Hole”, where her beautiful Grandma attended in the 1920’s. Another concern is Colony Collapse Disorder, or the current plight of bees vanishing due to pesticides and monoculture. The ever-alarming condition of our planet has inspired Greene to create works that represent our Mother Earth as human, appealing to our species’ egocentricity, hoping empathy will be instilled and respect given so future generations will continue to be revived and thrive.
Artlab Gallery
JL Visual Arts Centre
Western University
London, Ontario, Canada
© 2022; Department of Visual Arts; Western University
Artlab Gallery, Western University, London, ON
Over thirty works of art and scholarly publications by Faculty and Staff members from Western’s Department of Visual Arts.
Oct. 27- November 10, 2016
Opening Reception: Thursday, November 3rd, 5-7PM
Remarks:6pm
Performance by Christof Migone 6:15pm
The Faculty & Staff exhibition, a line has two sides borrows its name from the Oblique Strategies project (subtitled Over One Hundred Worthwhile Dilemmas) created by Brian Eno and Peter Schmidt in 1975. The project produced a boxed set of 100 playing cards each containing a one-line phrase intended to assist artists and musicians break creative blocks by encouraging lateral thinking. 1
Framed within the context of this exhibition, a line has two sides provides audiences with a glimpse into the research, writing and artworks of over 30 individuals who embody the teaching and technical practices fostered within the Department of Visual Arts, Western
Participating Faculty & Staff
Cody Barteet
Sarah Bassnett
Ron Benner
Dickson Bou
Parker Branch
Kathy Brush
Colin Carney
Jessica Desparois
Micheal Farnan
Wyn Gelenyse
Sky Glabush
John Hatch
Patrick Howlett
Kelly Jazvac
Tricia Johnson
Neil Klassen
Madeline Lennon
Patrick Mahon
David Merritt
Christof Migone
Kim Moodie
Kim Neudorf
Kirsty Robertson
Judith Rodger
Andrew Silk
Geordie Shepherd
Daniela Sneppova
Christine Sprengler
Gabriella Solti
Kelly Wood
Curated by Susan Edelstein
1. Taylor, Gregory. “Introduction.” A Primer On Oblique Strategizing.1997. Accessed August 20, 2016. www.rtqe.net/ObliqueStrategies/OSintro.html
By installing your artwork in the John Labatt Visual Arts Centre, you agree to have it photographed and release all rights in and consent to the use of this photo for all legal purposes. Would you like to see your work properly captioned? vrlibrary@uwo.ca
© 2016; Department of Visual Arts; Western University
Allegory
Curated by Megan Goddard, artLAB Gallery Intern
Cohen Commons
March 31 – April 13, 2023
Reception: Friday, March 31 from 6–8PM
Bridget Koza, Chloe Serenko, Brittany Forrest, Isabella Springett, Grace Maier, Jack Cocker, Isabella Bruni, Marissa Slack, Timothy Wiebe
Allegory can be thought of as a way of seeing an object as something other than it seemingly presents itself, it points to a meaning beyond what is seen on the surface. What is so intriguing about allegory is its multifaceted way of understanding; going beyond what is literally displayed in an artwork and digging deep into meanings, thematic symbols, and the reasons behind certain personifications of abstract forms. Allegory is also aligned with thematics tied to the Baroque period; a time where gilded frames, optical illusion and grandiosity come to mind. Themes such as light and dark, investigation of self, femininity, or the passage of time are all explored in the works of Baroque artists. The blending of Baroque and allegory creates a unique space for artists to work within.
Allegory aims to give these nine artists a space to investigate whether allegory and visual aesthetics of the Baroque can in fact work together, and what that may look like in today’s world. The show hopes to present an analysis of how classical themes can be reworked and redefined visually. The artists within this show employ themes of self, femininity, passing of time, and spirituality in an effort to understand and depict life and identity through the lens of human experience. Some works are a translation of classical aesthetics as seen in the Baroque time period, others are contemporary studies of allegorical themes such as time. Artists included in this show presented works that went beyond the surface, analyzing different thematic symbols through various mediums such as ceramics, painting and textiles.
Read more about the artists: www.uwo.ca/visarts/artlab/current.html
Cohen Commons
JL Visual Arts Centre
Western University
London, Ontario, Canada
© 2023; Department of Visual Arts; Western University
June 7-20, 2018
The ArtLab Gallery is pleased to present the MFA thesis exhibition and where is the body? by Tyler Durbano. Durbano’s practice employs hair and silicone as primary materials, using juxtaposition, and assemblage as tools to produce sculptural works that evoke a bodily feeling. Many of the sculptures are created by inserting single strands of hair, one at a time, into corresponding silicone forms, to begin a conversation about labour and queer identity. Referencing modes of drag, and their associated props, the work explores ideas of vulnerability, maintenance of the body, and performance. With this new work, Durbano creates a conceptual entry point through which the deeply personal, yet global, relationship people have to their identities, their bodies, and to one another can be explored.
Opening Reception: Friday, June 8 from 6-8pm
About the Artlab Gallery
Located in the John Labatt Visual Arts Centre, Western University, the Artlab Gallery is a vital component of the Department of Visual Arts. Established in 1994 the gallery focuses on exhibitions, events, and projects that respond to social and cultural issues, supporting the research, and practice of students, faculty and artists from the region and beyond. The work presented in the gallery explores conceptual and experimental production incorporating a diverse range of mediums and methods.
Artlab Gallery
John Labatt Visual Arts Centre
Department of Visual Arts
Western University
London, ON
© 2018; Department of Visual Arts; Western University
Sometimes in the night, the fox slips by
January 7-21, 2022
Artlab Gallery
Anahí González, Philip Gurrey, Dong-Kyoon Nam, Sasha Opeiko
Studio PhD candidates from the Department of Visual Arts present Sometimes in the night, the fox slips by, a group exhibition of recent work by Anahí González, Philip Gurrey, Dong-Kyoon Nam and Sasha Opeiko. The show gathers a broad spectrum of investigations sharing a common interest in the relationship between poetic and theoretical potential in making. Some orient themselves toward the political, looking at labour issues both in Canada and abroad. Others probe the language of modernism with strategies centered on improvisation and decay. Others still, use a posthumanist perspective to deconstruct notions of the readymade or to renegotiate representations of melancholy. In concert they are the fox of John Burnside’s poem, deftly weaving a path through fence and thicket.
Anahí González
Bueno, Bonito y Barato, is deeply involved in exploring the Mexican cues portrayed in visual culture, evoking quiet tensions of nationalism and labour representation. By bringing this approach of Mexican labour visual representation on a mobile wood billboard together and allowing them to interact within the gallery, the work engages with concepts of temporality, mobility, the USMCA and institutionalism.
Dong-Kyoon Nam
Praxis of New Assemblage
My work focuses on reconstructing ordinary objects encountered in daily life into ‘animate things’: things understood as dynamic, temporal, yet precarious assemblages animated in a relational field that encompasses humans/nonhumans and organic/inorganic matter.
The method of assemblage I use is not based on the sculptural representation of an assumed and pre-existing whole, rather it refers to a process wherein a visualization of the potential movement of things, and the relationships between their parts, rhythms, affects, and intensities are privileged.
My studio process is semi-impromptu, a horizontal attunement with things, entangled in chance and necessity. My bodily sensibility starts from meticulous attention to fleeting, small occurrences that would otherwise remain unacknowledged.
re | cycling
On a mechanical level, these works reclaim parts of digital home appliances that usually remain invisible, and in so doing, momentarily stabilize the rapid cycle of production, consumption, and disposal. Installed on the wall by adhering them at right angles on a canvas panel, each singular assemblage stands alone and simultaneously exists in relation, signaling both continuity and discontinuity in turn. The works are abstract, like drawings of fluid lines and fragmented outlines, yet still concrete and sensorial. They take the form of artificial assemblages made of e-waste that paradoxically imply ecological precarity and complexity. On a mechanical level, these works reclaim parts of digital home appliances that usually remain invisible, and in so doing, momentarily stabilize the rapid cycle of production, consumption, and disposal. Installed on the wall by adhering them at right angles on a canvas panel, each singular assemblage stands alone and simultaneously exists in relation, signaling both continuity and discontinuity in turn. The works are abstract, like drawings of fluid lines and fragmented outlines, yet still concrete and sensorial. They take the form of artificial assemblages made of e-waste that paradoxically imply ecological precarity and complexity.
Sasha Opeiko
In Something like Fan Object Objects the banal object of study is a used domestic desk fan with a missing safety grill. It was found as a discarded, unwanted item sold in a thrift store. Damaged and disentangled from its previous function, the object is melancholically symptomatic and its image is mediated into multiple manifestations of loss and disintegration. The fan was visualized through faulty 3D scanning, rendered into a rotating 360° animation, and exported as 1400 individual frames, which were fed into a machine learning algorithm that produces new images based on the data it received. The fan itself is rendered useless, its melancholic image diffracted into 10,000 iterations of manufactured glitch. They are presented in video not so much as an animation, but a kind of factual flickering of machine-produced visual data. The nonhuman gaze of image data processing unravels a gapped 3-D representation into a myriad of fractured views, flatly glitching in a dark melancholic refusal to be coherent.
#melancholy began with a collection of screenshots of Instagram posts that were coming up under #melancholy. The screenshots are samples of the prevalence of sublime, mostly Nordic landscapes that the general population locates as representative of melancholy, branding it into named images for dissemination. Working with 460 screenshots, an AI algorithm on Runway ML was used to produce new images based on what it learned from the collection of screenshots. The AI model generates "#melancholy" Instagram landscape images and has the capacity to produce a video of these generated images morphing into one another. The images are disintegrated but new reintegrated versions of what a nonhuman gaze recognizes to be a #melancholy landscape image.
In Forged Afterimage Compression six rotating 3D scans are presented as a result of a remediation process that started with 3D scans of provisiona, transitory physical constructions of found objects and images. This first set of 3D scans, already full of gaps and distorted by the nature of the scanning app Trnio, was made into rotating animations that were then 3D scanned again off of a laptop screen. The outcome is a kind of forged afterimage, compressed into a digital skin or something like a distorted geological compound, resulting from the app’s inability to fully comprehend a 3D representation on a flat screen. These are remnants forged from remnants.
Artlab Gallery
JL Visual Arts Centre
Western University
London, Ontario, Canada
© 2022; Department of Visual Arts; Western University
Artlab Gallery at Western University is pleased to present "not bad, considering" the second year MFA fall exhibition. Through material engagements with the digital and handmade, mundane and precious, they have discovered that they are driven by a need to ask increasingly difficult questions for which there may not be definitive answers.
What role do garments play in identity politics? How does one navigate the violent spaces constructed by toxic masculinity? What happens when social aspirations are materialized in veneer? How can we see, and be seen if our vision is mediated by screens? In this exhibition the artists consider how it feels to rummage through basements and unpack closets, peer through thresholds, and step into imagined vistas. not bad, considering what awaits.
With work by MFA candidates:
Kate Carder-Thompson, Johnathan Onyschuk, Lydia Santia & Zhizi Wang
Opening Reception:
Thursday, September 27, 2018, 5:00pm - 7:00pm
Exhibition Dates:
September 27 - October 11, 2018
About the Artlab Gallery:
Located in the John Labatt Visual Arts Centre, Western University, the Artlab Gallery is a vital component of the Department of Visual Arts. Established in 1994 the gallery focuses on exhibitions, events, and projects that respond to social and cultural issues, supporting the research, and practice of students, faculty and artists from the region and beyond. The work presented in the gallery explores conceptual and experimental production incorporating a diverse range of mediums and methods.
Artlab Gallery
John Labatt Visual Arts Centre
Department of Visual Arts
Western University
London, ON
© 2018; Department of Visual Arts; Western University
AJE19: close for comfort
Exhibition dates: March 5 - 18, 2021, 2021
Artlab Gallery & Cohen Commons
How to talk (or not talk) about that one thing we all have in common;
or, pocket questions to use with others after one year in isolation.
Sidle up to another person and begin small talk:
Ahem.
What have we been up to?
How do we answer that?
How do we make a joke?
How do we share a groan?
What do we look like?
How do we listen?
How do we sound?
Have we watched that yet?
What's that smell?
Are we talking about the same thing?
Why are you looking at me like that?
Why am I looking at you like that?
Why is this so hard?
How is this so easy?
Wanna meet up later?
The Annual Juried Exhibition returns for its 19th consecutive year as one of the most highly anticipated undergraduate exhibitions in the Visual Arts Department. This event supports the production of new work made in a variety of media, including painting, sculpture, digital media, photography, installation, sound, and performance. Artworks were selected by a professional jury who consider originality, creativity, and process. AJE 19: close for comfort represents a diverse selection of work from all levels of undergraduate study in the Department. Despite our unusual (shared) circumstances, we received a significant number of submissions for this year's exhibition. These works speak directly and indirectly to living, thinking, feeling, and working one's way through a thing. With this in mind, the organizers have paired works together, closely, to jump-start some conversations.
Shane Ackerley, Zaynab Almayahi, Tia Bates, Laura Butler, Maggie Charbonneau , Abraham Chavez, Meagan Dennis, Krista Ewer Vantol, Stephanie Fattori, Julia Fawcett, Julie Fishbaum, Cosette Gelinas, Aisha Hassen, Skyler Hayes, Kaitlyn Hwang, Crystal Lam, Rowan McCready, Melanie Pare, Elizabeth Prebushewski, Bridget Puhacz, Shelby Sammut, Chloe Serenko, Abbygale Shelley, Ashley Staines, Aidan Takeda-Curran, Megan Man Nga Ting, Lucy Villeneuve, Sam Wagter, Abby Walters, Jade Williamson
Jurors: Teresa Carlesimo (Forest City Gallery), Anna Madelska (Faculty member), Shannon Taylor-Jones (Satellite Project Space), Dickson Bou and Ruth Skinner (Artlab Gallery)
Due to COVID-19 safety measures, the Artlab Gallery and Cohen Commons will be operating virtually. In-person visits are not permitted at this time. We will be posting exhibition documentation, videos, and virtual walk-throughs on the Artlab's website.
Artlab Gallery & Cohen Commons
JL Visual Arts Centre
Western University
London, Ontario, Canada
© 2021; Department of Visual Arts; Western University
Participating Artists: Max McKerlie, Claire McNamara, Ava Workman, Emily Culbert and Riley Metcalfe
September 12-26, 2019
Opening Reception: Thursday, September 12 from 5-7pm
You used to be different. You used to be. You have lived in moments and silence and noise and change. You Used To Be A Spaceship. Five artists come together to compare and contrast the intricacies of self-reflection as they ask themselves (and you) what you've learned, how you got here, and what exactly you think you're doing?
Through the use of painting, illustration, and sculpture, the focus is on the definition of self, and the intimacy of specific details which play with the dichotomy of what is alien and what it shared. Your experiences have shaped you, and while they can't be shared completely perhaps there is common ground to walk on.
Artlab Gallery
John Labatt Visual Arts Centre
Department of Visual Arts
Western University
© 2019; Department of Visual Arts; Western University
London, ON
Sometimes in the night, the fox slips by
January 7-21, 2022
Artlab Gallery
Anahí González, Philip Gurrey, Dong-Kyoon Nam, Sasha Opeiko
Studio PhD candidates from the Department of Visual Arts present Sometimes in the night, the fox slips by, a group exhibition of recent work by Anahí González, Philip Gurrey, Dong-Kyoon Nam and Sasha Opeiko. The show gathers a broad spectrum of investigations sharing a common interest in the relationship between poetic and theoretical potential in making. Some orient themselves toward the political, looking at labour issues both in Canada and abroad. Others probe the language of modernism with strategies centered on improvisation and decay. Others still, use a posthumanist perspective to deconstruct notions of the readymade or to renegotiate representations of melancholy. In concert they are the fox of John Burnside’s poem, deftly weaving a path through fence and thicket.
Anahí González
Bueno, Bonito y Barato, is deeply involved in exploring the Mexican cues portrayed in visual culture, evoking quiet tensions of nationalism and labour representation. By bringing this approach of Mexican labour visual representation on a mobile wood billboard together and allowing them to interact within the gallery, the work engages with concepts of temporality, mobility, the USMCA and institutionalism.
Dong-Kyoon Nam
Praxis of New Assemblage
My work focuses on reconstructing ordinary objects encountered in daily life into ‘animate things’: things understood as dynamic, temporal, yet precarious assemblages animated in a relational field that encompasses humans/nonhumans and organic/inorganic matter.
The method of assemblage I use is not based on the sculptural representation of an assumed and pre-existing whole, rather it refers to a process wherein a visualization of the potential movement of things, and the relationships between their parts, rhythms, affects, and intensities are privileged.
My studio process is semi-impromptu, a horizontal attunement with things, entangled in chance and necessity. My bodily sensibility starts from meticulous attention to fleeting, small occurrences that would otherwise remain unacknowledged.
re | cycling
On a mechanical level, these works reclaim parts of digital home appliances that usually remain invisible, and in so doing, momentarily stabilize the rapid cycle of production, consumption, and disposal. Installed on the wall by adhering them at right angles on a canvas panel, each singular assemblage stands alone and simultaneously exists in relation, signaling both continuity and discontinuity in turn. The works are abstract, like drawings of fluid lines and fragmented outlines, yet still concrete and sensorial. They take the form of artificial assemblages made of e-waste that paradoxically imply ecological precarity and complexity. On a mechanical level, these works reclaim parts of digital home appliances that usually remain invisible, and in so doing, momentarily stabilize the rapid cycle of production, consumption, and disposal. Installed on the wall by adhering them at right angles on a canvas panel, each singular assemblage stands alone and simultaneously exists in relation, signaling both continuity and discontinuity in turn. The works are abstract, like drawings of fluid lines and fragmented outlines, yet still concrete and sensorial. They take the form of artificial assemblages made of e-waste that paradoxically imply ecological precarity and complexity.
Sasha Opeiko
In Something like Fan Object Objects the banal object of study is a used domestic desk fan with a missing safety grill. It was found as a discarded, unwanted item sold in a thrift store. Damaged and disentangled from its previous function, the object is melancholically symptomatic and its image is mediated into multiple manifestations of loss and disintegration. The fan was visualized through faulty 3D scanning, rendered into a rotating 360° animation, and exported as 1400 individual frames, which were fed into a machine learning algorithm that produces new images based on the data it received. The fan itself is rendered useless, its melancholic image diffracted into 10,000 iterations of manufactured glitch. They are presented in video not so much as an animation, but a kind of factual flickering of machine-produced visual data. The nonhuman gaze of image data processing unravels a gapped 3-D representation into a myriad of fractured views, flatly glitching in a dark melancholic refusal to be coherent.
#melancholy began with a collection of screenshots of Instagram posts that were coming up under #melancholy. The screenshots are samples of the prevalence of sublime, mostly Nordic landscapes that the general population locates as representative of melancholy, branding it into named images for dissemination. Working with 460 screenshots, an AI algorithm on Runway ML was used to produce new images based on what it learned from the collection of screenshots. The AI model generates "#melancholy" Instagram landscape images and has the capacity to produce a video of these generated images morphing into one another. The images are disintegrated but new reintegrated versions of what a nonhuman gaze recognizes to be a #melancholy landscape image.
In Forged Afterimage Compression six rotating 3D scans are presented as a result of a remediation process that started with 3D scans of provisiona, transitory physical constructions of found objects and images. This first set of 3D scans, already full of gaps and distorted by the nature of the scanning app Trnio, was made into rotating animations that were then 3D scanned again off of a laptop screen. The outcome is a kind of forged afterimage, compressed into a digital skin or something like a distorted geological compound, resulting from the app’s inability to fully comprehend a 3D representation on a flat screen. These are remnants forged from remnants.
Artlab Gallery
JL Visual Arts Centre
Western University
London, Ontario, Canada
© 2022; Department of Visual Arts; Western University
AJE19: close for comfort
Exhibition dates: March 5 - 18, 2021, 2021
Artlab Gallery & Cohen Commons
How to talk (or not talk) about that one thing we all have in common;
or, pocket questions to use with others after one year in isolation.
Sidle up to another person and begin small talk:
Ahem.
What have we been up to?
How do we answer that?
How do we make a joke?
How do we share a groan?
What do we look like?
How do we listen?
How do we sound?
Have we watched that yet?
What's that smell?
Are we talking about the same thing?
Why are you looking at me like that?
Why am I looking at you like that?
Why is this so hard?
How is this so easy?
Wanna meet up later?
The Annual Juried Exhibition returns for its 19th consecutive year as one of the most highly anticipated undergraduate exhibitions in the Visual Arts Department. This event supports the production of new work made in a variety of media, including painting, sculpture, digital media, photography, installation, sound, and performance. Artworks were selected by a professional jury who consider originality, creativity, and process. AJE 19: close for comfort represents a diverse selection of work from all levels of undergraduate study in the Department. Despite our unusual (shared) circumstances, we received a significant number of submissions for this year's exhibition. These works speak directly and indirectly to living, thinking, feeling, and working one's way through a thing. With this in mind, the organizers have paired works together, closely, to jump-start some conversations.
Shane Ackerley, Zaynab Almayahi, Tia Bates, Laura Butler, Maggie Charbonneau , Abraham Chavez, Meagan Dennis, Krista Ewer Vantol, Stephanie Fattori, Julia Fawcett, Julie Fishbaum, Cosette Gelinas, Aisha Hassen, Skyler Hayes, Kaitlyn Hwang, Crystal Lam, Rowan McCready, Melanie Pare, Elizabeth Prebushewski, Bridget Puhacz, Shelby Sammut, Chloe Serenko, Abbygale Shelley, Ashley Staines, Aidan Takeda-Curran, Megan Man Nga Ting, Lucy Villeneuve, Sam Wagter, Abby Walters, Jade Williamson
Jurors: Teresa Carlesimo (Forest City Gallery), Anna Madelska (Faculty member), Shannon Taylor-Jones (Satellite Project Space), Dickson Bou and Ruth Skinner (Artlab Gallery)
Due to COVID-19 safety measures, the Artlab Gallery and Cohen Commons will be operating virtually. In-person visits are not permitted at this time. We will be posting exhibition documentation, videos, and virtual walk-throughs on the Artlab's website.
Artlab Gallery & Cohen Commons
JL Visual Arts Centre
Western University
London, Ontario, Canada
© 2021; Department of Visual Arts; Western University
No Thanks, Just the Cheque - Practicum Exhibition
March 29 - April 8, 2021
“Did you save any room for dessert over here?”
We’re confronted by the question that imposes the end of our four-year feast. A question that acknowledges the end of four years of development, four years of discovery, four years of community. We’ve come this far knowing with certainty that we would end up here, confronted with this decision. It’s now that we know with absolute certainty, that we can answer this question confidently.
“No Thanks, Just the Cheque.”
This year’s Practicum Class exhibition, No Thanks, Just the Cheque, accumulates recent works of 21 artists created during the 2020/2021 term. This exhibition also serves as the cumulation of the work that these artists have put into developing their individual practices over the course of their experiences in the Bachelor of Fine Art’s program. No Thanks, Just the Cheque signifies the end of a journey taken into the BFA program.
Tia Bates, Laura Butler, Natalie Chevalier, Peter Dickson, Rachel Elias, Sam Erdelyi, Skye Gibson, Hualei Gu, Aisha Hassen, Kaitlyn Hwang, Jimin Lee, Mackenzie Smith, Ashley Staines, Lili Thornton-Nickerson, Helia Trinh, Felicia Vosberg, Sam Wagter, Jade Williamson, Janelle Wilson, Courtney Wong, Joy Zheng
View a digital version of the exhibition's complementary catalogue, No Thanks, Just the Cheque.
Due to COVID-19 safety measures, the Artlab Gallery and Cohen Commons will be operating virtually. In-person visits are not permitted at this time. We will be posting exhibition documentation, videos, and virtual walk-throughs on the Artlab's website.
Artlab Gallery & Cohen Commons
JL Visual Arts Centre
Western University
London, Ontario, Canada
© 2021; Department of Visual Arts; Western University
Vernissage: 26. September 2014, 20 Uhr
Laufzeit: 27. September – 30. November 2014
Öffnungszeiten: Fr-So, 14-18 Uhr (und nach Vereinbarung), 31.10. bis 21 Uhr geöffnet.
Sonntag, 28. September, 15 Uhr - Künstleringespräch
Sonntag, 30. November, 15 Uhr - Workshop mit Anna Dumitriu
Die dritte Ausstellung der Reihe [macro]biologies & [micro]biologies wird in Form einer Soloausstellung die britische Künstlerin Anna Dumitriu vorstellen, die sich in ihren Arbeiten im Bereich Kunst und Naturwissenschaft sowohl historischen Narrativen und avantgardistischen biomedizinischen Forschungsfragen widmet als auch mit großem Interesse ethische Aspekte thematisiert.
Dumitriu ist sehr bekannt geworden durch ihre Arbeiten The VRSA Dress und The MRSA Quilt , die beide aus dem sogenannten 'Superbazillus' gemacht wurden. Für diese Arbeiten hat Dumitriu Bakterien auf Textilien wachsen lassen und benutzte dann natürliche und klinische Antibiotika, um mit diesen Muster entstehen zu lassen (vor der Ausstellung selbstverständlich sterilisiert).
„Normal Flora“ ist eine Untersuchung allgegenwärtiger Bakterien, Schimmel und Pilze, die einen wesentlichen Teil unseres komplexen Ökosystems um uns herum ausmachen – unserer Körper, unserer Heimstätten sowie unseres Planeten. Bed and Chair Flora umfasst einen bearbeiteten Stuhl, in welchen Abbildungen von Bakterien geschnitzt wurden, die sich ursprünglich bei ihm angesiedelt haben. Die gemeinschaftlich entstandene Häkelarbeit geht auf elektronenmikroskopische Bilder jener Bakterien zurück, die im Bett der Künstlerin gefunden wurden.
Bakterien tragen aufwendige Kommunikationsfähigkeiten in sich, die heutzutage als eine Form sozialer Intelligenz untersucht werden. Dies wird in der Arbeit The Communicating Bacteria Dress erforscht. Dumitriu verbindet in diesem Zusammenhang die Bereiche Bio Art, historische textile Techniken, wie zum Bespiel die sogen. Weißstickerei, und 3D Video Mapping. Dabei haben sich die verwendeten Stoffe verfärbt, indem pigmentierte Bakterien ihre Farbe änderten, sobald sie Kommunikationssignale ausgesendet oder empfangen haben.
Die Ausstellung wird auch Arbeiten ihrer Serie Romantic Disease zeigen, welche die Geschichte der Krankheit Tuberkulose (TB) aus künstlerischer, sozialer sowie wissenschaftlicher Perspektive untersucht. Dabei werden literarische Bezüge zu TB und Aspekte des Aberglaubens hinsichtlich der Krankheit beleuchtet, aber auch die Entwicklung der Antibiotika und jüngste Forschungsergebnisse über die Erbgut-Entschlüsselung von Mykobakterien zur Debatte gestellt. Dumitriu hat mit ForscherInnen des “Modernising Medical Microbiology Project“ zusammen gearbeitet, um neue Arbeiten in Verbindung mit dieser medizinisch sowie kulturell signifikanten Krankheit entstehen zu lassen.
Anna Dumitriu ist derzeit Artist in Residence im Kontext des Projekts „Modernising Medical Microbiology Project“ an der University of Oxford und Visiting Research Fellow: Artist in Residence an der University of Hertfordshire.
May 27 - June 9, 2016
The Artlab Gallery is pleased to present The Black and White Exhibition. Back for the second consecutive year this collaborative event features artwork from over eighty students from five local Secondary Schools. This diverse outreach exhibit features curated selections from high schools situated within the Thames Valley District School Board including; Sir Fredrick Banting, H.B. Beal, London Central, A.B. Lucas, and Oakridge Secondary Schools.
London, ON, Western University, Artlab Gallery
By installing your artwork in the John Labatt Visual Arts Centre, you agree to have it photographed and release all rights in and consent to the use of this photo for all legal purposes. Would you like to see your work properly captioned? vrlibrary@uwo.ca
© 2016; Department of Visual Arts; Western University
Co-organized with the Artlab Gallery, students from Bealart will present a series of short talks relating to art production.
Wednesday, February 1, 2017
5:30 pm - 7:30 pm
John Labatt Visual Arts Centre (VAC)
Artlab Gallery
© 2017; Department of Visual Arts; Western University
AJE19: close for comfort
Exhibition dates: March 5 - 18, 2021, 2021
Artlab Gallery & Cohen Commons
How to talk (or not talk) about that one thing we all have in common;
or, pocket questions to use with others after one year in isolation.
Sidle up to another person and begin small talk:
Ahem.
What have we been up to?
How do we answer that?
How do we make a joke?
How do we share a groan?
What do we look like?
How do we listen?
How do we sound?
Have we watched that yet?
What's that smell?
Are we talking about the same thing?
Why are you looking at me like that?
Why am I looking at you like that?
Why is this so hard?
How is this so easy?
Wanna meet up later?
The Annual Juried Exhibition returns for its 19th consecutive year as one of the most highly anticipated undergraduate exhibitions in the Visual Arts Department. This event supports the production of new work made in a variety of media, including painting, sculpture, digital media, photography, installation, sound, and performance. Artworks were selected by a professional jury who consider originality, creativity, and process. AJE 19: close for comfort represents a diverse selection of work from all levels of undergraduate study in the Department. Despite our unusual (shared) circumstances, we received a significant number of submissions for this year's exhibition. These works speak directly and indirectly to living, thinking, feeling, and working one's way through a thing. With this in mind, the organizers have paired works together, closely, to jump-start some conversations.
Shane Ackerley, Zaynab Almayahi, Tia Bates, Laura Butler, Maggie Charbonneau , Abraham Chavez, Meagan Dennis, Krista Ewer Vantol, Stephanie Fattori, Julia Fawcett, Julie Fishbaum, Cosette Gelinas, Aisha Hassen, Skyler Hayes, Kaitlyn Hwang, Crystal Lam, Rowan McCready, Melanie Pare, Elizabeth Prebushewski, Bridget Puhacz, Shelby Sammut, Chloe Serenko, Abbygale Shelley, Ashley Staines, Aidan Takeda-Curran, Megan Man Nga Ting, Lucy Villeneuve, Sam Wagter, Abby Walters, Jade Williamson
Jurors: Teresa Carlesimo (Forest City Gallery), Anna Madelska (Faculty member), Shannon Taylor-Jones (Satellite Project Space), Dickson Bou and Ruth Skinner (Artlab Gallery)
Due to COVID-19 safety measures, the Artlab Gallery and Cohen Commons will be operating virtually. In-person visits are not permitted at this time. We will be posting exhibition documentation, videos, and virtual walk-throughs on the Artlab's website.
Artlab Gallery & Cohen Commons
JL Visual Arts Centre
Western University
London, Ontario, Canada
© 2021; Department of Visual Arts; Western University
AJE19: close for comfort
Exhibition dates: March 5 - 18, 2021, 2021
Artlab Gallery & Cohen Commons
How to talk (or not talk) about that one thing we all have in common;
or, pocket questions to use with others after one year in isolation.
Sidle up to another person and begin small talk:
Ahem.
What have we been up to?
How do we answer that?
How do we make a joke?
How do we share a groan?
What do we look like?
How do we listen?
How do we sound?
Have we watched that yet?
What's that smell?
Are we talking about the same thing?
Why are you looking at me like that?
Why am I looking at you like that?
Why is this so hard?
How is this so easy?
Wanna meet up later?
The Annual Juried Exhibition returns for its 19th consecutive year as one of the most highly anticipated undergraduate exhibitions in the Visual Arts Department. This event supports the production of new work made in a variety of media, including painting, sculpture, digital media, photography, installation, sound, and performance. Artworks were selected by a professional jury who consider originality, creativity, and process. AJE 19: close for comfort represents a diverse selection of work from all levels of undergraduate study in the Department. Despite our unusual (shared) circumstances, we received a significant number of submissions for this year's exhibition. These works speak directly and indirectly to living, thinking, feeling, and working one's way through a thing. With this in mind, the organizers have paired works together, closely, to jump-start some conversations.
Shane Ackerley, Zaynab Almayahi, Tia Bates, Laura Butler, Maggie Charbonneau , Abraham Chavez, Meagan Dennis, Krista Ewer Vantol, Stephanie Fattori, Julia Fawcett, Julie Fishbaum, Cosette Gelinas, Aisha Hassen, Skyler Hayes, Kaitlyn Hwang, Crystal Lam, Rowan McCready, Melanie Pare, Elizabeth Prebushewski, Bridget Puhacz, Shelby Sammut, Chloe Serenko, Abbygale Shelley, Ashley Staines, Aidan Takeda-Curran, Megan Man Nga Ting, Lucy Villeneuve, Sam Wagter, Abby Walters, Jade Williamson
Jurors: Teresa Carlesimo (Forest City Gallery), Anna Madelska (Faculty member), Shannon Taylor-Jones (Satellite Project Space), Dickson Bou and Ruth Skinner (Artlab Gallery)
Due to COVID-19 safety measures, the Artlab Gallery and Cohen Commons will be operating virtually. In-person visits are not permitted at this time. We will be posting exhibition documentation, videos, and virtual walk-throughs on the Artlab's website.
Artlab Gallery & Cohen Commons
JL Visual Arts Centre
Western University
London, Ontario, Canada
© 2021; Department of Visual Arts; Western University
Artlab Gallery at Western University is pleased to present "not bad, considering" the second year MFA fall exhibition. Through material engagements with the digital and handmade, mundane and precious, they have discovered that they are driven by a need to ask increasingly difficult questions for which there may not be definitive answers.
What role do garments play in identity politics? How does one navigate the violent spaces constructed by toxic masculinity? What happens when social aspirations are materialized in veneer? How can we see, and be seen if our vision is mediated by screens? In this exhibition the artists consider how it feels to rummage through basements and unpack closets, peer through thresholds, and step into imagined vistas. not bad, considering what awaits.
With work by MFA candidates:
Kate Carder-Thompson, Johnathan Onyschuk, Lydia Santia & Zhizi Wang
Opening Reception:
Thursday, September 27, 2018, 5:00pm - 7:00pm
Exhibition Dates:
September 27 - October 11, 2018
About the Artlab Gallery:
Located in the John Labatt Visual Arts Centre, Western University, the Artlab Gallery is a vital component of the Department of Visual Arts. Established in 1994 the gallery focuses on exhibitions, events, and projects that respond to social and cultural issues, supporting the research, and practice of students, faculty and artists from the region and beyond. The work presented in the gallery explores conceptual and experimental production incorporating a diverse range of mediums and methods.
Artlab Gallery
John Labatt Visual Arts Centre
Department of Visual Arts
Western University
London, ON
© 2018; Department of Visual Arts; Western University