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Each summer at the Mattress Factory, artists and educators from a variety of disciplines come together with local youth to engage in hands-on projects that inspire and initiate conversations about the community. Children learn about the history of the museum and of the neighborhood and explore artistic and practical ways to improve the places that we live.The summer of 2012 featured three different sessions of Community ArtLab, with themes like Utopia, Super Hero Snack Time, and The Power of Play.
Each summer at the Mattress Factory, artists and educators from a variety of disciplines come together with local youth to engage in hands-on projects that inspire and initiate conversations about the community. Children learn about the history of the museum and of the neighborhood and explore artistic and practical ways to improve the places that we live.The summer of 2012 featured three different sessions of Community ArtLab, with themes like Utopia, Super Hero Snack Time, and The Power of Play.
Exhibition: May 30 – June 20, 2024
Reception: Thursday, May 30 from 5-7PM
artLAB Gallery
This exhibit is a culmination of Leith Mahkewa’s time as the Indigenous Artist in Resident at Western University. Although the focal art piece of her residency was the production of a cradleboard adorned with beadwork, she also produced many beaded items, which are pictured in the exhibit.
While in residence Leith explored a variety of new art mediums: woodworking, linocut printing, leather handbag making, silversmithing and haute couture embroidery which add to her artistic repertoire and increase her creative skills.
Beadwork is Leith’s primary art medium of choice. Through this residency she followed a vision to create a new and innovative artwork while still conserving the original intent of the cradleboard. This was her first attempt at making a cradleboard and then adorning it with beadwork. The design and creation of the board itself is not a new concept, cradleboards have been used for centuries but Leith had never made one. The completion of this board and accompanying beadwork took approximately 7 months, a relatively short time compared to the 12 years she held this idea and waited for an opportunity to make her idea come to life. The inspiration for this project came from Leith’s personal experience using a cradleboard for her children and her desire to create one herself using beadwork as the main focal point. She promotes the use of the cradleboard and its value to the mother, baby and family.
One of the goals Leith had during her residency goes beyond the boundaries of UWO’s campus and Western’s Wampum Lodge to her community, Oneida Nation of the Thames. Leith’s intentions while at Western was to help increase the visibility and use of cradleboards by those within her community. The avenue that she chose was to encourage a group of women to explore their beadwork journey and to encourage them to bring the cradleboard home for themselves to use or for their families to see its utility and beauty.
The group gathered on campus and in Oneida, where they learned beading techniques, shared food, and comradery. All were gifted a cradleboard to bring home to their families. It’s important to note that beading for Leith is primarily done alone. However, the time spent creating and sharing with these four ladies motivated her to complete her own works and helped to foster the possibility of sharing future beadwork teachings. The beaded wraps for each cradleboard created by Faye Summers, Shelley Elijah, Twyla Antone and Samantha Doxtator are integral to this exhibit and a once in a lifetime experience which sustains the utility of cultural items.
Leith would like to acknowledge all those who mentored, encouraged and at times listened to her creative ramblings. The journey to this point was not done alone, there have been many people who helped to make this process enjoyable and a success. She recognizes the Department of Visual Arts at the University of Western Ontario for the providing the space for the promotion and growth of the Indigenous Artist in Residence program without which she would not have had the resources to work independently and create art as she sees it.
© 2024; Department of Visual Arts; Western University
Interview commentary with Jan Hankins and Jason Miller here: youtu.be/v9HtPz9uTUU Jan Hankins: 11 SEPTEMBERS.
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Eleven years ago Jan Hankins installed âOut of the Janitorâs Closetâ in ArtLab. He continues his commentary on American politics with this installation of painting and sculptureâa timely topic in an election year.
Interview commentary with Jan Hankins and Jason Miller here: youtu.be/v9HtPz9uTUU Jan Hankins: 11 SEPTEMBERS.
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Eleven years ago Jan Hankins installed âOut of the Janitorâs Closetâ in ArtLab. He continues his commentary on American politics with this installation of painting and sculptureâa timely topic in an election year.
WESTERN PERFORMS!
WEDNESDAY, OCTOBER 19 / 12:30-1:30PM
Join us in the artLAB Gallery on Wednesday, October 19 at 12:30PM for Western Performs! featuring University Singers and Les Choristes with Drs. Mark Ramsay and Tracy Wong.
Silence – Nancy Telfer
Dawn – Emily Parker
Rise up, My Love, My Fair One – Healey Willan
Antara – Tracy Wong
Mata Del Anima Sola – Antonio Estevez
Meditation (Whatever Happens) – Joshua Shank
This event is presented in partnership with the Don Wright Faculty of Music and SASAH.
Artlab Gallery
JL Visual Arts Centre
Western University
London, Ontario, Canada
© 2022; Department of Visual Arts; Western University
Each summer at the Mattress Factory, artists and educators from a variety of disciplines come together with local youth to engage in hands-on projects that inspire and initiate conversations about the community. Children learn about the history of the museum and of the neighborhood and explore artistic and practical ways to improve the places that we live.The summer of 2012 featured three different sessions of Community ArtLab, with themes like Utopia, Super Hero Snack Time, and The Power of Play.
Each summer at the Mattress Factory, artists and educators from a variety of disciplines come together with local youth to engage in hands-on projects that inspire and initiate conversations about the community. Children learn about the history of the museum and of the neighborhood and explore artistic and practical ways to improve the places that we live.The summer of 2012 featured three different sessions of Community ArtLab, with themes like Utopia, Super Hero Snack Time, and The Power of Play.
over and over and over and
Curated by Katie Lawson
Tia Bates , Masha Kouznetsova, Danielle Petti
Exhibition: October 10 – 31, 2024
Reception: Thursday, October 10, 4-6PM
artLAB Gallery
To work with residue, refuse, salvage, and waste necessitates moving through the world with openness and curiosity, slowly gathering materials over time and through various means. This is not mere 'resourcefulness' but a major principle in terms of how Tia Bates, Danielle Petti, and Masha Kouznetsova work and understand value in sourcing the material and immaterial aspects of their artwork. In the exhibition over and over and over and each artist has cultivated their own approach to the transformation of found materials, a further translation of their embodied experiences. The distortion or alteration of materials occurs through pulping, setting, melting, illuminating, recording, and transmitting with paper, water, cement, beeswax, light, soundwaves, acetate and metals. A concept, a rock, an image or a sound is revisited time and time again, revealing itself bit by bit. Matter is never fixed, but ever changing through multiple iterations of a singular installation, and time is embraced as medium. Over and over and over and over and over and…
artLAB Gallery
JL Visual Arts Centre
Western University
London, Ontario, Canada
© 2024; Department of Visual Arts; Western University
AJE 22!
Exhibition: February 1 - 15, 2024
Reception: Thursday, February 1 from 6-8PM
People’s Choice voting: 6-7PM
AJE Award Announcements: 7PM
Celebrating twenty-two 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.
artLAB Gallery
JL Visual Arts Centre
Western University
London, Ontario, Canada
© 2024; Department of Visual Arts; Western University
Department of Visual Arts:
MEET AND GREET!
Thursday, October 10 from 3-4PM
Organized by Cheyne Ferguson, artLAB Gallery Intern
artLAB Gallery
Have you ever wanted to opportunity to get to know faculty and staff better? Then join us for this special event--there will be coffee to sip, nametags to wear, and great conversations to be had between students, faculty and staff. All are welcome, light refreshments will be served.
artLAB Gallery
JL Visual Arts Centre
Western University
London, Ontario, Canada
© 2024; Department of Visual Arts; Western University
over and over and over and
Curated by Katie Lawson
Tia Bates , Masha Kouznetsova, Danielle Petti
Exhibition: October 10 – 31, 2024
Reception: Thursday, October 10, 4-6PM
artLAB Gallery
To work with residue, refuse, salvage, and waste necessitates moving through the world with openness and curiosity, slowly gathering materials over time and through various means. This is not mere 'resourcefulness' but a major principle in terms of how Tia Bates, Danielle Petti, and Masha Kouznetsova work and understand value in sourcing the material and immaterial aspects of their artwork. In the exhibition over and over and over and each artist has cultivated their own approach to the transformation of found materials, a further translation of their embodied experiences. The distortion or alteration of materials occurs through pulping, setting, melting, illuminating, recording, and transmitting with paper, water, cement, beeswax, light, soundwaves, acetate and metals. A concept, a rock, an image or a sound is revisited time and time again, revealing itself bit by bit. Matter is never fixed, but ever changing through multiple iterations of a singular installation, and time is embraced as medium. Over and over and over and over and over and…
artLAB Gallery
JL Visual Arts Centre
Western University
London, Ontario, Canada
© 2024; Department of Visual Arts; Western University
El cicle Pedrera ArtLab del 2019 comença amb Els Jóvens, una de les grans revelacions de la musica valenciana, amb unes lletres contemporànies plenes de nostàlgia, ironia i alegria passades pels patrons i recursos del folklore, com ara jotes, cants de batre, bandúrries... En aquest esperat concert van acompanyats de Laura Iturralde, que amb les seves imatges creades en directe ens endinsaran en un espectacle únic que veu de la tradició i de la modernitat.
How can I be OK with the e/and of the world?
Jessica Irene Joyce
July 18 – August 1, 2024
Reception: Thursday, July 18 from 5-7PM
artLAB Gallery
EVENT:
Join Jessica Irene Joyce and Ashar Mobeen for an exhibition tour and discussion.
Tuesday, July 30 from 12-1PM
How can I be OK with the e/and of the world? creatively repurposes painting’s formal and material conventions to its own ecological aims. Landscape and portraiture flow around and through each other, urging viewers to look at the world instead of away from it. Scenes from Mount Pleasant Cemetery and Sherwood Fox Arboretum depict transformative cycles of life and death throughout the changing seasons.
In 2019, I began reading Naomi Klein’s This Changes Everything: Capitalism vs. the Climate (2014) and quit after three chapters, not knowing what to do with the terror and despair it inspired. Inviting these emotions into my painting practice allows me to process anxiety arising from reading about (and living through) climate change. Through this project, I continue to learn and enact the responsibilities urgently demanded by the Climate Emergency, while exploring my relationship to the land colonially known as London, Ontario.
artLAB Gallery
JL Visual Arts Centre
Western University
London, Ontario, Canada
© 2024; Department of Visual Arts; Western University
Marvelous Monsters
Tommy Bourque
June 25 – July 16, 2021
Marvelous Monsters presents speculative worlds and speculative figures. This immersive exhibition of installation works by Tommy Bourque evokes physically and psychologically visceral feelings of tension through dynamic, antithetical and aesthetical relationships. Constructed scenarios present subtle and extreme opposites. Sculptural objects and bodies are complemented or animated by digital technology to explore aspects of the (post)human and provoke emotional responses in viewers to contrasting effects, inspiring ambivalence or confusion.
To what extent can we relate to experiences that purposefully elicit adverse and emotional continuums of sensations? Bourque’s scenes are investigations for considering the viewer’s reactions when faced with familiar—yet deconstructed—vessels in which they, too, reside. Visitors are presented with a dilemma of contrasting signifiers and must consciously negotiate the works while discerning their relationships with their own bodies. The fragmented body is the foundational core of Bourque’s practice, and the synecdoche is central, even (or especially) when it is overtly abstracted: (re)enforced by teeth, hair, heads, spines, and/or limbs. Viewers encountering these scenes may succumb to their individual physical reflexes, natural bodily reactions, and unconscious drives.
André Breton asserts in the Manifesto of Surrealism (1927), “[T]he marvelous is always beautiful, anything marvelous is beautiful, in fact only the marvelous is beautiful.” In this regard, Bourque views his sculptural creations as both monstrous and marvelous, as wonderfully frightening. Each piece exemplifies the same overall goal of his practice: Bourque wants his work to mirror what it is like to be alive. He wants viewers to connect and engage with his work to confront their understanding of their own embodiment and of their own lived experiences as bodies and in bodies.
Artlab Gallery
JL Visual Arts Centre
Western University
London, Ontario, Canada
© 2021; Department of Visual Arts; Western University
over and over and over and
Curated by Katie Lawson
Tia Bates , Masha Kouznetsova, Danielle Petti
Exhibition: October 10 – 31, 2024
Reception: Thursday, October 10, 4-6PM
artLAB Gallery
To work with residue, refuse, salvage, and waste necessitates moving through the world with openness and curiosity, slowly gathering materials over time and through various means. This is not mere 'resourcefulness' but a major principle in terms of how Tia Bates, Danielle Petti, and Masha Kouznetsova work and understand value in sourcing the material and immaterial aspects of their artwork. In the exhibition over and over and over and each artist has cultivated their own approach to the transformation of found materials, a further translation of their embodied experiences. The distortion or alteration of materials occurs through pulping, setting, melting, illuminating, recording, and transmitting with paper, water, cement, beeswax, light, soundwaves, acetate and metals. A concept, a rock, an image or a sound is revisited time and time again, revealing itself bit by bit. Matter is never fixed, but ever changing through multiple iterations of a singular installation, and time is embraced as medium. Over and over and over and over and over and…
artLAB Gallery
JL Visual Arts Centre
Western University
London, Ontario, Canada
© 2024; Department of Visual Arts; Western University
meromictic
Curated by MCS4605E
Exhibition: February 29 – March 14, 2024
Opening Reception: Thursday, February 29 from 5-8PM
artLAB Gallery
Kionywarihwaen, or Crawford Lake, is a small body of water that formed in a limestone cliff sinkhole near Milton, Ontario, just over 100km away from the Artlab Gallery. This exhibition responds to the 2023 selection of Crawford Lake by the International Commission on Stratigraphy as the "golden spike" that marks the start of a new proposed geological epoch, the Anthropocene. The lake is meromictic, meaning the layers of water within it do not mix, allowing for the preservation of sediment deposits in the lakebed. Because of this, layers of sediment lie untouched at the bottom of the lake, showing, among other things, evidence of human impact on the world in a layer of radioactive plutonium from nuclear weapons tests - the marker that has been decided represents the moment human impact becomes evident in the strata of the geologic record; that is, the Anthropocene.
How can we understand the impact of this moment? This exhibition uses stratigraphy as an organizing principle, pulling back layers to try to understand the complicated relations involved in naming a geologic era and marking it through a lake in Ontario. Seven artists investigating water, earth, air, soil, wood, rocks, and minerals, are paired with specimens and samples loaned from collections across Southwestern Ontario. Each pairing brings an additional level of complexity to the exhibition and illustrates the ultimate challenge of trying to fully grasp an epoch in a layer of sediment. meromictic focuses on both the opportunity to learn from the siting of the golden spike, and on all that escapes from accepted forms of knowledge.
Featuring artworks by Janice Brant Kahehtoktha, Greg Curnoe, Simon Fuh, Stefan Herda, Lisa Hirmer, Tomonari Nishikawa, Nico Williams, Kelly Wood.
With contributions from Biodiversity Gallery/Nina Zitani, Conservation Halton, Neal Ferris, Jessica Johnson/Smithsonian Institute, McCarthy Lab/Brock University, the Museum of Ontario Archeology, Patterson Lab/Carleton University, Corcoran Lab/UWO, the Richard W. Hutchison Geoscience Collaborative Suite/UWO, Aaron Shugar/Queen’s University, Amanda White/FOFA Gallery.
This project was made possible with support from The Strategic Priorities Fund (UWO), the Social Sciences and Humanities Research Council of Canada, the Rodger Research and Development Fund, The Department of Visual Arts (UWO), and the Centre for Sustainable Curating.
artLAB Gallery
JL Visual Arts Centre
Western University
London, Ontario, Canada
© 2024; Department of Visual Arts; Western University