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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
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
Brazil/Canadá
Curated by Bruno Sinder, PhD candidate
Artlab Gallery
August 5-25, 2022
Opening Reception: Thursday, August 11 from 5:00 -7:00pm
Featuring over 100 family photographs of Brazilian immigrants to Canada, Brazil/Canadá invites viewers to reflect on the role personal photography plays in the process of migration. Also present in the exhibition are quotes from my conversations with the participants, where we talked about their journeys and the stories behind the photographs submitted. While the traditional print family album might be seen as an object left behind in the transition from analog to digital photography, family photography is more popular and prevalent than ever. Where do these photographs circulate and, most importantly, what do they do? Can they help us navigate the difficulties and complexities of migrating to a new country?
In this exhibition, I invite you to circulate alongside the images through three of the spaces these photographs operate in: the gallery walls, the digital world, and the home. Wander the gallery, navigate the database, and sit down with the physical albums.
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
Example of a sticky trap for catching and monitoring insects (showing the sticky side - the protective clear paper needs to be removed and then the card folded into a tent like structure)
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
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, 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
Join us in the Artlab Thursday, July 11 from 5-7pm for the opening reception of MFA candidate Zhizi Wang's thesis show, "Absence and Proximity." The exhibition runs until Friday, July 26. The Artlab is open M-F from 12-5pm.
Emphasizing the affective scope of the digital imagery, Wang’s videos weave together fragmented, commercialized, omnipresent digital image from both private and public platforms into visual stories and poems. Starting off from a personal perspective, the videos in the exhibition also interrogate the relation between digital images and a broader audience: how does our relation with the image, and the bodies within, shift when considering the digital medium?
Biography
Zhizi Wang is a multimedia artist based in London and Toronto, ON. Her works look into the absurdity of the everyday imagery and negotiates the condition of subjectivity within the digital image culture. Wang holds her BFA from OCAD University and is currently an MFA candidate at Western University.
Website: www.wangzhizi.net/
Artlab Gallery
John Labatt Visual Arts Centre
Department of Visual Arts
Western University
London, ON
© 2019; Department of Visual Arts; Western University
Visit at Nadine. Guided tour led by Diederick Peeters during Open House in Brussels, 17-18 May 2012.
Photo: Samantha Souris
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
Crowdsourcing
Sherry Czekus
August 13 – 27, 2015
Closing Reception: Thursday August 27th > 7-9PM
The Artlab Gallery is pleased to present the MFA thesis exhibition, Crowdsourcing, by painter Sherry Czekus.
Artlab Gallery
Department of Visual Arts
John Labatt Visual Arts Centre
Perth Drive, London, Ontario, Canada
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
© 2015; 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
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
September 29 - October 30, 2016
John Labatt Visual Arts Centre (VAC)
Artlab Gallery
Second Year MFA exhibition, "I Know What You Did Last Summer" with new works of art by Paul Chartrand , Charles Harris, Sarah Munro, Sam Noseworthy Quinn Smallboy, Quintin Teszeri.
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
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
The Artlab Gallery invites you to be part of an art experience with MFA candidates Juanita Lee-Garcia, Paul Chartrand, and guest artist Eugenio Salas AKA #riceandbeans who will cook-up a Taco Feast. This performative dialogue considers commerce exchange, the implications of growth and development, and the social act of networking. Eat a taco, visit with your friends, make new acquaintances.
In conjunction with the Closed System/Sustainable Growth exhibition on view at the Artlab Gallery.
January 14, 2016
4:30 pm - 6:00 pm & 7:00-8:00pm
Artlab Gallery
Department of Visual Arts
John Labatt Visual Arts Centre
Perth Drive, London, Ontario, Canada
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
The Artlab Gallery is pleased to present The Black and White Exhibition. Back for the third consecutive year this collaborative event features artwork from over seventy students from five different schools. This diverse outreach exhibit features curated selections from schools situated within the Thames Valley District School Board including; Bealart, London Central, Oakridge, Sir Fredrick Banting, and W.D. Sutton. Please join us for this special evening when we come together to create new communities that include student artists, their families, and the dedicated Arts Faculty from the Thames Valley District School Board, and Western’s Department of Visual Arts.
June 2-13, 2017
John Labatt Visual Arts Centre (VAC)
Artlab Gallery, London, ON
© 2017; 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
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
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
The ArtLab Gallery is pleased to present Inward Outward, an exhibition of work by graduate students from the Department of Visual Arts at Western University: Claire Bartleman, Tyler Durbano, Sharmistha Kar, Graham Macaulay, Johnathan Onyschuk, Lydia Santia, Kate Carder-Thompson, Matthew Trueman, Zhizi Wang, Michelle Wilson, and Joy Wong.
Guest curated by MA students Regan Benner and Madelaine Tripp
Dates: February 8-15, 2017
© 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
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
Presented by the ArtLab Gallery in partnership with Forest City Gallery's Hear Here Committee: The After-Art-Party introduces a musical happening taking place in the Artlab Gallery itself, following the opening reception of "selsun blue"
Music at 7:00 PM
Admission is Free
ArtLab Gallery
About Nadsat:
London Ontario 4 piece has garnered the attention of Ontario DIY audiences for the past 3 years. Having performed with acts such as Alex G & Nicole Dollanger, Nadsat’s charm lies within their specific take on shoegaze and post rock.
About The Western Contemporary Music Studio:
Western University’s Contemporary Music Studio consists of vocalists and instrumentalists from the Don Wright Faculty of Music performing the adventurous music of our time. The Western Contemporary Music Studio is represented here by members Andrew Noseworthy (electric guitar), Andrea Nolan/Catherine Dupressoir (voice), and Raymond Truong/Dan Luong/Zain Solinsky/Ethan Lacey/Megaria Halim (toy pianos).
Artlab Gallery
John Labatt Visual Arts Centre
Department of Visual Arts
Western University
London, ON
© 2019; 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
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
20:20 Artlab Contemporary Print Studio, UCLan
paper size: 20cm x 20cm
£25
All money raised will go towards our Big Move
www.leicesterprintworkshop.com/ourbigmove/
To purchase
email: info@leicesterprintworkshop.com
Tel : 0116 255 3634
Please quote the title of the print you wish to purchase
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
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
Back for the 15th year in a row, this highly anticipated exhibition features a diverse selection of artworks by Undergraduate students in the Visual Arts Department, Western. This exciting exhibition supports the production of new artwork made in a variety of mediums which include painting, sculpture, digital media, photography, installation and performance. Artworks are selected by a professional jury who consider originality, creativity, process and engagement as some of the criteria for inclusion in this exhibit. Exhibition continues at the Artlab from January 26 to February 16.
John Labatt Visual Arts Centre (VAC)
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
© 2017; Department of Visual Arts; Western University