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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
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
February 10 - March 3, 2022
Artlab and Cohen Commons Gallery
VASA People's Choice Award: VOTING Thursday, February 10 - Wednesday, February 16
Come by the Artlab Gallery to vote for your favorite work! Ask one of the gallery attendants at the front reception desk for instructions any time during gallery hours: M-F 12-5PM.
Virtual Awards Ceremony: Thursday, February 17 at 6PM
Register for the webinar:
westernuniversity.zoom.us/webinar/register/WN_FBMUfRFXTXC...
Celebrating its 20th year, the Annual Juried Exhibition continues to be one of the Department of Visual Arts most highly anticipated undergraduate exhibitions. This diverse show supports the production of new work made in a variety of mediums including painting, sculpture, print, video, and photography. Exhibited works were selected by a professional jury who consider creativity, concept, materiality and technique. This year’s show is indicative of the resilience and dedication our students continue to demonstrate.
Artists: Rain Bloodworth, Michaela Purcell, Hilary Rutherford, Julia Fawcett, Cosette Gelinas, Timothy Wiebe, Jacqueline Lebiadowski, Saskia Orr, Darcy Howe, Abbygale Shelley, Man Nga Ting, Megan Goddard, Hannah Verster, Delaney Philip, Jacqueline Lian, Maggie Charbonneau, Bridget Koza, Isabella Bruni, Rowan McCready, Aidan Takeda-Curran, Xiaoyi Cao, Shane Ackerley, Shelby Sammut, Sebastian Evans, Meg Smith, Yuqing Chen and He Huang
Jury Members: Anna Madelska (Faculty), Teresa Carlesimo (FCG Director), Marla Botterill (Fanshawe Faculty), Dickson Bou (Artlab Gallery Preparator) Liza Eurich (Artlab Gallery Manager)
Artlab and Cohen Commons 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
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
This travelling exhibtion is a joint venture between History SA and the South Australian Division of the Red Cross. It is on display at the State Library from ANZAC Day until late May.
Vernissage: 26. September 2014, 20 Uhr
Laufzeit: 27. September – 30. November 2014
Öffnungszeiten: Fr-So, 14-18 Uhr (und nach Vereinbarung), 31.10. bis 21 Uhr geöffnet.
Sonntag, 28. September, 15 Uhr - Künstleringespräch
Sonntag, 30. November, 15 Uhr - Workshop mit Anna Dumitriu
Die dritte Ausstellung der Reihe [macro]biologies & [micro]biologies wird in Form einer Soloausstellung die britische Künstlerin Anna Dumitriu vorstellen, die sich in ihren Arbeiten im Bereich Kunst und Naturwissenschaft sowohl historischen Narrativen und avantgardistischen biomedizinischen Forschungsfragen widmet als auch mit großem Interesse ethische Aspekte thematisiert.
Dumitriu ist sehr bekannt geworden durch ihre Arbeiten The VRSA Dress und The MRSA Quilt , die beide aus dem sogenannten 'Superbazillus' gemacht wurden. Für diese Arbeiten hat Dumitriu Bakterien auf Textilien wachsen lassen und benutzte dann natürliche und klinische Antibiotika, um mit diesen Muster entstehen zu lassen (vor der Ausstellung selbstverständlich sterilisiert).
„Normal Flora“ ist eine Untersuchung allgegenwärtiger Bakterien, Schimmel und Pilze, die einen wesentlichen Teil unseres komplexen Ökosystems um uns herum ausmachen – unserer Körper, unserer Heimstätten sowie unseres Planeten. Bed and Chair Flora umfasst einen bearbeiteten Stuhl, in welchen Abbildungen von Bakterien geschnitzt wurden, die sich ursprünglich bei ihm angesiedelt haben. Die gemeinschaftlich entstandene Häkelarbeit geht auf elektronenmikroskopische Bilder jener Bakterien zurück, die im Bett der Künstlerin gefunden wurden.
Bakterien tragen aufwendige Kommunikationsfähigkeiten in sich, die heutzutage als eine Form sozialer Intelligenz untersucht werden. Dies wird in der Arbeit The Communicating Bacteria Dress erforscht. Dumitriu verbindet in diesem Zusammenhang die Bereiche Bio Art, historische textile Techniken, wie zum Bespiel die sogen. Weißstickerei, und 3D Video Mapping. Dabei haben sich die verwendeten Stoffe verfärbt, indem pigmentierte Bakterien ihre Farbe änderten, sobald sie Kommunikationssignale ausgesendet oder empfangen haben.
Die Ausstellung wird auch Arbeiten ihrer Serie Romantic Disease zeigen, welche die Geschichte der Krankheit Tuberkulose (TB) aus künstlerischer, sozialer sowie wissenschaftlicher Perspektive untersucht. Dabei werden literarische Bezüge zu TB und Aspekte des Aberglaubens hinsichtlich der Krankheit beleuchtet, aber auch die Entwicklung der Antibiotika und jüngste Forschungsergebnisse über die Erbgut-Entschlüsselung von Mykobakterien zur Debatte gestellt. Dumitriu hat mit ForscherInnen des “Modernising Medical Microbiology Project“ zusammen gearbeitet, um neue Arbeiten in Verbindung mit dieser medizinisch sowie kulturell signifikanten Krankheit entstehen zu lassen.
Anna Dumitriu ist derzeit Artist in Residence im Kontext des Projekts „Modernising Medical Microbiology Project“ an der University of Oxford und Visiting Research Fellow: Artist in Residence an der University of Hertfordshire.
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
Tom hacke une voiture télécommandée @ Artlab
il contrôle marche avant/arrière, virage droite gauche. ajoute des phares lumineux, des enceintes, la customise...
raspberry pi
+ raspberry pi camera board
+ commande via wifi internet
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
No Thanks, Just the Cheque - Practicum Exhibition
March 29 - April 8, 2021
“Did you save any room for dessert over here?”
We’re confronted by the question that imposes the end of our four-year feast. A question that acknowledges the end of four years of development, four years of discovery, four years of community. We’ve come this far knowing with certainty that we would end up here, confronted with this decision. It’s now that we know with absolute certainty, that we can answer this question confidently.
“No Thanks, Just the Cheque.”
This year’s Practicum Class exhibition, No Thanks, Just the Cheque, accumulates recent works of 21 artists created during the 2020/2021 term. This exhibition also serves as the cumulation of the work that these artists have put into developing their individual practices over the course of their experiences in the Bachelor of Fine Art’s program. No Thanks, Just the Cheque signifies the end of a journey taken into the BFA program.
Tia Bates, Laura Butler, Natalie Chevalier, Peter Dickson, Rachel Elias, Sam Erdelyi, Skye Gibson, Hualei Gu, Aisha Hassen, Kaitlyn Hwang, Jimin Lee, Mackenzie Smith, Ashley Staines, Lili Thornton-Nickerson, Helia Trinh, Felicia Vosberg, Sam Wagter, Jade Williamson, Janelle Wilson, Courtney Wong, Joy Zheng
View a digital version of the exhibition's complementary catalogue, No Thanks, Just the Cheque.
Due to COVID-19 safety measures, the Artlab Gallery and Cohen Commons will be operating virtually. In-person visits are not permitted at this time. We will be posting exhibition documentation, videos, and virtual walk-throughs on the Artlab's website.
Artlab Gallery & Cohen Commons
JL Visual Arts Centre
Western University
London, Ontario, Canada
© 2021; Department of Visual Arts; Western University
Annual Juried Exhibition: March 2 – 16, 2023
Opening: Thursday, March 2 from 6–8PM
People’s Choice voting: 6:00-6:45pm
AJE Award Announcements: 7:00pm
Celebrating twenty-one years the "Annual Juried Exhibition" continues to be one of the Department of Visual Arts most highly anticipated undergraduate exhibitions. This diverse show supports the production of new work made in a variety of mediums including painting, sculpture, print, video, and photography. Exhibited works were selected by a professional jury who consider creativity, concept, materiality and technique. This year’s show is indicative of the resilience and dedication our students continue to demonstrate.
Featuring work by: Tammy Abela, Bridget Beardwood, Laila Bloomstone, John Cocker, Giulia Commisso, Stefania Dragalin, Kate Dunn, Sebastian Evans, Cheyne Ferguson, Megan Goddard, Morea Haloftis, Katelyn Halter, Emma Hardy, Emily Kings, Bridget Koza, Victoria Kyriakides, Myles Lynch, Darcy McVicar, Grace Maier, Amy Murray, Venus Nwaokoro, Dhra Patel, Olivia Pattison, Bridget Puhacz, Michaela Purcell, Hilary Rutherford, Chloe Serenko, Abbygale Shelley, Marissa Slack, Maggie Shook, Madison Teeter, Timothy Wiebe, Sophie Zhang
Jury Members: Anna Madelska (Faculty), Jessica Karuhanga (Faculty), Dickson Bou (Artlab Gallery Preparator) Liza Eurich (Artlab Gallery Manager), by proxy Teresa Carlesimo (FCG Director)
artLAB Gallery
JL Visual Arts Centre
Western University
London, Ontario, Canada
© 2023; Department of Visual Arts; Western University
Annual Juried Exhibition: March 2 – 16, 2023
Opening: Thursday, March 2 from 6–8PM
People’s Choice voting: 6:00-6:45pm
AJE Award Announcements: 7:00pm
Celebrating twenty-one years the "Annual Juried Exhibition" continues to be one of the Department of Visual Arts most highly anticipated undergraduate exhibitions. This diverse show supports the production of new work made in a variety of mediums including painting, sculpture, print, video, and photography. Exhibited works were selected by a professional jury who consider creativity, concept, materiality and technique. This year’s show is indicative of the resilience and dedication our students continue to demonstrate.
Featuring work by: Tammy Abela, Bridget Beardwood, Laila Bloomstone, John Cocker, Giulia Commisso, Stefania Dragalin, Kate Dunn, Sebastian Evans, Cheyne Ferguson, Megan Goddard, Morea Haloftis, Katelyn Halter, Emma Hardy, Emily Kings, Bridget Koza, Victoria Kyriakides, Myles Lynch, Darcy McVicar, Grace Maier, Amy Murray, Venus Nwaokoro, Dhra Patel, Olivia Pattison, Bridget Puhacz, Michaela Purcell, Hilary Rutherford, Chloe Serenko, Abbygale Shelley, Marissa Slack, Maggie Shook, Madison Teeter, Timothy Wiebe, Sophie Zhang
Jury Members: Anna Madelska (Faculty), Jessica Karuhanga (Faculty), Dickson Bou (Artlab Gallery Preparator) Liza Eurich (Artlab Gallery Manager), by proxy Teresa Carlesimo (FCG Director)
artLAB Gallery
JL Visual Arts Centre
Western University
London, Ontario, Canada
© 2023; Department of Visual Arts; Western University
No Thanks, Just the Cheque - Practicum Exhibition
March 29 - April 8, 2021
“Did you save any room for dessert over here?”
We’re confronted by the question that imposes the end of our four-year feast. A question that acknowledges the end of four years of development, four years of discovery, four years of community. We’ve come this far knowing with certainty that we would end up here, confronted with this decision. It’s now that we know with absolute certainty, that we can answer this question confidently.
“No Thanks, Just the Cheque.”
This year’s Practicum Class exhibition, No Thanks, Just the Cheque, accumulates recent works of 21 artists created during the 2020/2021 term. This exhibition also serves as the cumulation of the work that these artists have put into developing their individual practices over the course of their experiences in the Bachelor of Fine Art’s program. No Thanks, Just the Cheque signifies the end of a journey taken into the BFA program.
Tia Bates, Laura Butler, Natalie Chevalier, Peter Dickson, Rachel Elias, Sam Erdelyi, Skye Gibson, Hualei Gu, Aisha Hassen, Kaitlyn Hwang, Jimin Lee, Mackenzie Smith, Ashley Staines, Lili Thornton-Nickerson, Helia Trinh, Felicia Vosberg, Sam Wagter, Jade Williamson, Janelle Wilson, Courtney Wong, Joy Zheng
View a digital version of the exhibition's complementary catalogue, No Thanks, Just the Cheque.
Due to COVID-19 safety measures, the Artlab Gallery and Cohen Commons will be operating virtually. In-person visits are not permitted at this time. We will be posting exhibition documentation, videos, and virtual walk-throughs on the Artlab's website.
Artlab Gallery & Cohen Commons
JL Visual Arts Centre
Western University
London, Ontario, Canada
© 2021; Department of Visual Arts; Western University
April 17th – 28th, 2017
The Artlab Gallery is pleased to present the MFA thesis exhibition, Gardening at Arm's Length by Paul Chartrand.
Chartrand’s solo exhibit includes a variety of work based on his research into hydroponic growing systems, and the mediated relationship humans have with the environment. His assemblage based sculptures represent a hybrid amalgam of repurposed objects, embedded hydroponic systems, and the plants they support. His projects are akin to models of systems that exist outside the confines of the gallery. Included in the exhibit are drawings based on Chartrand’s direct research into industrial hydroponic operations in the Leamington Ontario area, and abandoned greenhouses found in Haldimand County.
Collectively, these projects represent the artist’s interest in questioning the nature/culture divide in both critical and unavoidably absurd ways. Whether addressing popular Canadian consumption of “wilderness” in outdoor recreation or the waste stream generated by coffee production, Chartrand initiates meaningful conversations with his practice.
Through this exhibition, Chartrand aims to undermine false dichotomies in a playful but critical manner in order to establish a more nuanced respect for the interconnectedness of ecology.
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
April 17th – 28th, 2017
The Artlab Gallery is pleased to present the MFA thesis exhibition, Gardening at Arm's Length by Paul Chartrand.
Chartrand’s solo exhibit includes a variety of work based on his research into hydroponic growing systems, and the mediated relationship humans have with the environment. His assemblage based sculptures represent a hybrid amalgam of repurposed objects, embedded hydroponic systems, and the plants they support. His projects are akin to models of systems that exist outside the confines of the gallery. Included in the exhibit are drawings based on Chartrand’s direct research into industrial hydroponic operations in the Leamington Ontario area, and abandoned greenhouses found in Haldimand County.
Collectively, these projects represent the artist’s interest in questioning the nature/culture divide in both critical and unavoidably absurd ways. Whether addressing popular Canadian consumption of “wilderness” in outdoor recreation or the waste stream generated by coffee production, Chartrand initiates meaningful conversations with his practice.
Through this exhibition, Chartrand aims to undermine false dichotomies in a playful but critical manner in order to establish a more nuanced respect for the interconnectedness of ecology.
John Labatt Visual Arts Centre (VAC)
Artlab Gallery
© 2017; 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
The Artlab Gallery Presents…
The 50th Anniversary Exhibition
PAST FORWARD
September 5 – 29th, 2017
Gala Reception: Saturday, September 16th > 7-9pm
Remarks: 7:30pm
This fall the Department of Visual Arts, Western University celebrates its 50th anniversary. In conjunction with this momentous event the Artlab Gallery is pleased to present Past Forward, an alumni exhibition that includes over 300 images and texts submitted by former students from our studio and art history programs.
Artlab Gallery
John Labatt Visual Arts Centre
Western University
London, ON, N6A 5B7
© 2017; Department of Visual Arts; Western University
Tom hacke une voiture télécommandée @ Artlab
il contrôle marche avant/arrière, virage droite gauche. ajoute des phares lumineux, des enceintes, la customise...
raspberry pi
+ raspberry pi camera board
+ commande via wifi internet
Sometimes in the night, the fox slips by
January 7-21, 2022
Artlab Gallery
Anahí González, Philip Gurrey, Dong-Kyoon Nam, Sasha Opeiko
Studio PhD candidates from the Department of Visual Arts present Sometimes in the night, the fox slips by, a group exhibition of recent work by Anahí González, Philip Gurrey, Dong-Kyoon Nam and Sasha Opeiko. The show gathers a broad spectrum of investigations sharing a common interest in the relationship between poetic and theoretical potential in making. Some orient themselves toward the political, looking at labour issues both in Canada and abroad. Others probe the language of modernism with strategies centered on improvisation and decay. Others still, use a posthumanist perspective to deconstruct notions of the readymade or to renegotiate representations of melancholy. In concert they are the fox of John Burnside’s poem, deftly weaving a path through fence and thicket.
Anahí González
Bueno, Bonito y Barato, is deeply involved in exploring the Mexican cues portrayed in visual culture, evoking quiet tensions of nationalism and labour representation. By bringing this approach of Mexican labour visual representation on a mobile wood billboard together and allowing them to interact within the gallery, the work engages with concepts of temporality, mobility, the USMCA and institutionalism.
Dong-Kyoon Nam
Praxis of New Assemblage
My work focuses on reconstructing ordinary objects encountered in daily life into ‘animate things’: things understood as dynamic, temporal, yet precarious assemblages animated in a relational field that encompasses humans/nonhumans and organic/inorganic matter.
The method of assemblage I use is not based on the sculptural representation of an assumed and pre-existing whole, rather it refers to a process wherein a visualization of the potential movement of things, and the relationships between their parts, rhythms, affects, and intensities are privileged.
My studio process is semi-impromptu, a horizontal attunement with things, entangled in chance and necessity. My bodily sensibility starts from meticulous attention to fleeting, small occurrences that would otherwise remain unacknowledged.
re | cycling
On a mechanical level, these works reclaim parts of digital home appliances that usually remain invisible, and in so doing, momentarily stabilize the rapid cycle of production, consumption, and disposal. Installed on the wall by adhering them at right angles on a canvas panel, each singular assemblage stands alone and simultaneously exists in relation, signaling both continuity and discontinuity in turn. The works are abstract, like drawings of fluid lines and fragmented outlines, yet still concrete and sensorial. They take the form of artificial assemblages made of e-waste that paradoxically imply ecological precarity and complexity. On a mechanical level, these works reclaim parts of digital home appliances that usually remain invisible, and in so doing, momentarily stabilize the rapid cycle of production, consumption, and disposal. Installed on the wall by adhering them at right angles on a canvas panel, each singular assemblage stands alone and simultaneously exists in relation, signaling both continuity and discontinuity in turn. The works are abstract, like drawings of fluid lines and fragmented outlines, yet still concrete and sensorial. They take the form of artificial assemblages made of e-waste that paradoxically imply ecological precarity and complexity.
Sasha Opeiko
In Something like Fan Object Objects the banal object of study is a used domestic desk fan with a missing safety grill. It was found as a discarded, unwanted item sold in a thrift store. Damaged and disentangled from its previous function, the object is melancholically symptomatic and its image is mediated into multiple manifestations of loss and disintegration. The fan was visualized through faulty 3D scanning, rendered into a rotating 360° animation, and exported as 1400 individual frames, which were fed into a machine learning algorithm that produces new images based on the data it received. The fan itself is rendered useless, its melancholic image diffracted into 10,000 iterations of manufactured glitch. They are presented in video not so much as an animation, but a kind of factual flickering of machine-produced visual data. The nonhuman gaze of image data processing unravels a gapped 3-D representation into a myriad of fractured views, flatly glitching in a dark melancholic refusal to be coherent.
#melancholy began with a collection of screenshots of Instagram posts that were coming up under #melancholy. The screenshots are samples of the prevalence of sublime, mostly Nordic landscapes that the general population locates as representative of melancholy, branding it into named images for dissemination. Working with 460 screenshots, an AI algorithm on Runway ML was used to produce new images based on what it learned from the collection of screenshots. The AI model generates "#melancholy" Instagram landscape images and has the capacity to produce a video of these generated images morphing into one another. The images are disintegrated but new reintegrated versions of what a nonhuman gaze recognizes to be a #melancholy landscape image.
In Forged Afterimage Compression six rotating 3D scans are presented as a result of a remediation process that started with 3D scans of provisiona, transitory physical constructions of found objects and images. This first set of 3D scans, already full of gaps and distorted by the nature of the scanning app Trnio, was made into rotating animations that were then 3D scanned again off of a laptop screen. The outcome is a kind of forged afterimage, compressed into a digital skin or something like a distorted geological compound, resulting from the app’s inability to fully comprehend a 3D representation on a flat screen. These are remnants forged from remnants.
Artlab Gallery
JL Visual Arts Centre
Western University
London, Ontario, Canada
© 2022; Department of Visual Arts; Western University
No Thanks, Just the Cheque - Practicum Exhibition
March 29 - April 8, 2021
“Did you save any room for dessert over here?”
We’re confronted by the question that imposes the end of our four-year feast. A question that acknowledges the end of four years of development, four years of discovery, four years of community. We’ve come this far knowing with certainty that we would end up here, confronted with this decision. It’s now that we know with absolute certainty, that we can answer this question confidently.
“No Thanks, Just the Cheque.”
This year’s Practicum Class exhibition, No Thanks, Just the Cheque, accumulates recent works of 21 artists created during the 2020/2021 term. This exhibition also serves as the cumulation of the work that these artists have put into developing their individual practices over the course of their experiences in the Bachelor of Fine Art’s program. No Thanks, Just the Cheque signifies the end of a journey taken into the BFA program.
Tia Bates, Laura Butler, Natalie Chevalier, Peter Dickson, Rachel Elias, Sam Erdelyi, Skye Gibson, Hualei Gu, Aisha Hassen, Kaitlyn Hwang, Jimin Lee, Mackenzie Smith, Ashley Staines, Lili Thornton-Nickerson, Helia Trinh, Felicia Vosberg, Sam Wagter, Jade Williamson, Janelle Wilson, Courtney Wong, Joy Zheng
View a digital version of the exhibition's complementary catalogue, No Thanks, Just the Cheque.
Due to COVID-19 safety measures, the Artlab Gallery and Cohen Commons will be operating virtually. In-person visits are not permitted at this time. We will be posting exhibition documentation, videos, and virtual walk-throughs on the Artlab's website.
Artlab Gallery & Cohen Commons
JL Visual Arts Centre
Western University
London, Ontario, Canada
© 2021; Department of Visual Arts; Western University
Articolo su alcuni particolari caratteri tipografici italiani come NEON, FREGIO MECANO e EUROSTILE. I materiali fotografati fanno parte del materiale nella collezione di Anonima Impressori.
April 17th – 28th, 2017
The Artlab Gallery is pleased to present the MFA thesis exhibition, Gardening at Arm's Length by Paul Chartrand.
Chartrand’s solo exhibit includes a variety of work based on his research into hydroponic growing systems, and the mediated relationship humans have with the environment. His assemblage based sculptures represent a hybrid amalgam of repurposed objects, embedded hydroponic systems, and the plants they support. His projects are akin to models of systems that exist outside the confines of the gallery. Included in the exhibit are drawings based on Chartrand’s direct research into industrial hydroponic operations in the Leamington Ontario area, and abandoned greenhouses found in Haldimand County.
Collectively, these projects represent the artist’s interest in questioning the nature/culture divide in both critical and unavoidably absurd ways. Whether addressing popular Canadian consumption of “wilderness” in outdoor recreation or the waste stream generated by coffee production, Chartrand initiates meaningful conversations with his practice.
Through this exhibition, Chartrand aims to undermine false dichotomies in a playful but critical manner in order to establish a more nuanced respect for the interconnectedness of ecology.
John Labatt Visual Arts Centre (VAC)
Artlab Gallery
© 2017; 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
Tom hacke une voiture télécommandée @ Artlab
il contrôle marche avant/arrière, virage droite gauche. ajoute des phares lumineux, des enceintes, la customise...
raspberry pi
+ raspberry pi camera board
+ commande via wifi internet
Artlab conservator Anne Dineen shows the workshop participants a thermo-hygrograph (in hand), a chart recorder that measures and records both temperature and humidity. Also a dehumidifier (on floor).
Annual Juried Exhibition: March 2 – 16, 2023
Opening: Thursday, March 2 from 6–8PM
People’s Choice voting: 6:00-6:45pm
AJE Award Announcements: 7:00pm
Celebrating twenty-one years the "Annual Juried Exhibition" continues to be one of the Department of Visual Arts most highly anticipated undergraduate exhibitions. This diverse show supports the production of new work made in a variety of mediums including painting, sculpture, print, video, and photography. Exhibited works were selected by a professional jury who consider creativity, concept, materiality and technique. This year’s show is indicative of the resilience and dedication our students continue to demonstrate.
Featuring work by: Tammy Abela, Bridget Beardwood, Laila Bloomstone, John Cocker, Giulia Commisso, Stefania Dragalin, Kate Dunn, Sebastian Evans, Cheyne Ferguson, Megan Goddard, Morea Haloftis, Katelyn Halter, Emma Hardy, Emily Kings, Bridget Koza, Victoria Kyriakides, Myles Lynch, Darcy McVicar, Grace Maier, Amy Murray, Venus Nwaokoro, Dhra Patel, Olivia Pattison, Bridget Puhacz, Michaela Purcell, Hilary Rutherford, Chloe Serenko, Abbygale Shelley, Marissa Slack, Maggie Shook, Madison Teeter, Timothy Wiebe, Sophie Zhang
Jury Members: Anna Madelska (Faculty), Jessica Karuhanga (Faculty), Dickson Bou (Artlab Gallery Preparator) Liza Eurich (Artlab Gallery Manager), by proxy Teresa Carlesimo (FCG Director)
artLAB Gallery
JL Visual Arts Centre
Western University
London, Ontario, Canada
© 2023; Department of Visual Arts; Western University
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
Exhibition: April 15 -21, 2023
Reception: Thursday, April 20 from 5-7PM
Buchwaldt writes: In February of 1949 workers from the Quebec Asbestos industry went on strike for higher pay and safer working conditions. The event, which lasted nearly 5 months, pitting the provincial government and Johns-Manville Company mining company against over 5000 unionized workers, is considered a precursor to the Quiet Revolution and a vital moment in Canadian labour history. Soft Cinema Asbestos takes on the task of translating the event and its impact for a present day audience. One that reflects notions of digital content creation and consumption, disorienting precarity and a decline in traditional workplace organizing.
In the early 2000’s media theorist and artist Lev Manovich developed an algorithmic approach to video editing that used code to piece together moving image collage. He termed the operation Soft Cinema. Collected clips were put into a database from which a program would randomly select, compositing them into open-ended multi-shot sequences over a gridded layout. The method set up a symbiotic relationship between the author-as-cinematographer and the computer-as-editor.
Soft Cinema Asbestos takes Manovich’s technique and adds to it historical consciousness and the digital archive. Excerpts from news reel footage, documentary films, biomedical simulations and a video game reenactment created by the artist have been tagged with keywords based on their content. A sorting algorithm uses these keywords to assemble clips with shared context. The work is set up in a two channel synchronized format, where one screen visualizes the program’s logic and the other its final output. It is an anachronistic experience of history that privileges pattern and chance over the fixed linear sequence.
artLAB Gallery
JL Visual Arts Centre
Western University
London, Ontario, Canada
© 2023; Department of Visual Arts; Western University
No Thanks, Just the Cheque - Practicum Exhibition
March 29 - April 8, 2021
“Did you save any room for dessert over here?”
We’re confronted by the question that imposes the end of our four-year feast. A question that acknowledges the end of four years of development, four years of discovery, four years of community. We’ve come this far knowing with certainty that we would end up here, confronted with this decision. It’s now that we know with absolute certainty, that we can answer this question confidently.
“No Thanks, Just the Cheque.”
This year’s Practicum Class exhibition, No Thanks, Just the Cheque, accumulates recent works of 21 artists created during the 2020/2021 term. This exhibition also serves as the cumulation of the work that these artists have put into developing their individual practices over the course of their experiences in the Bachelor of Fine Art’s program. No Thanks, Just the Cheque signifies the end of a journey taken into the BFA program.
Tia Bates, Laura Butler, Natalie Chevalier, Peter Dickson, Rachel Elias, Sam Erdelyi, Skye Gibson, Hualei Gu, Aisha Hassen, Kaitlyn Hwang, Jimin Lee, Mackenzie Smith, Ashley Staines, Lili Thornton-Nickerson, Helia Trinh, Felicia Vosberg, Sam Wagter, Jade Williamson, Janelle Wilson, Courtney Wong, Joy Zheng
View a digital version of the exhibition's complementary catalogue, No Thanks, Just the Cheque.
Due to COVID-19 safety measures, the Artlab Gallery and Cohen Commons will be operating virtually. In-person visits are not permitted at this time. We will be posting exhibition documentation, videos, and virtual walk-throughs on the Artlab's website.
Artlab Gallery & Cohen Commons
JL Visual Arts Centre
Western University
London, Ontario, Canada
© 2021; Department of Visual Arts; Western University
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