hey!currently in the middle of catalogue essay
but attached is basic information
about the show's concept and the artitsts involved.
some notes:
i am curator/artist
in residence here at the PIP gallery.
some notes:
i am curator/artist
in residence here at the PIP gallery.
just finished curatorial internship for slide room gallery in victoria, bc.
most of the works arrived in the mail
and were sent with very specificinstructions
(do-it-yourself)
on how to install them, inevitably, narrative links
between the workswere made both visually
and contextually.the catalogue will be available next thursday
and will include a bonus feature of all the instructions!,
very funny..
thanks for your interest and support Richard!
Marlene Bouchard
Fusible link
PIP Gallery
625 NW Everett #110, Portland
Hrs. Daily
October 2nd-19th, 2008
Curator Contact:
marlene @ dactylograph@gmail.com or pipgallery@gmail.com
This exhibition extends the dynamic works of independent established and
emerging artists from one pole in the Pacific North West to another:
Victoria, B.C. To Portland, OR.
Each piece becomes part of a wealthy, circuitous installation.
Featured artists include:
Wendy Welch
Rhonda Usipiuk
Caleb Speller
Gedidiah McCaughey
John Luna
Tyler Hodgins
Megan Dickie
Marlaina Buch
Marlene Bouchard
WENDY WELCH
ENVELOPE CLOUD
Wendy Welch
“This work is the result of the accumulation of envelopes that come to my office desk.
They serve as a documentation and record of the daily correspondence I receive as an
administrator of an art school. I mark on these surfaces with
random scribbles to create a shift from the quotidian to the
poetic. Spontaneity and deliberation are juxtaposed. Random
circular scribbles are drawn and then lines are retraced to
create very specific line formations.
The specificity of the mark making is further amplified by the cutting out of the negative
spaces between the lines.
These reinvented envelope surfaces are layered and overlapped to create a dense surface of drawn circuitous tangles where the beginnings and ends are
indistinguishable. When these cut scribbles are attached to
each other, a cloud-like form takes shape.”
“This drawing installation work is part of a larger body of work
called Abundance/Excess: Circuitous Routes. The work as a
whole addresses issues and ideas surrounding excess and
abundance and questions where one ends and the other
begins. “
RHONDA USIPIUK
THE ONE HUNDREDTH TEAR
Fascinated by WW1, Rhonda is interested in natural
phenomena and process. “Residue that which remains, that is
what my drawing concerns.”
CALEB SPELLER
shape and colour narrative
Caleb practices art at night and during the day; he
creates texts, paintings, ceramics, drawings and more! With a
natural affinity for exploration, he negotiates his environment
and responds with his art practice. Caleb
describes himself as a raccoon; his creative
process as “cruising around and picking up things.”
GEDIDIAH MCCAUGHEY
PHOTO GRAPHS
“My interest lies in understanding the photographic image as an object. I work on recreations of still and moving pictures and in this way change them with a personal play of chance and control. While I do certainly admire the photographic process, this work lends itself to a wide array of representation with emphasis on the drawn and sculptural limits an image
can take."
JOHN LUNA
AUTOMATIC ORGANIC COLLABORATIVE DRAWINGS
“Recently I find myself contributing to the paintings’
supports in ways that mimic the repetitive gestures of
painting: lining the reverse side of the canvas with
collected scraps of paper.
I have long been drawn to the studio environment for its sensation of magnetic
absence - the open-ended invitation to influence an accident - and the connection this reveals between paintings and their constituent materials.
This experience is something I would like to make available to viewers, as the kind of formless inertia that gathers around the margins of the painting or projects itself in the interference of sheen and dust.
Above all, I would like to create a kind of solidarity with the viewer’s attention as itself wayward, fragile and improvised.”
They serve as a documentation and record of the daily correspondence I receive as an
administrator of an art school. I mark on these surfaces with
random scribbles to create a shift from the quotidian to the
poetic. Spontaneity and deliberation are juxtaposed. Random
circular scribbles are drawn and then lines are retraced to
create very specific line formations.
The specificity of the mark making is further amplified by the cutting out of the negative
spaces between the lines.
These reinvented envelope surfaces are layered and overlapped to create a dense surface of drawn circuitous tangles where the beginnings and ends are
indistinguishable. When these cut scribbles are attached to
each other, a cloud-like form takes shape.”
“This drawing installation work is part of a larger body of work
called Abundance/Excess: Circuitous Routes. The work as a
whole addresses issues and ideas surrounding excess and
abundance and questions where one ends and the other
begins. “
RHONDA USIPIUK
THE ONE HUNDREDTH TEAR
Fascinated by WW1, Rhonda is interested in natural
phenomena and process. “Residue that which remains, that is
what my drawing concerns.”
CALEB SPELLER
shape and colour narrative
Caleb practices art at night and during the day; he
creates texts, paintings, ceramics, drawings and more! With a
natural affinity for exploration, he negotiates his environment
and responds with his art practice. Caleb
describes himself as a raccoon; his creative
process as “cruising around and picking up things.”
GEDIDIAH MCCAUGHEY
PHOTO GRAPHS
“My interest lies in understanding the photographic image as an object. I work on recreations of still and moving pictures and in this way change them with a personal play of chance and control. While I do certainly admire the photographic process, this work lends itself to a wide array of representation with emphasis on the drawn and sculptural limits an image
can take."
JOHN LUNA
AUTOMATIC ORGANIC COLLABORATIVE DRAWINGS
“Recently I find myself contributing to the paintings’
supports in ways that mimic the repetitive gestures of
painting: lining the reverse side of the canvas with
collected scraps of paper.
I have long been drawn to the studio environment for its sensation of magnetic
absence - the open-ended invitation to influence an accident - and the connection this reveals between paintings and their constituent materials.
This experience is something I would like to make available to viewers, as the kind of formless inertia that gathers around the margins of the painting or projects itself in the interference of sheen and dust.
Above all, I would like to create a kind of solidarity with the viewer’s attention as itself wayward, fragile and improvised.”
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