Explorer I, collage on watercolor paper, 11x14 inches, 2011
JANE YOUNGBLOOD | Amy Ball
Friday, April 5th to Saturday, April 21st, 2012
Opening: Thursday, April 5th at 6 p.m.
Les Territorires
The exhibition Jane Youngblood is a performative body of work created in response to the artist’s personal experience of landscape. Founded in a desire to understand women and how they relate to land and location, Jane Youngblood, the artist’s alter ego, takes form as an amalgam of female explorers who have thrived in the Banff and Kananaskis National Parks throughout this past century. Through Jane, Amy Ball appropriates their journey and their stories that she translates into video, drawings and collage. Drawn from archival documentation, Jane Youngblood is a way for the artist to explore the realm of these women and their relationship to the environment.
Amy Ball completed a BFA in Studio Arts from Concordia University in 2011. She lives and works in Montreal. Her work was presented in Montreal and across Canada. Specifically, she has exhibited at the FOFA Gallery, the artist run center Eastern Bloc and the Banff Centre. She has just completed a 4 month Visual Arts Studio Workstudy at the Banff Centre in March 2012.
John Rafman - The Nine Eyes of Google Street View
Aptly titled after the 9 cameras that document our towns, cities and villages for the purposes of Google Maps; John Rafmans’ work picks out the scenes Google perhaps were not counting on collecting. This source of imagery has proved fruitful for other artists, perhaps notably - Mishka Henner, whose trawling of the site drew together images of prostitutes from around the world.
Rafman’s series also features scenes of oblivious prositutes; however, it also includes many other scenarios of everyday life that provide an unsuspecting insight into what goes on when we believe no one is watching. As a result, we see sights that make us smile, confuse us and astound. The autonomy of the original ‘see-er’ and the unquestioned availability of such images to anyone with acess to the interenet, calls into question the never ending debates regarding privacy and surviellance.
The more light-hearted images help to balance out some of those with more questionable content. We are forced to acknowledge that at the end of the day, these are images of everyday life, and everyday occurances that are going on all around us. Rafmans filtering of the extensive database of imagery allows us to share in the act of voyeur, viewing scenes from around the world through a filter of seeming disbelief at the knowledge of their origins.
To see more from John Rafmans series: http://9-eyes.com/
Coming soon
• World Press Photo | “Ogni limite ha una pazienza” •
«Una fabbrica di stereotipi fotografici che serve solo ad alimentare uno star-system fine a se stesso».
Random movie about snow
do you recognize them?
all white
la solitudine delle cose 2012
Biblioteca Oliveriana, Pesaro
Orecchiette
© All images - Brandt M., 2010
Matthew Brandt continues his experimentation in photography with recent project - ‘Lakes and Reservoirs.’
The premise underwhich this project functions, acts to juxtapose the ‘real’ and what we see. Brandt has carefully controlled and created a unique method of production which has allowed the creation of a series of intriguing and engaging images.
We perhaps first notice the prominence of degredation within the images, which through the striking colours produced creates a certain level of aesthetic enticement. Looking further into the images we see the meticulous approach to composition Brandt has taken with each location. Beautiful lakes and mountain scapes fall in and out of frame in accordance to the classic rule of thirds, and other such ‘classic’ composition techniques.Nevertheless in the treatment of the C-Print afterwards, these images are quickly transported away from the typical glossy-calendar-scene image.
To create these effects, the photographer collected water from each lake or reservoir he photographed. Which was then used to soak the print for a given period of time - the effects of which we can see in the images above. It is the specific process that enhances a visual interaction between notions of representation and the real, the location itself and what we are shown.
‘They are circumstances of a Lakes’ image that meets its real substance.’ M. Brandt
