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DTSTART;VALUE=DATE:20140226
DTEND;VALUE=DATE:20140406
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SUMMARY:World Machine
DESCRIPTION:About the Exhibition\nExhibition essay by Skylar Borgstrom  \nHalifax-based artist Mark Bovey uses printmaking techniques from past and present to explore his personal fascination with the ways humans connect\, learn and question place. Bovey presents the collapse of space and time\, known and unknown\, through the multiple layers and varied processes used to create his work.  \nBovey is an artist and Associate Professor at the Nova  Scotia College of Art and Design University who has exhibited both nationally and internationally. His work includes traditional printmaking techniques (intaglio\, lithography\, screen printing and woodcut) and more recent modes of artistic production including inkjet prints and digital video projection. With one foot in printmaking’s oldest and most fundamental technologies\, and the other residing firmly in the present\, Bovey’s work creates a bridge between that which we think we know and that which we seek to understand.  \nPreviously\, Bovey has used a combination of traditional and new media techniques to create installation works like those in Ledge_Suite (2011). Exhibited in “Last Frontier”\, which was curated by Sarah Filmore at the Art Gallery of Nova Scotia\, Ledge_Suite challenges our concepts as virtual as opposed to lived experience through a backlit video projection of century-old documents\, including a ledger from 1895 in works like Plume. For the past five years Mark Bovey has explored the nature of printmaking as a surrogate for the virtual experience and his current body of work is a continuation of his interest in the function of printed media in communication and technologies’ ever expanding nature.  \nFirst impressions of Bovey’s newest 20” x 30” faux slate works in World Machine reveal the use of “trompe-l’œil”\, an optical illusion or trick of the eye\, designed to give the viewer a sense that they are examining an age-old teaching tool and traditional repository or knowledge\, the chalkboard.  \nAs Bovey’s work\, created through multiple technologies and media\, writes\, re-writes and scrapes away the surface\, literally and figuratively\, so too does the traditional chalkboard. If a chalkboard is  a locale of learning and information transfer\, Bovey reveals it also as one of erasure\, repositioning and revised histories.  \nBovey’s critical understanding of printmaking’s varied process allows him to treat “every work as a journey” in which the exploration of a multitude of artistic media creates a forum for open dialogue between artist and viewer. Bovey’s hope is that the works elicits questions about the “evolution of knowledge through technology\,” as viewers are encouraged to evaluate their own relationship to art\, science\, knowledge and technological innovation. By contrasting the concept of “real” and the projection of “real” Bovey affords viewers the opportunity to question history and truth for themselves.  \nIf we agree that what we have been taught as factual history is in a reality a manufactured construct frequently gilded as truth\, and that technology is thought to have a homogenizing effect on culture\, Bovey’s World Machine exhibition attempts to usurp the effects of both “fact” and technology by combining them.  \nAbout the Artist\nMark Bovey is an artist and Associate Professor in the Printmak­ing Area at the Nova Scotia College of Art and Design in Hali­fax Nova Scotia Canada (2004-present). He received his MVA in Printmaking from the University of Alberta in 1992 and his BFA from Queen’s University in Kingston Ontario in 1989. Bovey’s work has represented Canada internationally in juried biennial and triennial exhibitions in 17 nations worldwide. He has exhibited in solo and group exhibitions across Canada including 15 curatorial projects. Bovey’s practice ranges from traditional printmaking (combinations of Intaglio\, Lithography\, screen printing and woodcut) to print installation works incorporating inkjet and digital video projection that reference and incorporate the history of printed forms. His work is in numerous collections\, most recently\, the Cana­dian Foreign Affairs Visual Art Collection\, The Art Gallery of Nova Scotia\, Halifax Canada\, Tama Arts University Tokyo\, and the Danforth Museum\, Boston Massachusetts USA.
URL:https://albertaprintmakers.com/event/world-machine/
LOCATION:Alberta
CATEGORIES:Exhibition Past,Past
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DTSTART;VALUE=DATE:20140416
DTEND;VALUE=DATE:20140601
DTSTAMP:20250801T193740Z
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SUMMARY:Embroidery of Code Lines
DESCRIPTION:About the Exhibition\nExhibition essay by Stacey Watson \nBy choosing a drastic reduction of form and material\, Hélène Latulippe emphasizes action in her series Embroidery of Code Lines. Comprised of four prints\, made by inking an object and then rubbing paper laid over it\, the work demonstrates the simplest and earliest of printmaking techniques. Viewed from afar the lines depicted stand in orderly stillness\, but close-up they vibrate with inconsistency. \nIndeed if we are to consider that this could be code as the title suggests\, then it is the moments of delineation that require attention. There are the instances of larger trans­gression: where lines are split\, crossed\, paused or ended incomplete. These punctuations are at times made with collage: pasted craft paper causes slight elevations of the surface\, as an embroidery would do. Perhaps there is also a code within a code\, because the subtle meanderings of the lines\, so minute\, are like the grooves in a vinyl record. \nLess important here than a message within the marks is how the code is created. The titles of Latulippe’s prints at times lead the viewer to take note of actions which disturb the order of the lines (Rompre la ligne\, Franchir la ligne\, Point a la ligne). Still\, repetition dominates. In close-up are the details which document a hand at work\, working carefully over and over (again a link to embroidery as is intimated by the exhibition title). One can sense that there is a performative aspect to this work. To link these lines that immediately speak of control to a process of the body is one of the key points of meaning. \nIn the text “The Analysis of Performance Art” by A. Howell\, the author notes that “inconsistency is a primary action\, one of the fundamental poles of action:” He is referring to the repetition of performative acts\, a process in which inconsis­tency is unavoidable. Pure repetition is as impossible as pure inconsistency. Howell goes on to say\, “repetition underpins our inconsistencies:” It is meaningful to dwell further on repetition when looking at Embroidery of Code Lines\, because of a reference to printmaking tradition. \nOne must read works made in the printmaking tradi­tion in a different way now\, as compared to in days gone by. Current technology gives us the ability to repeat an action or duplicate a mark or object to precise exactitude\, with very very minimal inconsistency. The practical function of the early printmaking techniques (to copy image and text for distribution) is potentially an obsolete point in the meaning of a contemporary work made with these same methods. Or perhaps here it is key to meaning\, Hélène Latulippe calls attention to how traditional printmaking vibrated with life while making duplicated works with repeated acts. It is the performance of the artist\, in private or public\, inking and printing over and over\, that Embroidery of Code Lines celebrates. \nAbout the Artist \nHélène Latulippe was born in Quebec. She lives and works in Montreal. She first studied industrial design at the lnstitut des Arts appliques in Montreal (1968). She worked in large office spaces\, establishing the needs and setting functional and technical programs. But she kept visual arts in mind. \nTracking between work and family\, she received a bachelor’s degree in Fine Arts from Concordia University in Montreal in 2012. She also studied in Italy and in France. She has received grants from McGill University in Montreal and from the Conseil des Arts et des Lettres Quebec (CALQ). Her work has been shown in various exhibitions. Her next solo will take place next November at the Galerie d’Art du Pare in Trois-Rivieres\, Quebec.
URL:https://albertaprintmakers.com/event/embroidery-of-code-lines/
LOCATION:Alberta
CATEGORIES:Exhibition Past,Past
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