NO WHERE
NOW HERE
Residency Exhibition XPO
ARE Holland, Enschede Netherlands
2018
liminal
ˈlɪmɪn(ə)l/
adjective
1. relating to a transitional or initial stage of a process.
2. occupying a position at, or on both sides of, a boundary or threshold.
3. liminal symbols of passage and transformation; doors, ladders, crossings, bridges, pallets.
No Where Now Here explores current issues of globalization and climate change through the lens of the liminal - a place betwixt and between. Our cultural landscapes are becoming increasingly crisscrossed and blurred through shifting borders and boundaries, directly impacting the growing challenges of migration and the transitory movement of people. Materials, images and objects reflecting concepts of liminality visually demonstrate transition and transformation - the visible and the invisible – the seen and unseen. In the exhibition the notion of 'space' and 'place' occurs in conjunction with ideas of the 'temporary' and 'permanent' creating a play between the real and the unreal - the No Where and the Now Here.
NO WHERE
NOW HERE
Kimoto Gallery
Vancouver BC Canada
2018
The Day Job
(First excerpt, 2016)
Single channel video
06:56 min
2003 - Ongoing
The Day Job started in 2003, this is the first excerpt from hundreds of hours of footage over the years. What started out as a day job has now become part of my routine, hiding art in hard to find places. To notice the unnoticeable, to look where no one does, like a quasi-archeological expedition of absurdity and truth, quixotic adventures of surprise and play. Remember, whatever you are looking at is just the surface layer. Peel it like an onion and see what you can find.
Click Link to Vimeo page
Notes - Self Portrait
Standard loose leaf paper, pen, pencil, ink,various media and found bits, stamps, tape, stickers, correction pen, found detritus
11" x 8.5" each page (28cm x 21.5cm)
2001 - Ongoing
I have carried a piece of paper and pen on my person everyday without exception since the summer of 2001. I collect and doodle and record until the paper is full on both sides. Then I date the end and start of a new paper which I fold in half 3 times.
Self Portrait
All of my parking tickets and collection letters, sewn into an empty wallet, thread
3.5” x 12.5” x 1” (8.9cm x 31.8cm x 2.5cm)
2012
Nomadic Recoils
Residency Exhibition
Äkkigalleria, Jyväskylä Finland
August 20th - September 2nd, 2010
Most of the material for this residency was found and salvaged from the surrounding landscape in the streets, old abandoned houses, farms and barns and then drawn on, combined with or
Re-coiled. Some materials were bought at local "kirppis", which are thrift stores or outside markets. This created a renewed investigation of familiar cultural objects challenging common perceptions of visual representation commenting on permanence and impermanence, community and history.
Hockey Night in Canada
Once Upon A Pond... pond hockey and global warming
Esplanade Art Gallery, Medicine Hat AB Canada Curated by Linda Sawchyn
2009
Also exhibited at Vancouver ArtWalk
during the Winter Olympics in Vancouver BC Canada, 2010
Project Flyleaf
Elliott Louis Gallery, Vancouver BC Canada
2006
fly’leaf” n. 1, a blank leaf at the beginning or end of a book. 2, flyleaves often carry pen trials and inscriptions concerning provenance. 3, used for structural reinforcement to protect the text in the event of worming or damage to the binding.
Each work in this series started with a flyleaf and the marks that happened to live on it. The flyleaf is left to the unpredictable course and nature of the books next owner. Things that were written may become crossed out, or added onto. A dialogue of spontaneous and uncertain mark making begins over the course of a books life.
Flyleaves ephemeral yet silent qualities draw on my obsession with opposites that simultaneously co-exist in perfect harmony.
Where I lay my head is home
Site specific lay-downs around Earth
2006 − Ongoing
Click Link to view the entire series
This project started out in 2006 as a reaction and counter balance to the cliché “tourist photo” which has now become a cultural phenomenon known as the “Selfie”. Laying down on the ground in various locations around Earth reflects my ongoing curiosity with self-presentation in public and private spaces and the document of the here and now. There is a recurrent insistence to document the present while remembering the past, to keep a connection to tradition and a conservation of our social and cultural relationships to the landscape around us. This is how I remember.
(un)common (playing)ground
Kelowna Art Gallery, Kelowna BC Canada Curated by Linda Sawchyn
2004
Injecting the unusual into the familiar by turning sports objects inside out.
(un)common (playing)ground 1, a (play)ground without rules. 2, taking something common and making it (un)common. 3, unity of opposites. 4, (with)out rules.
Self Portrait - Mailed Experiments
Variable Media and Dimensions
2004 - 2007
Birdhouse Intervention
I saw an unfinished birdhouse on my neighbours firewood pile. So I stole it and finished what I thought was the intended design. 5 months later I put it back on the firewood pile. The hole drilled on the front measures the correct diameter for a sparrow.
January - June 2002
Performance
Site Specific Interventions
Collaborations
Studies in Amplification
Amplified objects - (ladder, axe, tennis racket, tank, ice skates, fly, bridge), guitar pick-ups, piezo mics, cello and violin pick-ups, RP-50 effect pedals, mini amplifiers, 1/4 jacks, batteries, tape, leather, thread, fabric
Variable Dimensions
1999 - Ongoing
Self Portrait
Oil pastel, pencil, ink, graphite, crayon, pen, thread, white-out, found detritus paper, tape, various glue, blood, stitches, hair, plastic, fabric, linseed oil, correction pen, flyleaf pages
7" x 4.5" each (approx.) (17.8cm x 11.4cm)
1999 - Ongoing
I make two or three more every year, and will continue until my death.
Hitchhiker with a Chair
Waiting, trying to move, while sitting.
Systematic confusion
On July 15, 2000 at 9:10 AM I headed out from Kelowna BC hitchhiking with a wooded chair across Canada to Laval Quebec. It took 147 hours 2 minutes and a total of 23 rides. I had everyone who picked me up sign the chair and leave their mark.
Once the public took the risk to stop, pick me up and transport the chair and I to another destination they ultimately became the performer for the duration of the ride.
A sound diary of the events that transpired was recorded with a tape recorder and all the participants were asked if hitchhiking with a chair is art.
Click Link to listen to the Sound Diary:
Documented with 35mm photographs, Polaroid photographs, a tape recorder, sketch book and the people who happened to drive by and see it.
This performance was part of an exchange between the Alternator Gallery in Kelowna BC and Gallerie Verticale in Laval Quebec. It was exhibited in the exhibition "Unstable Motion" at the Gallerie Verticale Aug 3 - Sept 10, 2000. Curated by Marcel Saint-Pierre.
Sound design: Matieu St.Arnaud, Christian Nicolay and Martin Lord
Supported by the Canada Council for the Arts
Behind the harmless appearance of a week’s trip hitchhiking from British Columbia to Quebec lies a strategy of direct interaction with the spectator, of making people aware of art in practice. By drawing the drivers attention to the nature and particular conditions of his artistic approach, Nicolay involves him in the final product, makes his participation a vital component of the work-as-action. Nicolay’s desire to involve art in daily life led to this performance of which was exhibited at Galerie Verticale in Laval Quebec, presenting all of the things he collected, photographed, tape recordings of the drivers who picked him up, drawings made on the road and visual debris. The trip’s purpose is made clear through a documentary restitution, in the gallery, of moves and waits, atmospheres and circumstances, silences and words exchanged.
-Marcel St.Pierre
ATLANTIS
Various media
2001 - Ongoing
Nations rise and nations fall.
Creation - Destruction - Creation - Destruction
ATLANTIS deconstructs American Flags and reconstructs them into art objects and not willingly destroyed or desecrated for that purpose.
ATLANTIS draws attention to the pitfalls of globalization, the instability of the international markets and corrupt financial institutions.
ATLANTIS combines ubiquitous and mundane materials making a commentary on national self-image and its inherent fragility.