Homebody | Kate Rogers

Artist Statement
Homebody is a video piece that combines handmade and digital collage to explore the varied meanings of the domestic sphere in relation to women’s bodies.  Mixing the mundane with a hint of the supernatural, the video questions the ways in which a home space can teeter between comforting refuge and a place of deep isolation.  Elements of the video collage are slowly revealed throughout the 3 minute clip that is played on a screen in an infinite loop.

Artist Bio
Kate’s practice works with metaphors of the domestic uncanny, the fragmented female body, witching and haunting to address the historical oppression of women.  Movement, video installation and photography are combined with a visual referencing of 1920s German gothic film to explore the marginalized spaces of the domestic. Her practice also reimagines the active female monster or witch as subversive figures that can destabilize gender as fixed in any shape or form.
Kate has completed a BFA in Contemporary Dance at York University in Toronto and a BFA in Drawing & Painting at Ontario College of Art and Design.

  • www.katerogersart.com
  • IG:  Kate_rogers_art


Unknown Distance | Emma Burry

Artist Statement

The horizon is a visual example of a distance that is physically unreachable. I define the horizon is an in-between space that we can perceive, but never physically reach. I believe that this is where longing resides. Longing for people, places, things, or communities that are somehow lost or unreachable. That is where my practice lives, within the distance between physical and metaphorical, interpersonal and introspective. Through labour and craft I explore longing for people, places, and communities that are out of reach.

Unknown Distance |
Project Statement

Unknown Distance was a project created during the summer of 2019. Between my two years at Emily Carr University I was thinking a lot about distance and time and their relationship with longing.
Through the use of my body I wanted to explore the repetitive nature of longing; how your mind drifts between yourself (reality) and the longed for (memory). I decided to see if the metaphorical weight of that pacing could be seen through the layering of a physical action (in this case walking) across shipping skids.
The wood creaked, cracked, snapped and bowed under my feet. The paint and wood recording all the passes as I walked back and forth. The continued tension and accumulation of “memory” becoming too much for it to handle. Unknown Distance refers to both the unknown distances the skids traversed before I found them and also the distances I’ve been exploring both metaphorically and physically through my own experiences of longing.

Artist Bio

Emma Burry is an interdisciplinary artist of settler and indigenous descent from the island of Newfoundland, Canada. She has spent much of her life just steps from the ocean which greatly influences her art practice. Emma has graduated from the Bachelor of Fine Arts Program at Grenfell Campus, Memorial University and is now a recent graduate of the Master of Fine Arts degree at Emily Carr University of Art and Design. Emma Burry was the 2018 provincial winner of the BMO 1st Art! Award for Newfoundland. Emma has a diverse exhibition history, showing her work across Canada and also in the UK.

Facebook: https://www.facebook.com/emmalburryart
Instagram: @emmaburryart


Nikki Peck | B(r)east

Space Boobs, Ink on paper, 22 x 30”, 2019
Install view of B(r)east, 2020. Macaulay & Co. Fine Art, May 2020.
Install view of Hardcore Whimsey, mixed media on paper, 2018-2020
Install view of Wouldn’t Thou Like To Live Deliciously? Cone of Power and I’ll Be Your Mirror, graphite on paper, 15 x 20”, 2019
Install view of B(r)east, 2020. Macaulay & Co. Fine Art, May 2020.
Mysterious mammary, Ink on paper, 22 x 30”, 2020
Bloobs, Graphite on paper, 30 x 22”, 2019
Install view of Slice and Demonic Sucklings, graphite on paper, 22 x 30″, 2020
AcornDickTitty, Ink on paper, 22 x 30”, 2020
Install view of B(r)east, 2020. Macaulay & Co. Fine Art, May 2020.
Install view of Combat Zone, Gouache and ink on paper, 22 x 44”, 2020
Combat Zone, Gouache and ink on paper, 22 x 44”, 2020
Install view of B(r)east, 2020. Macaulay & Co. Fine Art, May 2020.

The thesis project entitled, B(r)easts is a culmination of artworks created over the course of a two-year intensive MFA program at Emily Carr University of Art + Design.

Peck’s work examines and explores the depiction of sexuality and the female form in contemporary society. Specifically focusing on the female-identified form in current society, Peck’s work investigates the plurality of ways in which the gaze, feminist art practices, sexuality, censorship, and historical events have shaped, defined, and conditioned the perception of the female nude in art. By studying and researching the theories behind the gazes, her work intends to subvert and refuse the male gaze, in an attempt to place the feminine queer gaze at the forefront of artistic inquiry.

Peck seeks to add her voice to the post-feminist and fourth-wave movement by illustrating the power and importance of sexuality as forms of identity, liberation, and freedom from patriarchal hegemony. Through the medium of drawing, she explores the various artistic techniques in which sexually confident feminine bodies can be seen or viewed as subjects full of emotion and determination, rather than objectified for male visual pleasure. In B(r)east, Peck focuses on parts of the female body that are fetishized and overly sexualized by Western society, such as the nipple, and the ever-present meaning and associations behind the breast.

__________________________________

Photographer: Barb Choit

Courtesy of Macaulay & Co. Fine Art

www.nikkipeck.com

IG: Bonercandy69 // jesuis_curieux

Contact: nikkipeck68@gmail.com


Transmutations of Emotional Energy: Ceramics, Fibre, and Flesh | Malina Sintnicolaas

This work explores the ways in which emotional energy, such as sentiments associated with depression, trauma, and anxiety, can be represented in a physical form with the mediums of ceramic and fibre sculpture. It discusses the ways in which using these materials’ properties can represent the complexities of these vibrations. When treating mood disorders or mental illness, when you are able to imagine something abstract like emotions as an image, form or object, it brings validity to it, and it brings something easy to visualize in order to work on ways to treat it. Therefore, with this work, I am questioning the ways in which this can be done with sculpture, and to create a dialogue, not for the viewer to connect with the specific emotion but rather to open up a space for contemplation of our interior lives that are often too elusive to share other than through material, abstract and affective works of art.

ABOUT MALINA SINTNICOLAAS

Malina Sintnicolaas is a sculptural artist currently based in Vancouver, British Columbia. With a practice focused mostly in ceramic, and fibre sculpture, her works are considered to be manifestations, transmutations, or “petrifications” of emotions into a physical form. Her practice is focused in ceramic sculpture due to the tactile nature of the material, the reciprocity of the medium which allows for a physical recording and translation of a gesture, and the immediate occupation of space. Both fibre and ceramics are materials that have an interesting contrast in properties, that they can be so strong yet so fragile at the same time, which correlates to the subject matter of her work, because like the materials, the human psyche is fragile, unpredictable, and difficult to maintain. Drawn to tactile materials, her work is questioning ways in which one can represent emotions such as depression, trauma, and anxiety with a physical form and in what was can one induce empathy for an object even if that object is alien or abstract.  Working with texture, surface, material properties, and form, her sculptures are bodily, visceral, and drive to evoke feeling from the viewer, using affect to create an empathic landscape that will urge an understanding for states of mind which are difficult to be described verbally. She received her B.F.A from York University, and is currently completing her Master of Fine Arts at Emily Carr University of Art and Design. She is the recipient of the 2019 Audain Travel Award; the Won Lee Scholarship from the Sculpture Society of Canada, and has shown work in solo and group exhibitions internationally.

https://www.instagram.com/malinasintnicolaas/


Wyobrażony Dom - The Imagined Home | Angelica Brzyska

Angelica Brzyska’s thesis project Ghosts of the Home: Unfolded Pasts & Traces of the Old Country explores the experiences of people with cross-cultural identities. The core of Brzyska’s practice draws from her Polish-Canadian identity, specifically the material exploration of paper through printmaking, the Polish folk art called wycinanki and installation. Nostalgia haunts the work which references her early childhood, a time when she felt the strongest connection to her Polish heritage and before she began to assimilate into Canadian culture. The tactility of printmaking and paper cutting’s repetitive actions allows Brzyska to remember the place of childhood thereby bridging the gap between her identities.

https://www.angelicabrzyska.com/


Painting the View From My Doorstep | Maggee Day

Through my experimental process, I am exploring the various ways I can see the space in front of my apartment building, and therefore— the various ways this space can be represented through paint. The doorstep is the location where my exploration starts; it is a catalyst to my more central subject which is the space of perception. This location allows me to see the familiar as strange, while reevaluating how I construct a representational painting. 

A rule I created in my process is that every painting must change its order of procedures and materials. I want to highlight all the different choices that a painter can make when they approach a subject, and furthermore find connections and divisions between processes in art history and contemporary painting. When I approach my subject I have a choice to capture the visual information in a photograph, or through plein air painting/sketching— afterwards I have a plethora of different possibilities. I am interested in disrupting the illusion of painting by throwing wrenches into my process. These wrenches include translating information from one medium to another, layering images wet on wet, rotating the canvas, and spilling paint. 

This process of decisions and accidents open up a slippage between what we do and what we think— paint follows the artist’s body and emotions, but the artist also follows the paint. The doorstep gets pulled apart into abstract colours and shapes that hold information and suggest a logic to three dimensional space and objects within it. Although many of the initial elements are there, they are now open to be rethought and renegotiated because they have not been resolved as what we traditionally look for as being landscape. These incongruities allow me to retrospectively learn more about the relationships between seeing and abstraction, representation and perception—  as well as, the material potential of paint.

This project received an Honourable Mention for the Opus Art Supplies Graduation Award (MFA)

www.maggeeday.com

Doorstep View 7 | Oil on Canvas 60"x72"

Doorstep View 7 | Oil on Canvas 72"x 96"

Doorstep View 4 | Oil on Canvas 60"x 72"

Doorstep View 3 | Oil on Canvas 60"x72"


A Room for Projection and Reflection | Romane Bladou

In this work, imagination, reflection and projection are interpreted both as methods in looking and as inner spaces; they are ways to see and ways to be. States of mind and of vision are explored through observation and introspection. Walking, transit and travel are ways employed to allow a slowness in looking and the opportunity to daydream. These experiences in space and time are recorded here through still framed videography. I built an installation in which this translation from moment to media is displayed to create immersion, or rather the illusion of it. The apparatus being so present in the space allows us to focus on the shadows, reflections and projections, the usually overlooked. In the multimedia installation, the gallery becomes a space in which to reflect and project: it too allows a slowness in looking, thinking and noticing. 

www.romanebladou.com

(if you scroll all the way down, you can find an excerpt of the work A Window to Hold Shadows)

A Window to Hold Shadows