Figments, Filaments, and Pigments | Emma H. Baldwin

Ch-ch-changes

Ch-ch-changes

A body of work that is moving away from paper, watercolour, and graduate school and into the personal, three dimensional, and the even more breakable.

Milking in the Bones

Fine Rise

A Second Child

Egg Eye Cage

A First Child


Learning to See the Unknown | Hayley Carruthers

Learning to See the Unknown: Drawing Out the Strange takes a speculative approach to reflecting on subjective experiences of mental imagery, perception, and other neural phenomena. Entangled with ways of understanding from scientific knowledge practices within neuroscience the work engages with histories of scientific renderings that visualize the invisible.  In her process, Carruthers embraces ambiguity and what can’t be seen –the unknown– as a field of generative inquiry.

Compelled by the wonder and strangeness in her experience of being, Carruthers draws upon her own internal space to pull out images from memory and give them a material presence while not wanting them to become familiar –to let them exist in their strangeness. She uses drawing as a substitute microscope; a process to perceive the intangible internal moments of her reality.

IG: @hayleycarruthers


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.

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Photographer: Barb Choit

Courtesy of Macaulay & Co. Fine Art

www.nikkipeck.com

IG: Bonercandy69 // jesuis_curieux

Contact: nikkipeck68@gmail.com