Archives for posts with tag: exhibition
Cathy's Orchid

Cathy’s Orchid

A feast of lumen prints are showcased in the newly opened Salon at A Smith Gallery in Johnson City, Texas. Lumen, an exhibition showcasing this feast of alternative photography, includes Cathy’s Orchid, a digital print made from a handmade negative created by using a Lumen Print process. The exhibition dates are 11 March to 16 May. Two receptions will be held: 25 March and 30 April (4 – 7 pm). An exhibition catalogue available from Blurb is forthcoming.

Lumen prints are photograms made by a contact print process using organic materials that leave traces and shadows on photosensitive surfaces. These unique prints are made without a camera or darkroom enlarger. These materials transmit enzymes that interact with the surface of the paper, leaving X-ray like marks of both their shapes and interiors. Lumen prints on sheet film can be scanned and processed as digital prints. Artists experimenting with this process include Jerry Burchfield, Adam Fuss and the artists showing work in Lumen.

Frozen

Frozen

I’ve been gifted this review of my current series: Salton Sea Eco-Disaster — I cannot look away.

 

The Salton Sea Eco-Disaster – I cannot look away
One of the most provocative and insightful bodies of artwork in the Telling Stories: a visual art exhibition is a series of photographs by Phyllis Schwartz. Although a great deal of her work is more abstract in nature and rooted in the historical techniques of photographic image making, this series is a departure for her. The images are very monochromatic and stark as well as being rivetingly close to their subject matter.

What has caused this departure, especially when the work has been simmering since the winter of 2011? Having witnessed the ecological destruction on the shores of the Salton Sea, California’s largest body of water, the images were just too graphic and unworldly. How does a visual artist work with a set of images that seem implausible, yet at the same time so captivating? What are the implications of creating a series around these images that wander between a work of art, a statement of witnessing and a political commentary on our economically driven ecological disasters?

Vacant

Vacant

In the end one cannot really look away, as Phyllis Schwartz expresses in her subtitle, without becoming even more complicit than one already is creating these images. To look away is to do what is so often done, to pretend we are not part of the problem. We are collectively the authors of this series; even in Vancouver, the food grown in this area that flows 15,000 tons of phosphorus and nitrogen into this landlocked sea is the food we shop for on our grocery shelves. The cars we drive that are made in Mexico in the maquiladoras just across the border, emit a toxic stew mixed with sewage, and this flows down hill across the border into the Salton Sea. This artificial river is now the most toxic waterway in North America, we should not be looking away.

Schwartz’s images are simple yet draw in the viewer; they are micro-compositions of areas no larger than a dessert plate. Abstract in presentation and mostly black and white with hints of colour, one can not help but think of Edward Weston’s work and the intimacy he expressed with the objects he photographed. Yet the images are not as subtitle, and unlike Weston, the images are much less rooted in the post modern culture that favours irony while making allusions to knowledge. It also seems to lash out at the pseudo-modern world of around us where iPhones and social media often gives the impression that one is immersed when often one is overtaken or swallowed up.

Desiccated

Desiccated

As the viewer moves from one image to another, one begins to feel that something is amiss. What is the magnitude of the dead barnacles beach? Why are the fish mostly unconsumed by the other wild life in the area? Why have they not been cleaned up by local inhabitants? Having chosen to work at such an intimate range, the work hints at the extent of the problem without graphically showing the masses of dead fish that actually litter the shoreline. The artist here is reflecting our tendency to minimize and reduce things down so we do not see the scale of the problem. One cannot look away, but one does not want to see the scale, a scale might prove too challenging. The softness and almost abstract forms allow one to at momentarily escape before the mind lurches back to what is being presented. It moves the viewer to search out the subtext and the footnotes of this ecological metaphor of our current age.

Edward Peck (15 November 2015)

Edward Peck

On the Wall Series, photographed in Germany in 2015, will be part of the Telling Stories:a visual art exhibition opening on the 7th of November 2015. The exhibition will include photography, painting, sculpture, fibre art and other installations. It will feature the following nine artists: Alison Keenan, Phyllis Schwartz, Jim Friesen, Daphne Harwood, Sophi Liang, Colette Lisoway, Edward Peck, Debra Sloan and June Yun.

This is the BestB4 Collective’s latest exhibition, and it is graciously hosted by the Chinese Cultural Centre in their On-Tak Cheung Exhibition Gallery.

Opening: Saturday, November 7, 2015

Location: 555 Columbia Street

Regular Hours: 11:am – 5pm (Tue-Sat), Nov 7th – Dec 19

For Special Hours and Events see BestB4Collective’s Blog

For more information please go to the BestB4 Collective’s events page:
http://bestb4collective.blogspot.ca/p/events.html )

A Brief Word About the Series

My artist practice has always been about teaching myself to see. While walking around Berlin and Hamburg, I noticed that…

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Telling Stories: a visual art exhibition, a new exhibition presented by the Chinese Cultural Centre of Greater Vancouver in collaboration with the BestB4 Collective, opens at the On-Tak Cheung Gallery at the Chinese Cultural Centre Museum on Saturday, 07 November, 2015 from 2 – 4pm.

This new  BestB4 Collective project is a collaboration with nine visual artists and community members; the gallery is transformed into a meeting place where photography, painting, ceramics, fibre and installations tell and evoke stories. Salton Sea Eco-Disaster — I Cannot Look Away, my Salton Sea photo-graphic story, will be on show in this exhibition.

In the Winter of 2011, I made my second photo-exploration of the Salton Sea in Southern California to continue my study of the environmental impact of the local economy on the region and am now working toward a return to the area for a future photographic project. This eco-disaster is complex: as this salt lake dehydrates, the toxins from the Mexicali-Calexico food industry and computer industry contaminants concentrate, which in turn kills the fish, birds and plant life. As a result, the shore of the Salton Sea is ringed with layers of dead fish and birds; the stench of dead marine life hovers over a series of ghost towns built with the intention of a recreational paradise in the desert.

My work in this area has only begun. It is simultaneously seductively surreal and an outrage. I use the photographic process as an investigative tool. The process of photography reveals detail and texture. I seek universals, digging beneath the surface for invisible truth, open to the optical unconscious revealed by my camera. In my quest for the poetic, my photography addresses the nature of permanence and impermanence by asking, “What remains?”

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More about the Best B4 Collective 
More community events

Papergirl Vancouver
One of my favourite events. It’s about sharing. It’s about gifting. It’s like sending out a message in a bottle. This year my work is being distributed Mexico, Bristol, Hannover and Vancouver.

All of the artwork submitted to Papergirl Vancouver will be lovingly placed on display at the Roundhouse Community Centre for a week before riders head out on their bikes to spread art throughout the city.

Join the celebration of another year of art and altruism on Monday, August 24th at 6pm at the Roundhouse Community Centre!

Papergirl Vancouver 2015 Offerings

Two of my vintage analogue Lumen Prints have been selected for auction at ArtBeat Vancouver. Works by fifty up-coming and established local artists have been curated by Lynn Ruscheinsky and will be auctioned at ArtBeat 2015 this Saturday, 25 July at the Belkin Residence (7349 Blenheim Street), 4 – 10 pm.  Event details and ticket purchase details can be found at ArtBeat/Events.

Both Lumen Prints from the Spanish Banks Series were previously exhibited at the in the Emily Carr Awards Exhibition at the Winsor Gallery. These works are early explorations of the Lumen Print process using materials gathered from the seashore.

ArtBeat 2015 is a fund raising event for the expansion of Esther’s Place, a safe house for women fleeing domestic violence, as well as Little Footprints/Big Steps, a charity founded to aid rescuing children from situations of abuse, slavery, homelessness or severe neglect. More details can be found at ArtBeat/The Cause. 

Spanish Banks Impressions 13 (Lumen Print on fibre, unique photogram)

Spanish Banks Impressions 13 (Lumen Print on fibre, unique photogram)

Fan Coral (Lumen Print on Fibre, unique photogram)

Fan Coral (Lumen Print on Fibre, unique photogram)

Screenshot 2015

Screenshot 2015

Mobile phones have become a notebook of sorts; they store images and fragmented memories, keep a phone call and text log, store data, track appointments and whole lot more. For a photographer, the fully loaded mobile phone is the notebook I’ve been waiting for. I can use it standing up, lying back or hunkering down without awkwardly searching for something to write with when the visual thought is in front or behind me, just about to disappear as the train is leaving the station. With a little planning, I have access to tools to work on stored images and maybe even prepare them for publication. I’m not much of a speech to text person, but I can dictate thoughts that take the shape of words or keep those words as a soundtrack. This is not to say that it replaces the coil bound artist notebook that is central to my artist practice; I have three crates of artist notebooks, and there’s no sign that that habit of visual journaling will be replaced by my mobile phone. But finally, there’s a notebook for photographers.

From time to time, I sing the praises of Aline Smithson, creator, editor and publisher of Lenscratch, photographer, writer and teacher. I read her blog daily, and it fuels my artist practice on many levels. I appreciate her seasonal calls for submissions to her theme-based blog exhibitions and look forward to visual content and editing/curating, offering a reading of these juxtaposed images that adds up to way more than the sum of the parts. A recent LENSCRATCH blog featured five pages of cellphone photography and included one of my cellphone photographs. Set among other cellphone photographs, I read my work in a new way.

Scrolling through LENSCRATCH 2015 Cellphone Exhibition, this blog emerged, and writing about my own work is always more laboured than this one. It was an inspirational series of images that illustrates how versatile the cellphone and cellphone camera can be. I am one of many who believe that technology and the economics of the cellphone camera have democratized photography, making cellphone photography a genre in its own right. While I began celebrating the notebooking opportunities of the cellphone, I end with a statement about the potential of the cellphone to make photography both immediate and contemplative, complex and spontaneous. View my Screenshot in isolation in this blog, but also view it in the context of the Lenscratch 2015 Cellphone Exhibition. 

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Three of my sketchbooks are on the Sketchbook Project Summer Tour. This year’s tour kicks off at the Brooklyn Art Library on Friday, 05 May and then travels to nine tour stops in North America.  Sketchbook Project tours are fun: in addition to checking out and reading artist made books, there are also drawing and postcard writing activities.

On board this year are two new sketchbooks and one classic. Find your closest city, check out some sketchbooks and let me know what you think. Summer Tour Schedule

Big Wheels is a girl’s look at big wheels on roads, streets and sidewalks. It amazes me to think about how the wheel is one of six simple machines and how much complex technology is dependent on basic elements like a wheel. This book has been to Chicago, NYC, Bloomington, Ocean Shores, Iceland, Denmark and Germany. It traveled many miles to get to you.

Songs for the Accordion was inspired by the accordion book form and wanting to make a unique book that could visualize song and dance. Music threads through a landscape of colour and leaves notes to play and replay. Marks on paper were made using Procion dye, acrylic ink, charcoal, thread, acrylic medium and white glue. Of all the books made for the Sketchbook Project, this was the most difficult to send away.

My Brooklyn Childhood — a memoir has been on many Sketchbook Project Tours, including Art Basel. It is a compilation of my father’s memoirs and memory drawings. It brings together work that my father talked about but never achieved: illustrating the many stories he told. His memory drawings open a new understanding of his Brooklyn boyhood, and the Brooklyn Art Library is a fitting location for this first edition. This book is also available from Blurb

View these and my other Brooklyn Art Library Sketchbooks on line.

Shelter Island             Illuminations 
Edward Peck        Phyllis Schwartz 

Die Bedürfnisanstalt, Bleickenallee 26a, Hamburg 22763

Vernissage: Sa: 13.09.2014 12-17 Uhr
Öffnungszeiten
So., 14.09.2014, 14 – 18 Uhr
Mo., 15.09.2014, 16 – 20 Uhr
Sa., 20.09.2014, 14 – 18 Uhr
So., 21.09.2014, 14 – 18 Uhr
Lumen Print Workshop/Vorführung [auf Englisch]
Di., 23.09.2014, 14 – 18 Uhr
Neue Fotoarbeiten
Mi., 24.09.2014, 18 – 23 Uhr
Do., 25.09.2014, 15 – 19 Uhr
Finissage: Fr., 26.09.2014, 16 – 20 Uhr

Sassamatt presents the European premier of new work by Phyllis Schwartz and Edward Peck. These Canadian experimental visual artists work in photographic medium. Schwartz is one of the few contemporary artists making artwork using the lumen print process. These hybrid prints are made by a contact and printing process photosensitive surfaces that are digitized. Peck with multi-disciplinary background is using a multiple exposure photographic hybrid digital development process to create abstract works from concrete objects.

Sassamatt, a Canadian based artist collective, presents work by Edward Peck and Phyllis Schwartz for exhibition in Bedürfnisanstalt between 13 and 26 September. These two photo-based artists use the details located in their immediate environment as inspiration for innovative image making. Their exhibition, Sassamatt Presents, is the European premier of their latest work. The exhibition will be held in Die Bedürfnisanstalt, a unique gallery exhibition space in Hamburg’s Altona community. They will also be open for visitors to watch their work in progress. There will also be a workshop demonstration of the lumen process and both artist will be available to discuss their work and artist processes.

Edward Peck is an experimental digital photographer with multi-disciplinary background that includes painting, watercolour and printmaking. Much of his current source material is drawn from weathered and sea battered boats, some of which are in the process of returning to their elemental state, bringing the aging process of these boats to life by through an abstract exploration of form, colour and texture. His bold compositions are colour fields confidently sectored by elementary materials that are caught in the act of transformation. These transformations become abstract landscapes.

Phyllis Schwartz is an experimental photographer. Her x-ray like images penetrate the surface of her subject material and produce secondary images discovered only in the development stage of her printmaking. Plant enzymes and atmospheric conditions also interact with the surface to produce unexpected results on the surface of the paper or sheet film, leaving x-ray like marks of both their shapes and interiors. These illuminations of New York foliage and British Columbia  marine plant life hover on the cusp of abstract imagery and poetry.

Addition information on these two artists can be found on the Sassamatt Images website www.sassamatt.com .

The Tree: Literal and Figurative, an exhibition curated by Alison Keenan and Phyllis Schwartz, expresses the theme of nature as experienced in forests, the built environment and as raw material for industry. This group exhibition presents images and impressions of the tree in a variety of media. The artists from BestB4 Collective are graduates from Emily Carr University of Art + Design and the University of British Columbia. The purpose of this exhibition is to show the tree as a common link in Canadian culture that provides a canopy, which spans all cultures, communities, collectives, artists, and individuals.

Exhibiting artists include Ellen Bang (mixed media sculpture installation), Chu Yin Tak (mixed media paper installation), Pauline Doyle (mixed media figurative ceramics),  Alison Keenan (acrylic on canvas), Anna Ruth (installation drawings), Edward Peck (large scale photography), Connie Sabo (mixed media sculpture installation) and Phyllis Schwartz (lumen prints on fibre).

Artists’ Talk and Exhibition Catalog Launch

The Tree: Landscape, Culture and Identity
Join exhibiting artists in a conversation about their art making process and current exhibition at the Chinese Cultural Centre Museum. Exhibition Catalogue is available  for $15 at the CCCM  though 17 February or BLURB Publications

Saturday January 25, 2014  2-4pm (Free admission)

Chinese Cultural Centre Museum
555 Columbia Street, Vancouver, BC 
604.658.8880, 604.658.8883
cccmuseum@gmail.com
Tree: Literal and Figurative Exhibition Catalogue (Sassamatt Publications; available at the CCCM and BLURB Publications)

Tree: Literal and Figurative Exhibition Catalogue  (available for $15  at the CCCM during the exhibition and BLURB Publications; cover design: Anna Ruth, book design: Edward Peck)


Illuminations: forest and seashore impressions is  a collection of lumen prints made from late winter seaweed and early spring windfall. Ten images invite the viewer to imagine more than what meets the eye at first glance. They are printed from handmade negatives that have been digitized to illuminate shadows and traces of  cherry blossoms, bamboo, carrageenan and pine branches.  Illuminations will be on show in the windows of the Chinese Cultural Centre of Vancouver for the month of January and can be seen 24/7 at 50 East Pender Street. 

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