Intervals: Photography in Flux
We are pleased to present 7 photographic artist new and recent works including 3 world premieres in the international Capture Photography Festival.
Viewed collectively, their themes thread around the deconstruction of identity, environmental issues, disposability the social, speaking under oppression and the mysteries in the mundane. The works are presented through diverse photographic and printing methods such as encaustics, pigment ink on cotton rag, camera less exposures, and iPhonography.
Don’t miss a chance to talk to the artists about their work on the Thursday opening night or during the artist talk on Saturday.
Seven global photographers converge in an exhibition about the rhythms and tensions in the contemporary geographical, social and psychological landscapes. Opening at South Main Gallery (279 East 6th Avenue) on March 31 (7–9pm), Intervals: Photography in Flux features a unique collection of works by visual artists who draw upon photographic practices and techniques used in the 19th, 20th and 21st centuries.
Intervals: Photography in Flux is an exhibition about the fluctuations in post documentary, contemporary photography. Photographers from Vancouver, Victoria, Los Angeles, Honolulu and Iran explore the rhythms and tension of their geographical, social and psychological landscapes. Andrew Ward and David Ellingsen both explore obsolesce, excess and the attachment to objects emerging from a rapidly fluctuating material world. Diana Nicholette Jeon turns the camera on herself, processing her emotions by deconstructing her image and reconstructing it into a dialogue about constructed identity. Goga Bayat and Jim Friesen explore inner psychological landscapes, resulting in poetic visual imagery with deep meaning. Edward Peck’s abstraction of the Icelandic landscape leads into Phyllis Schwartz’s analog/digital cameraless image making process, which result in abstract landscape forms expressing yearnings to live within a 21st century context.
David Ellingsen is a photographer and environmental artist who creates images of site-specific installations, landscapes and object studies that speak to the human impact on the natural world. Employing different photographic techniques for each thematic series, Ellingsen acts as archivist, surrealist and storyteller as he calls attention to the temporary state of the environment both directly and through subversive commentary about consumerist society. As a conceptual, humanistic photographer, Ellingsen poses questions about the transience and temporality of existence, and his subjects are marked by simplicity, empathy and a wounded sense of humanity’s fate. Ellingsen lives and makes his work in Canada’s Pacific Northwest, moving between Vancouver, Victoria and the farm where he was raised on the remote island of Cortes. He began his photography career as a freelance editorial and advertising photographer, before committing to his current fulltime art practice. Ellingsen exhibits in Canadian and international public and private galleries. His work is held in private and public collections. He was awarded First Place at the Prix de la Photographie Paris and First Place at the International Photography Awards in Los Angeles. Currently Ellingsen is working on a long-term, time-sensitive series Weather Patterns, which documents climate trends and shifting meteorological phenomenon.
For the past 35 years, Goga Bayat has been working extensively in the field of photography as a professional stills and portrait photographer. Her career as a stills photographer began in 1987 in Iran, and since then, she has worked on over 25 feature films, series and plays. She is a founder of Iranian Society of Still Photographers.
Bayat’s fascination with what goes on in the back of people's mind has led her to five solo exhibitions: four in Tehran, Iran and one in Parma, Italy. In addition she has had five group exhibitions in Vancouver, Canada and more than 20 group exhibitions in Iran. In 2013, her very first novel, Eve's Unique Situation, was published in Iran. Her second novel, The Narrator’s Tale Narrated by Onlooking Narrator was published fall 2015.
Having explored both literature and photography, Jim Friesen is now interested in the dynamic between words and pictures and how the imagination is stimulated by their collaboration. Even a single word, in the form of a title perhaps, can affect the perception of an image and how we try to find narratives in random events to solve mysteries, both cosmic and mundane, with the vaguest of clues. His landscapes are an experiment in that direction. The images stand as individual pieces but also create a group harmonic that seems to connect them. The titles are chosen in a manner that was more serendipitous than studied and intended to imbue the images, both alone and as a group, with potential meaning. Jim Friesen studied journalism and creative writing at Red River College in Winnipeg and digital photography at Langara College, in Vancouver. As a poet and independent photographer, he has collaborated with Stephen Gross, of Gravity Press, to design and print books of their own work, as well as volumes of poetry for other writers.
Jeon Diana Nicholette Jeon is an award-winning contemporary artist who lives and works in Honolulu. She earned her BA in Studio Art at the University of Hawai‘i at Manoa in 2003 and her MFA in Imaging and Digital Art at the University of Maryland Baltimore County in 2006. Jeon’s internationally-exhibited work has been featured in varied publications, including Huffington Post (Paris), Lens Culture, curated collections at Saatchi Art, The App Whisperer, iPhoneography Central, Bienfang SpaceArt/Culture Magazine (China), Corriere della Sera (Italy) and L’arena (Italy), among others. Recent awards include two State Recognition Purchase Awards from the Hawaii State Foundation on Arts and Culture, being named as one of 20 recipients of the Florence International Photo Most Wanted Visionary Award; receiving three Honorable Mentions in the 4th Annual Mobile Photo Awards; making the Top Ten Short List in the Oltre il Conflitto exhibition at the Museo di Arte Moderna e Contemporanea di Trento e Rovereto. Jeon's work is held in corporate, public and private collections nationally and internationally. More of her work can be found at: http://diananicholettejeon.com
Andrew Ward studied film and photography at the Dublin Institute of Technology. He worked in Vancouver as a production assistant and since 1996 has been working as a First Assistant Director in the Los Angeles film industry. The Sofas of LA, Ward’s current project, premiers in Intervals: Photography in Flux. He has become a photographer and chronicler of more than 600 abandoned sofas on the streets of Los Angeles. Ward approaches and photographs each sofa or mattress as if it were a formal photo portrait, each sofa being symmetrical placed in the middle of the frame and becoming the centrepiece of each photograph with the city falling off in the background but giving us clues to its location and neighbourhood within the city. The genesis of this photography project came as a response to the growing blight of abandoned sofas, mattresses and cast off furniture that appears on the streets and sidewalks Los Angeles. What was once the centerpiece of someone’s home sits abandoned on a city sidewalk. They have become part of the fabric of LA, reflecting on one hand the transient nature of the inhabitants of this city and secondly as a sign of the disposable nature of our consumer driven world.
Phyllis Schwartz is a multi-disciplinary artist and curator who works in photography, ceramics and publishing. She is an Emily Carr University graduate with a concentration in photography and the recipient of the Canon Photography Award. Her photography has been installed, exhibited and published locally, across Canada and internationally; her works are in corporate, public and private collections. These collections include the Farmboy Collection at the Rosewood Hotel Georgia and St. Paul's Hospital Art Collection. Recent exhibitions include Telling Stories: a visual art exhibition (On-Tak Cheung Gallery/Chinese Cultural Centre Vancouver), Illuminations and Impressions (die Bedürfnisanstalt, Hamburg Germany), Cascadia (Surrey Art Gallery, Honourable Mention), and In Camera: the working dancer (Mezzanine Gallery, Queen Elizabeth Theatre, Vancouver). Schwartz is one of the few experimental, contemporary artists making artwork using the lumen print process. These unique hybrid prints are made by a contact printing process that leaves traces and shadows on photosensitive surfaces that are digitized. Plant enzymes and atmospheric conditions also interact with the surface to produce unexpected and results on photosensitive paper or sheet film, leaving x-ray like marks of both their shapes and interiors. These impressions of organic forms hover on the cusp of abstract imagery and poetry.
Edward Peck has worked as a practicing artist since completing his BA/BFA and MA from UBC. While he has worked in many mediums, he now devotes himself solely to photography, showing his work in both in group and solo exhibitions. Peck works collaboratively with other visual artists, exhibiting locally and internationally. He produces and publishes both artist books and exhibition catalogues. His most recent publication is Home: Artists in Residence, a photo-documentation of the studios of Mary Filer and Harold Sales. Peck’s work is held in corporate, public and private collections. The Reykjanes Series of images were made at the various geothermal areas found throughout Iceland’s Reykjanes Peninsula. This is his fourth series of photographic abstracts. This series, however, moves between intervals of realism of the ground where nature is mining minerals and bringing them to liquid form and an overwhelming show of nature’s undisturbed artwork. The images are of raw thermal energy, the kind that has catapulted Iceland into the 21st century, in terms of green renewable energy and its massive economic benefits. The beauty of the images is as beautiful as the insight that they give into a future that is sustainable, environmentally sound and plentiful.
Curators: Edward Peck and Phyllis Schwartz (Sassamatt Collective)
As curators, Edward Peck and Phyllis Schwartz engage local and international artists in a conversation to develop an exhibition. They offer their participating artists the opportunity to collaborate and develop a body of work for exhibition. This collective approach invites diverse artists to work together: creating opportunities for collaboration and conversations about artist practices, the creative process and community engagement. Out of this process, a thematic approach to each exhibition is developed. Typically, exhibitions curated by Peck and Schwartz include community through artist talks, salons, educational workshops and exhibition catalogues that are archived in the National Library of Canada. Peck and Schwartz have worked as independent curators in both Vancouver and Germany. Their exhibitions include: Poetic Abstractions: Seven Visions (Place des Arts) and Impressions and Abstractions (Die Bedürfnisanstalt, Hamburg, Germany). Intervals: Photograph in Flux is their fourth curatorial project. In addition, Phyllis Schwartz has worked collaboratively to curate exhibitions with Best B4 Collective: Street Dance: A Record of Anonymous Performances (CityScapes, North Vancouver) and The Tree: Literal and Figurative (On-Tak Cheung Gallery, Vancouver).
SoMa — South Main Gallery
South Main Gallery offers a wide range of contemporary fine art, featuring works by Canadian and international artists. The Gallery’s mandate is to promote public appreciation of, and exposure to, the visual arts while developing strong relationships with visual artists. SoMa is committed to providing a venue for artists to display work and by doing so allowing them to pursue their passion for excellence. As well SoMa seeks to engage the neighbourhood and greater community in the passion for the enjoyment, exploration and acquisition of art.