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February 7, 2014

For the past 15 years, the John B. Aird Gallery has hosted a unique juried showcase of Canadian drawing. This year’s instalment is a particularly strong and balanced exhibition. I’m thrilled to have a piece represented in Drawing 2014 alongside some greatly respected media peers such as Erin Finley, Toni Hamel, Winnie Truong and Amanda Burk. Big congratulations to Amanda, whose piece “Quiescence” placed among the award winners!

“For this 15th annual juried drawing exhibition, 72 artists submitted 137 drawings for consideration by two jurors. A variety of drawing styles, media and techniques reflecting a spectrum of ideas about drawing were represented.

Two jurors, Ed Pien and Dale Barrett, selected the 33 works in the exhibition. Drawing 2014 celebrates the diversity and vitality of drawing, showcasing a range of processes, styles, materials and conceptual approaches.”

O with "The Following"

O with “The Following”

"The Following", 2013, charcoal on paper, 72 x 234 cm

“The Following”, 2013, charcoal on paper, 72 x 234 cm

I worked on “The Following” over the recent holidays. I’ve recently become interested in extending or elongating discrete moments in film. Inspired by a camera pan shot in Michelangelo Antonioni’s film L’eclisse (1962), the camera slowly pans across the commotion outside Rome’s stock exchange. My drawing captures a woman following a heavy-set man who has lost his fortunes in a stock market crash. She’s depicted twice. Technically speaking, there is a ten second delay from one end of the picture to the other. With my drawn rendition, the viewer experiences Antonioni’s scene as a single visual sweep.

The show continues until the end of the February.

January 15, 2010

Last week’s cold snap prompted me to submerge myself into Station Gallery’s collection storage and get better acquainted with our Inuit prints. The gallery’s holdings of work by northern artists is an outcome of a perfect storm between supply and demand several years ago. Many of the pieces came into the permanent collection at a time when the exchange between northern art production and southern acquisition funding was at a premium. 

Free market capitalism is so deeply entrenched and ubiquitous in our consumer-based society, it’s almost impossible to imagine another economic model in Canada. And yet in the North, traditional modes of exchange are still within lived memory – up there capitalism is the new kid on the block. 

A book that grapples with this topic was recently published and launched at YYZ, an artist-run centre in Toronto. Art and Cold Cash combines the collective efforts of artists Jack Butler, Sheila Butler, Patrick Mahon, Myrah Kukiiyaut, William Noah and writer Ruby Arngna’naaq. Graphic designer, Dale Barrett skillfully combined bilingual text (Inuktitut and English) and image. This publication is a substantial record of essays, interviews and studio production investigating capitalism’s overlap with artistic practice in Canada’s Arctic. Art and Cold Cash is a publication chronicling decades of discourse between artists living near the 49th parallel and those who live well beyond the tree line. Decade by decade, the North is slowly becoming like the South. Just as its climate changes, so too does its land and people. As the distinctions between Canada’s north and south become increasingly blurred, explorations like Art and Cold Cash hold more currency than ever.