Fine Arts Faculty Biennial
Introduction Juan L. Gomez-Perales Chair, Fine Arts Department Visual Arts Program Coordinator
Coordinator’s Comments Natalie Olanick
Exhibition January 23–February 19, 2020
Warren G. Flowers Art Gallery Dawson College 4001 de Maisonneuve West Montreal, Canada H3Z 1A4
Catalogue Reproduction on front and back covers are details of works by Fine Arts Faculty, 2019 3 In pursuit of artistic expression and integrity, the members of College the Dawson of and integrity, artisticIn pursuit expression has become exhibition a Biennial. The a Fine Arts created Faculty have Fine Arts biennial con- year’s This thepast 28 years. for tradition part ofthe department’s including the fast tinues the investigation on concerns while touching of the day, of decline of the alarming rate audience, of a world-wide imagesflow digital to nations social of due to the and strug- diverse migration environment, our known as personal inquiries as well within issues, the These gles that unresolved. remain this exhibition. While the for works thescope art, are frameworks of contemporary intention is to a particular the directly not address social exhibition’s may issue, challenges, a dialogue welcome enjoyment, articulation. of free works create The art. the to of practice contemporary and reflection—all integral questions, debate, biennial posits that definitions theThe diverse of artistic compelling are practice see we and experience the and future. how past, present claims for Olanick Natalie Coordinator’s Comments Coordinator’s
Juan L. Gomez-Perales Juan Arts Department Fine Chair, Coordinator Arts Program Visual CollegeDawson The Dawson College the present 14th Dawson to is pleased Fine Arts Department Faculty The of to our department the teachers is an opportunity for Biennial exhibition. This of our but a fragment collection which represents diverse highlight a of artworks, maintain each we Dawson, at teaching artisticindividual Aside from research. critics, theorists, as visual artists, curators, practice studio/research an ongoing be to our ability Maintaining this to is fundamental practice historians. and/or the to Due something our students. pertinent have good and to offer to teachers in this of presented the complexity of works artisticinherent the range language, of this the discourse. ongoing surface only scratch will really exhibition push them of zones out in an their comfort We our students. from expect a lot We re-evaluate what they think know. and to ideas new they already explore to effort artists and an recognizepursuit we thisAs process professional lifelong as a in share their our students thatteachers, to we, such as thisexhibition illustrates pres- students to our method Asthat part of our teaching require experience. we engage in a criticalent their and to discussion. artworks With this exhibition, we is of only exhibition course not This those roles. the opportunity reverse offer to and future. past, present community, the entire Dawson but for our students, for Introduction 2 New Light, 2019 Charcoal on paper 5 76.2 cm x 177.8 cm (including frame) I was born in theI was States United at the dawn of the decade saw much social and unrest That 1960s. pushback against was This change. for lobbying the of civil liberties, oppression and government change Radical policies power. and in greed rooted for a bright future to as the many key seen by was when the destructive is also true of today, all. This gain consequences of actions short-term guided by apparent increasingly are and selfish motivation in our social,political The and economic systems. dissonance and circumstances between present our altruistic potential in the sits uneasily psyche destinyof will beOur humankind. shaped our by ofacknowledgement that dissonance and our it. actions decrease to frankmulvey.com
In my work, the themes I am drawn to center on human folly, struggle, redemption struggle, work,In my center on human folly, the to themes drawn I am has become shade of an understated retrofuturism Of late, and transcendence. apply this with I don’t the bemused scepticism often associatedan added feature. of optimism about some trace reincarnate I wish to Rather, visions. with retrofuturist in echoes theour future from past through the of idiom old advertising slogans their mid-twentieth-century Unlike buildings. the onto painted words counterparts, attitudes that stripped convey are ofhere the consumerism with they which would than the rather Hope be objectscustomarily that itself is the linked. of desire focus, been conditioned have we expect. to Frank Mulvey Frank 4 Reflections, 2019 Jacquard weaving and embroidery, with linen and gold thread 90 cm x 90 cm
7 - - Voir Voir ) at the ) at the in Montréal, Canada in 2002. Canada in 2002. in Montréal, Premio Consorzio Brachetto d’Acqui Consorzio Brachetto Premio Julianna Joos lives and works in Montréal. She has She has in Montréal. Julianna Joos and works lives and since years forty over for been a printmaker art. She has on textile 2004 she has also focused amongst solo exhibitions, twenty-five over presented them Art Space one at CQUni Noosa in 2017 and Marie-Uguayat la Maison de la culture in Montréal She completed a Maîtrise ès Arts (M.F.A.) in 2017. de maîtrise en arts plastiques (concenProgramme du Québec à Montréal at l'Université création) tration printmaking, drawing She presently teaches in 1996. & digital art in the Fine Arts Department at Dawson major interna two College She has won in Montréal. tional prizes in printmaking, including the Purchase tional prizes in printmaking, including the Purchase Award ( dell’Incisione in VIIème Biennale Internazionale at Italy in 2005; and the Prize First Acqui Terme, http://www.julianna.jujoos.net Grand: Biennale d’Estampe Grand Format de l’Atelier de l’Atelier Format Biennale d’Estampe Grand Grand: Circulaire is an embroidered Jacquard weaving about weaving Jacquard is an embroidered Reflections empowerment. a from weaving, the Jacquard for structures the weaving digitally created I have in Japan. of An omikuji outside a Buddhist temple tied omikuji taken photograph through can purchase which you on a strip of paper, written fortune, is a random the with work linen woven I have files, the digital Jacquard From a small offering. hand using golden by the weaving finished Jacquard embroidered I have thread. tradi- and a stitching methodthread the mending technique, Sashiko by inspired theirtionally people Japanese clothes. repair used to by Through mindful stitching, I am attempting to come to terms with my day-to-day with day-to-day terms come mindful stitching, my to to I am attempting Through could mending Sashiko The the through knots. way my Stitch stitch I make by life. gone on forever. have Julianna Joos Julianna - Love (Cambridge (Cambridge (Artist Proof (Artist Proof Ces artistes Ces artistes (La Centrale, Montreal), Montreal), (La Centrale, In abstentia (Centre de diffusion Presse (Centre de diffusion Presse Fibreworks 2010 Fibreworks Forget Me Not Forget (Bibliothèque Nationale du Québec, (Bibliothèque Nationale du Québec, (Caravansérail, Rimouski), (Caravansérail, La disparition (ARPRIM), Papier, Trois- Rivières), Rivières), Trois- Papier, (Alma), Frans ous artist SAGAMIE residencies: Belgium), Seacourt CentrumMasereel (Kasterlee, Northern Ireland), (Bangor, Workshop Printmaking Finland), (Jÿvaskÿla, Printmaking Centre for Jÿvaskÿla among others. (Montreal), Circulaire and Atelier Galleries, Cambridge) and Galleries, participated Calgary). She has also in numer Gallery, Lost Secousses au Québec sur l’estampe qui impriment: un regard depuis 1940 Montreal), Maria Chronopoulos currently lives and works in in and works currently lives Maria Chronopoulos Recent include significant exhibitions Montreal. is part of a is part of a
Katrina (∏APA∆IA) T∑O∏PA∑ (∏APA∆IA) Katrina
6 as a process print and to and print. I am particularly textile drawn lation, sculpture, exclusive is not art. Although practice my contemporary into it is integrated how of ideas investigates making art. My artwork to approach my print, print informs to longing, death and melancholy. loss, love, My practice is multidisciplinary and includes drawing, photography, video, instal- instal- video, photography, is multidisciplinaryMy practice includes and drawing, series of prints that I am currently working on that explores my family history and and history family my series of prints that on that working I am currently explores politics, colonialism and migration. reflections on identity,
Maria Chronopoulos Maria cm 55.9 x cm 38.1
Inkjet print Inkjet
Katrina ( Katrina IA) T IA) APA , 2019 , PA O ∏ ∏ ∑ ∆ ∑ Walking With: An Invitation, 2019 Audio-visual portraiture Variable time duration
9 - (DARE-DARE, (DARE-DARE, [in-tur-pri-tey-shuhnz] While Walking (Oboro/Onishka, 2015); a partici- 2015); a partici- (Oboro/Onishka, patory audio walk titled audio walk patory project 2014); and a curatorial history that on intersections between focused oral 2011). Pohanna Gallery, art (FOFA and contemporary 2019 (Art Education, her PhD in received Concordia College. at Dawson art history and teaches University) www.walkingwith.ca Pohanna Pyne Feinberg’s work explores collective collective explores work Pyne Feinberg’s Pohanna ofsensory attune impermanence, textures memory, ment, and decolonizing pedagogy through a range such as community collaborations and of forms in-situ co-creations of her with Examples place. photograms include a series ofprojects cyanotype (2015–2016); alleys through green made during walks experi- multiple made from audio-visual portraits ments her neighborhood with around attuned walking (2008–ongoing); sound installation/ a collaborative on theperformance theme titled of coexistence, Gibideweshinimin - in its its in — explores walking as a form of artistic expression and inquiry form a as walking explores Walking With Walking manifold modes and paces. Walking generates embodied knowledge through embodied through knowledge generates Walking modes paces. and manifold with with theeach encounters become ofdynamicsof ourselves place; we more walk. we shapes where presence our trace, our leave we as Likewise, movement. their informs walking their about insights how share to invited artists were Twelve Sylvie Ferraton, Cam,Dominique Doonan,Cotton, Sylvie Natalie practice: Ette, spen elaine Ng-Chan,karen Taien Monnet, Emilie McCartney, Andra Laplante, With for invitation an also is Walking Stanton,Vaughan. Kathleen Victoria cer, with perspectivesyour resonate the do reflection: in artists’ us How join to you describe you would How experiences? lived your from theydo differ how Or, own? to stories have of you Do theworld? understanding influences your walking how process? creative your to contributes walking about how share the Social Research and Humanities was supported Sciences by This research Council of Canada. Pohanna Pyne Feinberg Pyne Pohanna - nial performance art festival in Montreal. art festival nial performance www.rachelechenberg.net Rachel Echenberg is a visual artist who works in EchenbergRachel is a visual artist in who works Since 1992 and video. photo sculpture, performance, she has been and screening exhibiting performing, as internationally Canada as well across her work Finland, France, Czech Republic, in Belgium, Chile, Poland, Lebanon, Morocco, Italy, Israel, Germany, Switzerland, UK and USA.Portugal, Echenberg holds Scotia the College from Nova of Art and Design a BFA from Performance in Canada and an MA in Visual CollegeDartington of Arts in the UK. Her video work and Vtape in Montreal Vidéographe by is represented Echenberg in the Rachel currently teaches in Toronto. College she Fine Arts Department of Dawson where of She is a president is coordinator the 3D discipline. Action, Art a bien member of VIVA! and programming , mother and , mother and
How to explain performance art to my teenage daughter art to my performance to explain How
8 the difficult intricacies an inti- art through of embrace understanding daughter and Absurdity Joseph Beuys. by a 1965 performance actionmate that references that can be learning activity. a sensory reveal to merge tenderness In the video In recent years, I have been with working I have and of the home through theme of family years, In recent been I have space. in shared and interaction vulnerability notions ofintimacy, creation as strangers—directly my as well into family bringing others—my own and tension balance relationships love complex how explore to process in order outside of sentimental notions. or romantic
Rachel Echenberg Rachel minutes 6
Video How to explain performance art to my teenage daughter, 2018 daughter, teenage my to art performance explain to How Compiler, 2019 Oil and ink on linen 11 147.3 cm x 147.3 cm - dencies, including the including dencies, Studios MoCA, at MASS Studiothe Centre. and theBanff Centre Vermont in Mikhail Gallery the Patrick by She is represented in a solo exhibition she will have where Montreal the spring of 2020. Antonietta Grassi’s work has been featured in solo in solo has been work featured Grassi’s Antonietta at museums and galleries in exhibitions and group including Canada, the and Europe, States, United Quebec du the Musée National des Beaux-Arts and Bina Ellen Art Gallery, the Leonard (MNBAQ), Artcite House, Harcourt R3, Hall, Galerie Stewart is in Her work galleries. commercial and many collections, including and private corporate, public, Global Affairs, Desjardins, Groupe Le the MNBAQ, to Library and the Public Boston Ontario Archives, the from of grants She is a recipient name a few. the Arts and theCanada Council Conseil for des from She holds a BFA du Quebec. Arts et Lettres l’UQAM. from and an MFA Concordia University artist has participated resi in numerous Grassi My recent paintings reference work related to textile production, textile to analog technol- related work paintingsMy recent reference ofogy filing and sorting data processing. and systems clerking to file data, from The associated almost obsolete. with is now is traditionally work women, yet This but reflect or simply formal arbitrary not are shapes work lines, in my and colours life, in the and in my world events influenced by are colours The experiences. lived whether significant, such as the they fuchsia pink of are the millions of women objects me that surround such as the everyday or prosaic, in 2017, who marched and file folders notes Post-it from ranged have My colour references studio. in my studio on the my the Lachine Canal. to from light at dusk viewed Antonietta Grassi Antonietta - Line Line , exhibited at the Warren G. Flowers Art Art G. Flowers at the Warren , exhibited in Canada and Taiwan. As an active member As an active member in Canada and Taiwan. & Verse Circulaire, Atelier d’artistes, centre of L’imprimerie, and Arprim, has sat on the Claude of boards artist run and vice president. president as administrator, centres College at Dawson in Montreal. She is an art teacher Québec de Canadien is part ofHer work the L’institut la Bibliothèque de Gabrielle- collections, l’Artothèque Gallery. Yahouda Joyce and Roy, Claude Arseneault completed her undergraduate and and completed her undergraduate Claude Arseneault and has since degrees at McGill University graduate and digital on printmaking workshops many taken the entitled exhibition she curated imaging. In 2008, Book: Artwork College In 2009-2010, ofGallery Dawson in Montreal. the International selected Biennial for was her work of and theof Sarcelles, Original Prints Okanagan participated She has B.C. in Kelowna, Triennial Print collec a Multiples, in including residencies Identités in Montreal, Graff at Atelier residency production tive at the Scuolaand a recent residency Internationale her work exhibited She has Italy. in Venice, di Grafica such as la Maison de la Culture venues, in many Gallery Yahouda Joyce (Montreal), Plateau-Mont-Royal Her gallery (Toronto). and John B. Aird (Toronto), exhibition entitled travelling a of part are prints - - - - , marked Nouvel élan, marked , and Lieux Communs, and
, an interactive installa , an interactive Home/Studio
10 tion, scrutinized the artistic of loft meaning my as a place where and domestic work is on the of the role interest collective my printmaking studio as Currently, merges. and on the of the the produced nature work a workplace, by artist A play members. and continuous concepts and positions of this different ful portrait in printed arts, of an artist the book, form takes work an installation and a series of piece, large- the educational by scale prints inspired charts. wall questioned the and urban notions individual and collective, of original and multiple, the Departing from notion of thespace and nature. print edition, the I investigated installation the work. participa create to In 2013, matrix as a means reproducible In 2011, my works were part of a group exhibition entitled exhibition part of a group In 2011, were works my In earlier works my interest gravitated from the observation of the the observation from cold inside to gravitated interest my works In earlier of Images of the of views outside. ice accumulation and snow larger and removal repetition, for and submission. resistance metaphors My process trans are snow etching, photo digital reworking, using scans, capture original photographic forms and urban natural In a series prints, of hybrid techniques. etching and traditional and man-made objects share nature how juxtaposedlandscapes express are to territory. a given and dispute installation,tion of and reaction the an interactive public to the appreciate work the to the where public is invited turning point an approach to with it. In 2017-18, interaction through physical
Claude Arseneault Claude cm 80.6 x cm 121.9
Etching and aquatint, on BFK Rives paper Rives BFK on aquatint, and Etching Imaginary Realm, 2018 Realm, Imaginary Woven pattern ball #2 (after Shyrl), 2019 Dressmaking pattern paper from the estate of Shyrl Henson London 13 116.8 cm circumference, weight approximately 2 lb Naomi London has been teaching in the Fine Arts has been the in Naomi London Fine Arts teaching and CollegeDepartment at Dawson since 2000, Chair of 2013– thewas from Fine Arts Department She is a visual artist with focused a practice 2015. Her works and drawing. on sculpture/installation public collections including the held in several are the Musée de Montréal, Contemporain Musée d’art and the Winnipeg de Montréal, des beaux-arts of the from University She has an MFA Art Gallery. from AngelesSouthern and a BFA in Los California and is a member in Montréal, Concordia University of Canadian Academy Arts. of the Royal http://www.naomilondon.com/ Woven pat- pat- Woven was made entirely of dressmaking patterns that I that I patterns of dressmaking entirely made was tern ball #2 (after Shyrl) 2019, #2 (after Shyrl) tern ball the in needletrade years for mother worked My mother. late my from inherited paper only using created object was This clothes child. a ofas all my sewed and sta- office and store supply mother, my by cut and drafted patterns dressmaking of time).lot a (and ples tree... its from far fall apple doesn’t An influence labour her profound and honour to attempt an object is discreet This life. my on In recent years, I have been making sculptural objects out of materials that hold that of hold objectsout materials been sculptural making have I years, recent In history. personal and functional intimateand connections work my to Naomi London Naomi - conference and was and was conference Siggraph Lise-Hélène Larin holds a BFA from Concordia Concordia from Lise-Hélène Larin holds a BFA Québec du l'Université from a MFA (1976), University du l'Université (1988), and a PhD from à Montréal (2011). Fine Arts at Québec à Montréal She teaches Early College. and at Dawson Concordia University in 2D animation at the she worked in her career, her prizes for many and received NFB and CBC, work.of a prize In addition she received this, to in 3D animation. Since her research for excellence has been 3D work selected many 2002, Larin’s times at the annual Europe all over that show toured part of a travelling her films and the She has also shown States. United at the Sony in Berlin and Belgium. Centre In New been build onto projected her images have York, ings in Times Square. ings in Times -
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12 non-figurative space to as a means physical 3D animation explore tool to is my is one of the concepts mathématique” I developed “objet The virtual architectures. PhD thesisin my on 3D animation. this mathematics I borrowed notion from to With surfaces. on various printed a series ofapply it to my sculptures “mathe matical objects,” I go to the heart of digital activity to extract autonomous and and autonomous the I go to of heart digital activity extract to matical objects,” objects of these give abstract to mathematical I want from sums. forms sensitive mode thanmathematics of in the the on existence ones elaborated a different of see also open up other ways mind. My “mathematical objects” mathematician’s image. ing the computer-generated
Lise-Hélène Larin Lise-Hélène cm 106.7 x cm 91.4 x x cm 60.9 base, Trampoline mirror, Plexiglass round
Moebius strip, still from 3D animation printed on white Styrene, white on printed animation 3D from still strip, Moebius Mending the infinite, 2018 infinite, the Mending Lonely Boy, 2018 Oil on Canvas 15 117 cm x 170 cm
at Galerie at Galerie Reflects IV Reflects at John B. Aird at John B. Aird at the Warren G. G. at the Warren at Musée des beaux- Global Warning: Scenes Scenes Global Warning: After Landscape Uncommon at Galerie d’Art d’Outremont d’Outremont d’Art at Galerie Nature of Conflict Nature Forces of Nature Forces (Outremont, Quebec), (Outremont, Quebec), Art Mûr (Montréal, David Hall was born in Vancouver, British Columbia born in Vancouver, Hall was David at Fine Arts professor and a He is a painter in 1959. Hall holds a College Quebec. Dawson in Montreal, the from Emily Carr College of Art and Design BFA Scotia the College from Nova of Art and and an MFA work Hall’s years, than more twenty-five Design. Over has been in both exhibitions shown solo and group Recent exhibitions throughout Canada and abroad. are Ontario), (Toronto, Gallery Pressure a Planet Under from Quebec), (Montréal, de Montréal arts at Maison De La Culture Marie-Uguay (Montréal, Marie-Uguayat Maison De La Culture (Montréal, Quebec), and Quebec). work His (Montréal, Art Gallery Flowers in the collectionsis represented of the Musée des La collection d’oeuvres de Montréal, Prêt beaux-arts d’art, d’oeuvres Banque du Musée du Québec, d’art Conseil and the des arts du Canada, Lotto-Québec, private is also in several His work Art Gallery. Surrey collections. and corporate davidhallpainter.ca - - tions have ships as their focal points. They are seen as small and vulnerable within seen as small and vulnerable are They points. ships as theirtions focal have subsumed by them. that feel the these to surrounds environment I want vessels Most the beautiful, part of. but at the they are atmospheres time same threatening optical phenomena, such as minor and major mirages explored recently I have of disorien a feeling create compositions. in some of my and Fata Morgana They tation and a questioning and what is an illusion. of is real what I see my seascapes as extensions of the seascapes I am concernedI see landscapes. as extensions my with many deep spaceof perspectives, the variegated like same principles and techniques, of these composi Several quality and atmospheric lighting and colour. surface David Hall David - - - Les Fenêtres Fenêtres Les at the Ana notes sur notes at the at the Maison de la cul Trip Road at Concordia at Concordia Outer Place The Inner Space/The Lynn Millette has worked in both traditional and both in and traditional has worked Millette Lynn back media.electronic She has a comprehensive including the culture to in disciplines related ground literature, psychology, philosophy, technologies, new experience and the as practical humanities, as well writing. Millette and critical/analytical in research exhi has participated individual and group in many bitions throughout her career, including the recent including the recent bitions career, her throughout solo exhibitions 2019) and Janine-Suttoture (Montréal, Notre-Dame- at the Maison de la Culture sur l’eau include shows 2013). Group de-Grâce (Montréal, Spain, 2019); the of main show (Valencia, Epicentre Biennale; the 4th Wrong 2012); (Montréal, Chapelle du Bon-Pasteur historique and has a BFA Millette 2008). Lynn (Montréal, University a MA ès Arts (UQAM), and a (Concordia University), at is indexed Her work (Concordia University). PhD Art and can Canadian Contemporary the for Centre and public collections. private in several be found
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14 glass where My painting randomness a sampling of organized is part and parcel an Below, on the tree. arms of a birch found unicorns are icicles and prancing of vines and out of the its head in an environment alpaca pokes tree baby unlikely of perhaps, inner imaginary whimsy that touch berries would snow – a prototype the imagination, with shared the and is now outside. Anecdotes have always been part myth, created stories, born been of deep stories, inspiration. myth, part always created Anecdotes have the usual has been a constant taking shuffle of change into called ideas to Lately, origins. obscure flight from Life often happens between events where I find myself fascinated by the by opportu fascinated I find myself often happens where between events Life our daily experiences. into Fantasy is making its way realities. many interpret nity to shift The of belief. corroding our system gradually are one, for illusions, gaming The and values. in political our morals disrupts rhetoric
Lynn Millette Lynn cm 99 x cm 122
Acrylic on canvas on Acrylic Ditto, 2019 Ditto, Arcadia ‘89, 2019 Digital collage 76.2 cm x 55.9 cm
17 - Joe Becker has exhibited his work at The Phi Centre Phi Centre at The his work has exhibited Joe Becker Painting 2: Vol. Blanche 2013) and in Carte (Montréal, Canadian Art Museum of Contemporary at The - as in international exhibi 2009), as well (Toronto, Angeles. and Los London, Leipzig tions York, in New and private in many His paintings can be found collections includ- corporate in Canada and the US, He York. in New ing the Absolut Collection–M.O.M.A internationalhas participated art fairs, in numerous L.A.,including Aqua Miami, Pulse Scope York, New Scope Madrid, and DC Miami, ARCO Dusseldorf He is the of the recipient 2013 Tom Contemporary. and the 2014 Award Hopkins Memorial Graduate received Becker Award. Graduate Lillian Vineberg in draw and his MFA OCADU in 2003 from his BFA in 2015. Concordiaing and painting University from - - There are many recurring themes innocence, recurring corrupted many work: and subjects in my are There and icons of youth. These characters, mass-marketed notions of nostalgia, decay, remained anxieties, and have themes social part of our shared and cultural are an create resulting efforts The the throughout practice important years. my to that youth mined besieged appear from in a universe agitated with characters all recognize these eithercommunity figures consciously of their making. We own chain mascots, food fast morning cartoons, Saturday from or subconsciously, and videogames. But they have movies horror to aisles, cereal and supermarket they and deserted, solely subsist as mud and now been abandoned, obsolete, a good of memory like drinking story. in loops existing or fragments dled traces What happens turned all out that find out so badly? when we they have Aged, and indulging themselves in their filthy profane miserable, diminished, choleric, space uninhabited that in a free human vio encapsulates exist They thoughts. incensed and are powerless, are characters These lence and human solitude. against theirrebelling fate. Joe Becker Joe exhi- exhi- Scientificous
bition at the Manifest Gallery in Cincinnati, Ohio. In this work, in Cincinnati,bition Gallery Ohio. at the the of Manifest the worldline space (5 space/time dimensions), in four-dimensional as viewed black sphere, and passes the through ofis extruded the worldline Embalse de Escalona Dam engage the to the same sphere for time it takes Spain. The southwest of Valencia, hours. space that 5.5 occupied the dam previously is just over Geodetic rotational displacement drawings are four-dimensional drawings scribed drawings four-dimensional Geodetic are displacement drawings rotational is based principle on the con- drawing rotation. The the of theby gesture earth’s as described theoretical While the by cept of lines scribed physics. a worldline, by us in three-dimensionalthe to invisible they dimensions objects are in four space, with other. each interact and solidify (although transparent) extrude, is documentation the made specifically of This an artwork for
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Juan L. Gomez-Perales L. Juan sec. 7 min. 35 hrs. 5 x km 7244.5
geodetic rotational displacement drawing displacement rotational geodetic GRD151, 2015 GRD151, Choke Cherry, 2019 Video with sound 19 Variable dimensions Using sound and video, as well as sculptural and and as sculptural as well sound and video, Using work Baumflek’s David interventions, architectural of mediation the embed layers investigates complex - ded in human perception. combine the His works economy of Minimalism with an inter- formal sparse receiving After est in political and aesthetic theory. a studio Baumflek was Institute, Pratt from an MFA in the Museum Independent Whitney Study art fellow has work and performance His sculptural Program. such as Exit Art, Sculpture been in venues exhibited Wilson Art Museum,General. and Art in Center, has beenHis video work in Anthology shown Film Cinema du Nouveau Festival York), (New Archives (Lisbon), Triennial Lisbon Architectural (Montreal), Experimental Film (Zurich), Australian VideoEx (Melbourne), (Dusseldorf), and Kunstfilmtage Festival among others. - This experimental diary film captures ephemeral moments of the filmmaker’s moments of the filmmaker’s ephemeral diary film captures experimental This objects and spaces that com everyday as the overlooked well as easily life family this image as collage material, work moving Using environment. prise his affective but also an alternative of its maker, of only a micro-portrait constructs the not life experience of consciousness. consider fragmentary the to means mercurial, David Baumflek David Natalie Olanick is a painter, writer and curator who who and curator writer Natalie Olanick is a painter, the in College. teaches Faculty of Fine Arts at Dawson considers the work subjectsHer current of patterns She has participated in national and circumstance. including most recently and international exhibitions, the Book the at 8th Artist’s International Biennale for Bibliotheca in Egyptthe Alexandrina (2018). http//natalieolanick.com - are an exploration of the loose yet of the loose yet exploration an are
Light through trees Light through
18 the ofrecognition ofawareness: circumstances acknowledgement an or precise in Walking moment. a the thatof memory lingering captures yet oftime, passage see We ourselves. see around we what in therole our park, imagine to start we construction, part that experi past the part are and meanings and messages be can it seen ofthe the in various how experience and shadows light We ence. act The interpretation. ofthat timemoment a the holds for ground feel We trees. viewing for threshold a the into light of painting this transforms fleeting gesture theof imagination.spirit The paintings the in series The
Natalie Olanick Natalie cm 121.9 x cm 121.9
Oil on canvas on Oil Light through trees, 2019 trees, through Light The Soft Sounds of Inner Beauty, 2017 Oil on canvas 21 152.4 cm x 127 cm - - ing techniques. She has received several awards, awards, several She has received ing techniques. institutions from including and grants, scholarships the The Conseil du Québec, des arts et des lettres Social Sciences Council and Humanities Research of Canada, the Elizabeth Foundation, Greenshields for and the the She worked Canada Council Arts. for in the industry commercial years several designing the under paintings home décor for market prototype She is a member at art the Mia Archer. pseudonym at sat on the and of board directors icule and Skol, articule between 2014 and 2016. Kristi Ropeleski is a Montreal-based artist, and her artist,Kristi Ropeleski and her is a Montreal-based internationally been over paintings exhibited have as The such venues in diverse the past 10 years the Study CenterPhiloctetes of for the Imagination City and at the Museum of Canadian York in New College, Art. She studied at Dawson Contemporary and holds a Master’s and Concordia University She is University. York Arts from in Visual degree application, in makeup trained also professionally As ongoing education, and ceramics. photography in classical painting and draw she is self-training As an artist and painter Kristi Ropeleski is interested in how we represent our our represent we how in Kristi interested Asis Ropeleski artist an painter and Using return. in us influence these how in representations and ourselves to world of her the realism exaggerates deliberately she painting classical techniques, the between pictorial relationships work, recent her In explores she images. desire. and illusion space, Kristi Ropeleski Kristi - Matt Shane makes paintings, drawings, and room- and room- paintings, drawings, Matt Shane makes installationssized in collaborative that anchored are a follow worlds His pictorial of landscape. the realm ground, at a mercurial and arrive Romantic lineage at the of border wilderness and civilization, percep- the from a BFA obtained Shane tion and fantasy. Concordia from MFA and an of Victoria, University grants numerous (2013). He has received University drawing and has made 20 massive and awards, installations alongside his best friend, Jim Holyoak. and and has done residencies widely, He has toured on threeexhibitions continents. collabo His recent rative works have been shown at the Midlands Arts been at the shown have Midlands Arts works rative Centre (Birmingham, UK) and at the Musée national Canada). Shane du Québec (Québec, des beaux-arts and painting drawing and teaches in Montreal lives College. at Dawson
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20 possible ‘tilt’ and it is now to tinually evolving the ‘fly’ to view 3D buildings and over of on the landscapes than My images began appearance rather take to terrain. based on these drawings I made a series of rendered carefully Last year, maps. at times faithful staying of ink and water, washes out delicate I drew screenshots. hoping I was imaginary realm. a heightened into theto image and at times straying and attention these to time a hand-made care otherwise down give slow and to digital waypoints. and hallucinatory ephemeral Since 2005, I have spent countless I have gathering on Google hours screenshots Since 2005, Earth, is conchoosing locations program that trigger personal,episodic The memories.
Matt Shane Matt cm 183 x cm 130
Ink on paper on Ink National Gallery, 2019 Gallery, National Lion cheetah, 2019 Html file Variable dimensions
23 - Andres Manniste has been Manniste withAndres working communica tions consistently technologies factoring since 1993, these his technological into and critical environments participated He has solo and group in many projects. He has been the recipient his career. over exhibitions the from important prizes including grants of several can be the work His found Canada Council Arts. for in public collections Museum including the Montreal Art, theof Contemporary Heritage Collection of the the and Canada Council Art Bank.Quebec Archives, is a grouping of animated gifs and a sound track meant to be to seen meant and a sound track of gifs animated is a grouping Lion cheetah subjects of thison a screen. a running cheetah piece The superimposed are a on on it, a muscle car, a star with the MGM lion layered a swimmer, landscape, prairie placed imagesbackground. on a jungle are These of plasticand a group soldiers. mixed was track sound The clips. film found from created is gif Eachanimated The CSS. and html using assembled was whole The of noises. variety a from is and metres) square (2.82 px 8000 X px 8000 intentionally is size screen of space the available virtual unlimited representative is It be to scrolled. meant internet. on viewer a to of is a reflection the constructed work impression of that my manner I have This the star, All the running toward images are capitalism manipulates. that market while the in an be appear and compound to symbols moving of interest interest geopolitical that current to events refers obviously work opposite direction. This has become. about world had me wondering what my have Andres Manniste - -
tory to natural history, and the earth sciences. These and the earth These sciences. history, natural to tory Canada and been across paintings exhibited have pri public and in numerous featured and are abroad collections. and composes He also plays as part vate Gombo. and Grouyan Flaneurs bands Les of Montreal Harlan Johnson is a Canadian artist and educator. His His Harlan Johnson is a Canadian artist and educator. his from ranging interests often revealed have works
22 hiding and exposing and layers, Harlan builds up theIn the forms worlds, painted things the until painting something seem like it starts to actually representing is skin of the The hintingsignificance. at experienced with a similar randomness, of an artifact or inanimate—like it is itself partly alive like painting feel also has to the actual world. Harlan Johnson’s paintings depict how the living or landscape forms around us us paintings around the depict how living or landscape forms Harlan Johnson’s unusual. In the the world, non-painted yet things that can be familiar seen feel hint at connectedness devices, and conscious by itself or revealed the eye by way. in a fluidly random presented they are like design. Nonetheless, they also feel
Harlan Johnson Harlan cm 81 x cm 41
Acrylic and oil on panel on oil and Acrylic Mint Warld, 2019 Warld, Mint Acknowledgements
Diane Gauvin Generous support Andréa Cole Generous support Director General Generous support Rhonda Meier Administrative Officer for the Warren G. Flowers Art Gallery WGF Art Gallery Committee Acceptance of exhibit proposal Helen Wawrzetz Administrative support Emma Doubt Proofreader of all print content Andrew Di Leo Graphic Designer Natalie Olanick Exhibition organizer, Creative Director, exhibition installation David Hall Exhibition installation Matthew Ste. Marie Printshop (catalogue, posters and other print material) Faculty of Fine Arts Creators of the artworks Frank Mulvey Continuity and editorial support
Library and Archives Canada Cataloguing in Publication
Title: Fine Arts Faculty Biennial 14. Other titles: Fine Arts Faculty Biennial fourteen. Names: Fine Arts Faculty Biennial (14th : 2020 : Montréal, Québec), author. | Gomez-Perales, Juan L., 1957- writer of introduction. | Dawson College, publisher. | Warren G. Flowers Art Gallery, host institution. Description: Companion publication to the Fine Arts Faculty Biennial 14 exhibition held at the Warren G. Flowers Art Gallery, Dawson College, Montréal, Québec from January 4 to February 3, 2020. Identifiers: Canadiana 20200153641 | ISBN 9781550169683 (softcover) Subjects: LCSH: Dawson College. Fine Arts Department—Faculty—Exhibitions. | LCSH: Art, Canadian— Québec (Province)—Montréal—21st century—Exhibitions. | LCGFT: Exhibition catalogs. Classification: LCC N6547.M65 F58 2020 | DDC 709.714/2807471428—dc23