CANADA'S ONLINE SOURCE FOR VISUAL ART INFORMATION
SUBSCRIBE TO AKIMBO     //     LOGIN
akimbo
app
 
ABOUT AKIMBO     //     CONTACT US
  • 09
  • 10
  • 11
THE NEXT 7 DAYS:     EVENTS (26)     +     OPENINGS (9)     +     DEADLINES (7)     +     CLOSINGS (15)
//////////////////////////////////////////////////////////////
copyright ©2017
Exhibitions
VENUE :
CITY :
TYPE :
DAYS :

back [+]

pic
Becky Ip, Up and Atom: forty-five hundredths of an inch. Screenprint, 2009. 22" x 30"

 

The Print Studio presents:
Accidental Literacy:
Briar Craig, Pascaline Knight, Becky Ip, Denise Hawrysio,
Judy Major-Girardin and Lisa Turner
Curated by Simone Aziga and Ingrid Mayrhofer
April 22 to May 28 2011
Opening reception Friday, May 13, 2011, 7:00 pm to 10:00 pm

Accidental Literacy features works by six artists who hail from diverse geographic, cultural and printmaking backgrounds. Though their practices vary greatly in content and presentation, each of them incorporates elements of chance to shape their imagery. The varied engagements with printmaking invite the viewer to gain a deeper understanding of the capabilities of the medium as an artistic practice.

Becky Ip evokes a theatre of the absurd when she describes “the allure and repulsion of operating a firearm while attempting and failing to mitigate the violence with selective imagery.” In the silkscreen series up and atom: forty-five hundredths of an inch, picture-book illustrations of an atom, a donut, a cloud, a horseshoe magnet, and a ghost, the 2-d representations of the objects functioned as paper targets. The artist shot ten rounds at each print with a .45 calibre SIG P220 semi-automatic pistol.
 
Briar Craig’s ultra violet serigraphs examine contemporary consumer culture and its impact on everyday existence. By assembling imagery using a Dadaistic sensibility, Craig calls to the viewer’s attention what he perceives to be “fragmented visual experiences in contemporary society.”

Lisa Turner implements her artistic practice as a means to examine mass media and contemporary consumer culture. She is particularly interested in investigating the constant availability and accessibility of products, and the insatiable public appetite for consumer goods. In the installation piece Untitled (Bulging Cups), she mimics the production and display of consumer products by stacking shelves with silkscreened multiples on paper.
 
Pascaline Knight presents her book A Knight Move ou L’Emergence de la Chrysalide and a series of short video works.  “I draw that which dwells, invisible, within appearances.” Knight states, “It is a question of letting another reading emerge, that of reality askew, deformed, sometimes monstrous, always fragile.”
 
“Patterns,” states Judy Major-Girardin, “set up expectations of order.” Yet, the artist sets out to defy expectations and break rhythm. The diptych Surfacing is part of a body of work derived from her observation, drawing and photographing of wetland areas. The play of light on water creates patterns that are abstract, contemplative, varied and repetitive.
 
Denise Hawrysio’s “Situational” printmaking practice evolved in the early 1980s during her stay in San Francisco when she encountered socially engaged, performative art. Of Pencil Stories, the artist states that the series of intaglio/digital prints were “determined by external forces, outside the studio.” Challenging the high art myth of artistic genius, Hawrysio has invited people who have no reason to revere art historical canons, to create images on her etching plate.
 
The alchemy of printmaking historically leads to dialectic reasoning between the confrontation of the accidental and the planned action, and vice versa. Ultimately, visitors to the gallery participate in the chance encounter with the artist’s intent, and the work returns to the social context that informed it.

Simone Aziga is an emerging interdisciplinary artist and curator. Simone holds a Bachelor of Fine Art (Honours) degree from Queen's University with a specialization in painting and sculpture. Her work often explores the intersections between art, fashion and gender constructs. Currently her installation, How I Got Over, is being exhibited at XPACE Cultural Centre in Toronto, ON.
 
Ingrid Mayrhofer is a visual artist, curator and community arts practitioner. Born and raised in Austria, she received her arts education at York University, and has worked and exhibited in Canada and abroad. Recent curatorial projects include an exchange between artists from Hamilton, Ontario and Cienfuegos, Cuba, and an archival intervention on the walls of the former Brick Plant in the Don Valley.

Media Contact: Sally Frater: programming@theprintstudio.ca
Gallery hours: Wed - Fri 12 - 5 pm, Sat 11am to 5 pm
The Print Studio, 173 James Street North, Hamilton, ON, L8R 2K9
Tel: 905.524.2415 | www.theprintstudio.ca | info@theprintstudio.ca

The Print Studio gratefully acknowledges the support of our membership and The Ontario Arts Council, the Ontario Trillium Foundation, Hamilton Community Foundation, the City of Hamilton, The Canada Council for the Arts, and the Department of Canadian Heritage.