Cling considers satellite dishes installed on buildings for their formal similarities to barnacles growing on a rock; as barnacles encrust a rock, satellite dishes encrust a building. Satellite dishes are notable for their purpose as sites of transmission between space satellites, personal electronic devices, and the sublime realm of the digital world; barnacles for their ability to colonize and grow on any available surface. Both are receptacles that reach out, be it to receive food or signals, and both often remain attached to surfaces beyond their lifecycle or use. Installed in close-knit clusters on interior or exterior spaces, the barnacle encrusted satellites create a congregation of receptacles that are removed from their utilitarian purpose. Twyla Exner’s work explores the emotional and material impact of technology on individual consciousness and experience and the various ways in which it infiltrates, permeates, and (re)configures tangible space. Psychologically and as concrete objects, technologies are portable companions and fixed appendages that provide a physical connection between the self and the expanse of digitized information and communication networks. Regardless of our material attachment to these electronic companions, it is not the objects themselves that are irresistibly alluring rather the more immaterial connections they enable. Our electronic accomplices ensure that we are never far from the people or places of our curiosities and longings and our homes, but as digital experiences replace actual ones, how do attitudes towards our physical environments change? Are we removed from the reality of real-world degradation when the recorded history of the Internet provides us with pristine digital files, easily retrieved and reviewed, while access to accurate information is lost in opinion? Digital devices are evidence of the need for actual resources as a prerequisite for participation in digitized environments. Ironically, this same metaphysical space prides itself as a release from materiality. But the bits and bytes of the digital landscape still require atoms and molecules that remain based on a physical system of wires and electrical infrastructure. We are all aware of the steady transposition of once precious, now abandoned technology, unemotionally replaced with advanced, more attractive multi-tasking tools as an inherent process of capitalism. As they are expelled, they become deemed only as problematic waste – the materials that comprise them built to last while unyielding impulse dooms the object to failure. With humanity’s current trend of incorporating biometric devices in everyday life, what becomes of ‘living-electronics’ as they enter this cycle of obsolescence? The works in this exhibition propose hybrids of technological structures and living organisms. They take form as abandoned technologies sprouting with new life, clever artificialities that imitate nature, or biotechnological fixtures of the not-to-distant future. Cling - Exhibition Tour
Briana Palmer gathers images, objects, and ideas from the everyday, exploring the intersections between the perception, experience, and social ideologies of her own cultural practices and upbringing. Traversing the line, with no fixed point unsettles our assumptions of place and belonging. The main component of the installation is the “Iron horse” – a railway system that runs through an installation of ephemera, nostalgic paraphernalia, and cultural artifacts. Large abstract wood block prints are accompanied by ceramic biomorphic components of various sizes. These are punctuated by a multiplicity of miniature narrative assemblages made from collected found objects and handmade elements. Similar narrative elements imbued with nostalgia, societal values, and the detritus of a media saturated culture are echoed in collages across the installation.
The use of the railway has been part of society’s cultural fabric since the Industrial Revolution and for many, it evokes personal memories and experiences. For Palmer, the railway is the sound of home and memories of her grandfather. For some, it is a reminder of their heritage, an industrial feat to be celebrated, a promised freedom or a trip to the hobby shop; for others, it is the symbol of the diabolical underbelly of environmental destruction, genocide, and colonization. The recontextualization and juxtaposition of the objects in Palmer’s work as a narrative strategy points to an instability of meaning and interpretation. As the assembled objects and images are transformed from their original context their history becomes relocated, positioning them between uncertainty and new possibilities of meaning. The exhibition title, Traversing the line, with no fixed point encapsulates various prevailing ideologies by neither denying nor allowing one fixed meaning, rather cultivating an experience of constant flux. While the narratives constructed in these miniatures seem whimsically surreal on first viewing, it is important for them to be regarded within a social and historical framework. The conflicting narratives of collections are revealed through the process of transporting images and objects, both literally and conceptually, from their original context and unsettling their history. Briana Palmer - Exhibition Tour
See a collections management project in action! In the nearly 40 year since its inception, Gallery 2 has developed a regionally significant collection of approximately 300 artworks. While only a fraction of these have been exhibited, that is about to change. In 2021, Gallery 2 is embarking on an extensive collection management project which includes installing rolling art racks and inaugurating a dedicated gallery for Permanent Collection exhibitions. In conjunction with capital funding from the BC Arts Council, we are installing industry standard lateral rolling art racks and flat file drawers to better store and maintain the Gallery 2 Permanent Collection. Over the next few months, we will be temporarily relocating the collection to the Fogg Gallery. This vital collections management work will form a baseline for future Permanent Collection exhibitions. This project will provide an opportunity to showcase different artworks as we move, catalogue, and document the Permanent Collection. The Fogg Gallery will serve as a dynamic and evolving workspace over the next several months. Depending on when you visit Gallery 2, what is on display will change. As we are better able to store and care for the work, we will be increasingly able to shift our focus to interpreting, exhibiting, and eventually adding to the Gallery 2 Permanent Collection.
Fern Helfand creates an observation point for viewers to contemplate how our environment, our society, and our very identity is being modified by resource use. Her work records the way we clear the land, build our homes, choose our materials, and shelter ourselves. It pushes the boundaries of photography beyond straight documentary images by merging multiple photographs and videos into composite creations. Printed and projected on a large scale, they more effectively convey the experience of place or event than what could be achieved through a single image, capturing a deeper sense of time and place.
Entering the Reid Gallery, a full wall video projection of a Boundary skyscape sets the tone. Change is constant and inevitable, clouds form and disperse in an accelerated timeframe, set against recognizable mountaintops. On opposite walls, a gigantic three-dimensional panorama of a log pile ready for transport faces a series of large format photographs taken locally at the Grand Forks Interfor sawmill and Son Ranch.
These depictions show the process of resource extraction and material fabrication, lingering on the details and highlighting the specificity of the process. Images of stacked lumber, log piles, industrial equipment, and sawmills bring a sense of curiosity and wonder to the sometimes conflicting paradigms of economic necessity, environmental stewardship, and community identity. Simultaneously honouring the importance of the lumber industry and questioning the ecological costs, Timber, Lumber, Wood, Home presents an unflinching and nuanced portrait of a regional economy influenced by global trends.
Second Nature: Resilience focuses on normally invisible fluctuations and all the small shifts that secretly, inexorably, add up to epic transformations. This video installation depicts an abandoned house in the forest gradually collapsing as time, nature, animals, and the elements take over and ultimately transform it. It reads as a time-lapse shot over several years, in reality, it is stop motion animation shot over many months, with the ruin and decay painstakingly animated by hand. From destruction there emerges a transformative beauty – the house becomes uninhabitable to some, but in its decay becomes refuge for others. Nature is endlessly narrating stories – we just have to sit still long enough to read them. Veronica Verkley’s practice is centered on the resilience of animals and their experiments in navigating the fluctuating borders between human/animal territories. Over time patterns emerge, individuals become familiar, migrations occur, undergrowth thickens, and stories unfold. This animation is distilled from those daily observations.
Changes in our environment are nearly imperceptible unless sped up as a time-lapse. Trees suddenly spring up and fall back to earth as generations of species eat, sleep, and die. The very shape of the land fluctuates as days, seasons, and decades pass. Incremental shifts add up to epic transformations as climates and ecologies falter, regenerate, and flourish. Built structures eventually collapse while living systems adapt and evolve. Life is resilient.
stra·tig·ra·phy
1. the branch of geology concerned with the order and relative position of strata and their relationship to the geological time scale.
The term “stratigraphy” is primarily used by geologists and focuses on the study of rock layers to investigate what occurred historically in an area. In addition, the term is used by archaeologists to identify the contents of strata in order to create a picture of the human culture that lived during a particular time. It is in the intersection of these two meanings that Leora Gesser began the visual investigation for this body of work.
Using these scientific concepts to drive a personal discovery of the relationship between strata, time, boundaries, place, and culture, Stratigraphy examines what has come before us; celebrating the beauty of the earth’s layers on which we both metaphorically and physically stand. This exhibition features paintings and prints of landscapes that are curious and seemingly unknown – on closer examination there are signs, symbols, and layers that become more recognizable.
Fossils, artifacts, and layers of strata representing events such as cooling, heating, flood, compression, drought, and human experience are captured by brushstrokes and reinterpreted in prints. The work is approached more as an emotive history rather than a series of landscape paintings. Elements of nature found above and under the ground loosely inform this work; artistic liberties draw us all closer to the fragility of our way of life.
The future, all our future, is yet to be decided. Stratigraphy is a celebration of the richness and diversity that surrounds us in the natural world. Can it be that the layers of the earth as well as the layers of humanity stay forever etched in the ground around us and in our unconscious minds? Can it be that this is what draws us to a place and unknowingly creates a thread of connection that we do not acknowledge but just feel?
While the entry point is recognizable traces found in nature, the viewer does not have the same traditional spatial orientation and recognizable boundaries – this playful depth perception means that realistic scale is of no consequence. Depicting the harmony and chaos in the textures, shapes, and colours found in a given space as well as the mosaic of the strata, this work represents the complexity and fragility of our planet, reminding us all of what is at stake.
Genevieve Robertson’s drawings involve extensive physical exploration and are materially linked to specific regions and their land and resource politics. This body of drawings uses pigments made with found carbon-based materials—coal, graphite, ash and wildfire-derived charcoal—collected in the East and West Kootenays where coal and graphite mining take place and climate-induced wildfires are increasing in severity. Gathered during walks to mine and forest fire sites, some of these materials are elementally linked to flora and fauna from the primordial past: both coal and graphite are produced from ancient living matter that has undergone immense transformation over millennia and are remnants of once-thriving ecosystems. While the arboreous region of the Kootenays is ecologically fecund, carbonized trees, smoke-filled skies, and falling ash are the apparitions of climate catastrophe. This project records a sustained effort to capture an elemental and animate quality embedded in these materials and is meant to evoke carbon’s duality as a life-bearing element and the effects of its accelerated use as a synthetic hydrocarbon.
The title of the exhibition, And Even Dust Can Burst into Flames, considers the power of art to do work in the world, and in this context also gestures toward references of climate accelerated wildfires and their paradoxical relation to both regeneration and loss, the metamorphoses of materials over time, and the regenerative potential of drawing to invoke the origins of these materials. More specters than specimens, these granular, stratified, biomorphic images suggest botanical field studies of the 18th and 19th centuries. By collecting, excavating, processing, and drawing with found materials, Genevieve Robertson implicates herself in relationship to the history of these representations and the industrial use of these materials: the entanglement of human, non-human and geologic bodies that coexist in our biosphere.
The artist would like to thank the Columbia Kootenay Cultural Alliance for making this work possible through a Major Project grant, as well as the Narrows Art Retreat (Nelson, BC), Access Gallery (Vancouver, BC), Sitka Center for Art and Ecology (Otis, OR), and Pterodactyl Studio (Salt Spring Island, BC) where the work was produced.
eocene CARBON STUDY ARTICLE - caitlin chaison
Grand Theft Terra Firma is an unflinching redress of Canada’s colonial narrative. By combining contemporary popular culture with historical source material, artists David Campion and Sandra Shields disrupt the celebratory mythology of nation building and invite us to critically evaluate our own continued and complicated relationship to colonial practices. As the title suggests, the exhibition appropriates the language of digital gaming to reframe the settlement of Canada as a complex heist. Specifically, the title refers to Grand Theft Auto, a series of popular video games considered highly controversial, in part because they require players to commit violent and immoral acts to achieve gaming success. Borrowing from this, the exhibition unfolds as a strategy guide to an imaginary video game based on historical events occurring within S’ólh Téméxw, now more commonly known as British Columbia’s Fraser Valley. Text and image come together to challenge the moral authority of the settler narrative as the artists employ common elements from gaming strategy guides to structure this body of work. Photographic portraits introduce us to the “players.” These characters draw on the archetypes of Canadian history, their fictional backstories describing their roles in the colonial project while simultaneously connecting our national history to the global conquests of the British Empire.
Photographs of artifacts from museum collections are presented as the “power objects” required by the characters for game play, and a series of digitally composed tableaux mimic “screen shots.” These photographic vignettes, achieved in collaboration with Stó:lō community members and actors of settler heritage, evoke the ongoing impacts of past events. As physical interruptions in a primarily photographic exhibition, the photo-studio backdrop, the outhouse, and the desk remind us that the writing of history is often a matter of perspective; how we describe and relate to the story depends on where we are standing. The artists’ use of gaming, satire, and humour provides entry points into difficult knowledge. These strategies encourage us to consider how history can become mythologized in its telling. The exhibition supports discussions around emergent notions of personal awareness and responsibility in the process of decolonization, and emphasizes the potential for art to promote critical discourse in divided societies.
Laura Schneider, exhibition curator Organized and circulated by the Reach Gallery Museum Abbotsford Grand Theft Terra Firm - Gallery Tour close
The Fine Line series marks a shift in Ian Johnston’s artistic practice from a focus on the materiality of a consumer culture to an investigation of the role of doubt in mass culture.
In Check Check, the ubiquity of the self-doubting individual is inextricably linked to a mass culture marked by distrust of the very mass media that gives it shape. Stepping into a space intersected by four large projection screens, the viewer is surrounded on all sides by a looping series of vignettes, screened variously in fragments and in their entirety and accompanied by a four-channel score from composer Don MacDonald. The events and the non-events in Check Check unfold in a sequence that subtly choreographs the audience’s movement within and around the installation.
Johnston’s turn toward video for this piece stemmed from the consideration of an obsessive behaviour familiar to most, namely our highly emotionally charged relationship to screens and digital devices.
In Observer, Observed, Meghan Krauss documents masses of tourists condensing together within each of the panoramic photographs in the exhibition. Compressed together, these people are all equally enthusiastic to be documenting the same picturesque landscapes, regardless of the quality of images taken or on what social platforms they will ultimately be displayed.
In our attempts to document our individual lives and to account for the uniqueness of who we are as individuals, we paradoxically end up doing the same thing as everybody else. Krauss’ analysis of the digital revolution we currently find ourselves in emphasizes the number of visitors that document these iconic places and the euphoria it brings. Observer, Observed reflects these individual attempts to seek out and become part of the recognizable world with technology.
Parrot Lake, 2013 Glenn Clark – Gallery 2 permanent collection
See depictions of place represented in the permanent collection of Gallery 2. From the iconic to the ironic, the way artists depict locality is both deeply personal and more widely contextual. The permanent collection contains a wide range of landscape work; featuring both regionally specific, recognizable landmarks as well as conceptually exploring the larger idea of landscape. From pastel drawings of the Brilliant Dam and prairie landscapes, to abstract relief assemblage and surreal interior views, Iconic Places, Artistic Traces will expand your notion of what constitutes a landscape.
Sanguine Through the Storm takes a hard look at the unsettling times that we live in; acknowledging the breakdown of evidence based discourse and ultimately finding inspiration and hope in human ingenuity. Robyn Moody’s ambitious installation began as an homage to clever repair for leaky pipes – strings of linked buckets drip water from the ceiling, activating lights within and music from a vintage organ. What began as a joyful treatment of space and material results in a cacophony of light and sound that reflects our collective anxiety.
The installation takes advantage of the double height volume of the Reid Gallery, juxtaposing the coffered wooden ceiling details and vintage stained glass clerestory windows with multi-coloured hardware store buckets and utilitarian tubing. The experience of Sanguine Through the Storm manifests the cognitive dissonance surrounding the current global political and ecological climate, eliciting conflicted emotional responses.
Not Extinct presents an immersive audio experience of Sinixt stories. The exhibition invites you to step inside the pages of the book by the same name. Enlarged illustrations and original artworks provide a backdrop for recorded readings while quotes from the book give a contextual background.
The heritage courthouse that houses Gallery 2 is fundamentally a symbol of colonial power whose legacy continues to underpin everything that we do. Within the larger national conversation about Truth and Reconciliation with Indigenous people, it is often difficult to know where to begin. Not Extinct provides a step – through hearing the stories we can begin to acknowledge that there were other people here first. Indigenous stories are an oral tradition; this exhibition is first and foremost an audio experience. As with all stories, there are lessons to be learned – in order for that to happen, the stories must be told – and heard.
Within the large plywood box, you look over a miniature model movie theatre constructed in hyper perspective. A western noir plays on the screen. Put on the headphones, and you become immersed in a classic theatre experience. Recorded using binaural audio, the audio gives you the sensation that you are sitting in an actual movie theatre. Beside you, there is rustling and your companion asks if you’d like popcorn. A multi-layered storyline emerges that combines the content of the film with the whispering of your accomplice. All the elements converge on a surprise ending. As a viewer, you become by turns a voyeur, witness, and participant in the narrative. Ultimately, this piece will displace you and question what constitutes a “real” experience.
In response to the devastating flooding of the Kettle River in 2018, Leta Heiberg has created a multi-medium series of drawings based around aerial footage taken during and immediately after the floods. The works depicts water flowing from mountain snow pack at an impressive speed - gaining volume and speed as it inundated areas previously considered high ground.
Water is its own entity in the work, multi-coloured and dynamic, contrasting surrounding landscapes in shades of black and white. Cheerful rainbow hues reveal as range of contamination washed in the watershed. As colour drains from the landscape, the shift in power becomes clear - control of the environment is impossible in an increasingly erratic world. Flood (re) view is a call to action to process what has happened on a deeper level and re-examine our relationship with a landscape that, while familiar, can become bewilderingly hostile in an instant.
River Relations is an interdisciplinary artistic research project undertaken as a reflection of the damming and development of the Columbia River in British Columbia, Washington and Oregon, and the upcoming renegotiation of the Columbia River Treaty. Five artists, two writers, and a geographer began by investigating and comparing historical and contemporary imagery and documentation of the river. Exploring the ideas and story line that emerged, the project contributes to ongoing dialogue around the river through visual art, writing, and public engagement. Through the creative process, the team synthesized personal experiences along the river with material found through research. The exhibition acknowledges the benefits of hydroelectric development while questioning the cultural and ecological costs of basin-wide industrial development. The resulting artwork uses real-world information that resonates metaphorically and allegorically, creating a space for the imagination and contemplation of human/nature relationships.
Post Diluvian is a partnership between Gallery 2 and the Boundary Flood Recovery (BFR) team. During the Boundary Showcase, we invite the community to share experiences and reflections on the flood, adding a layer of community -aggregated content to flood data and documentation. The culture form a larger narrative along with collected watershed information, satellite images, and flood documentation in an interactive map.
Throughout the summer season, visitors to Gallery 2 will be able to navigate the map, scrolling through the narrative focusing on different points depending on personal preference - seeing both the bigger picture and zooming in on the hyper-local.
See the visualization