Electric Cedar, Hemlock Blues…

Review October 19, 2016

By Sara Korzec

From September 16th till October 22nd Field Contemporary hosted an exhibition titled Electric Cedar, Hemlock Blues by artist Cameron Kerr. A small group of sculptures, presented in a clean and minimalist arrangement in the gallery space quickly enveloped the viewers senses with the fresh scent of timber–Kerr uses wood salvaged from logging waste on northern Vancouver Island. It was difficult to control yourself and not want to touch them, as it seemed that they spoke some sort of haptic language. The leaking glaze on the geometrical sculptures resembled ceramics, (an epoxy method created this impression) which for me, triggered associations of fever visions–well, now you understand why the works were titled, Hallucinations.    Read More

Of Black Holes and Feminine Flesh

Review October 12, 2016

By Kristina Fiedrich

A woman dances alone on a stage. The swathes of fabric bellowing and collapsing around her as she moves; spinning, swirling. From one moment to the next, the dancer’s body becomes engulfed by the folds of fabric, disappearing from view, while simultaneously expanding, transforming and breathing beyond her skin. Described by art critic Mallarmé as resembling giant petals, butterflies or a conch shell unfurling, (1) the dancer, suspended in place and time, is an apparition. Her body, disproportionate and malleable, is an abstraction of flesh and movement, taking up and traveling through space. Read More

The Affect of Accursedness

Review July 7, 2016

By Lauren Lavery

Hosted at Artspeak gallery in April of this year, The Accursed Share was an exhibition featuring the work of artists Aleesa Cohene, Deborah Edmeades and Derek Dunlop. The exhibition was guest curated by Marina Roy, a Vancouver-based artist, writer and curator whose interest lies in the intersection between language and art, thus making the use of the word accursed an intriguing choice, considering its reference to the essays by George Bataille aptly titled, The Accursed Share (La part maudite) from 1949.  Read More

Inner Landscapes, Alternate Worlds

Review April 20, 2016

By Genevieve Michaels

Jordan Westre and Kaz Simpson’s works inhabit a common universe. There’s the same sepia-toned nostalgia to Simpson’s marbled photo backgrounds, and the vintage landscapes that form the basis for Westre’s collage. From radically different approaches, they explore a common ground. Both artists give the sense of looking in on a frozen moment, a story as it unfolds. Read More

Sonic Boom

Review April 8, 2016

By Nathan Marsh

Since its inception as an organization in 1984, Vancouver Pro Musica has dedicated itself to the artistic development of British Columbia’s composers of new music. Each spring Vancouver Pro Musica hosts its Sonic Boom Festival, taking place over an entire weekend with different concerts playing every night from Thursday to Sunday, and a composer’s masterclass workshop taking place on Sunday morning. Saturday and Sunday are generally considered the big nights, featuring the organization’s ensemble-in-residence for the season, usually a Vancouver-based ensemble of great repute such as this season’s wonderful Standing Wave Ensemble, and new work from their composer-in-residence for the year, Edward Top, in amongst the work of other well-known Vancouver-based composers. Read More