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Posts Tagged ‘studio sixty six’

PRESENT TENSE at Ottawa’s gallery Studio Sixty Six, until May 6th

Tuesday, April 4th, 2017

Ottawa’s gallery Studio Sixty Six has just announced PRESENT TENSE (April 6 – May 6) where artists Kosisochukwu Nnebe, Guillermo Trejo and Florence Yee explore questions of the social structures and cultural meanings existing in contemporary “postcolonial” Canadian society in Present Tense.

Kosisochukwu Nnebe’s mixed media and sculptural work Of Canaries and Revolutions features multiple transparent layers of glass, each displaying a different portion of the painted figurative image she has depicted, so that the image of the figure changes as the viewer interacts around the work. The work “aims to visualize marginality as a site of resistance. It emphasizes the distinct perspective that derives from the positionality of Black women at the margins, and places their experiences and knowledge at the forefront.”1 It is only when the viewer shifts their view from the periphery to face the body of colour head on that the full image can be visually understood. A first generation Nigerian-Canadian artist, Nnebe’s work in Present Tense is literally and theoretically multi-faceted.

Guillermo Trejo, a Mexican artist based in Ottawa, brings print and mixed media work to Present Tense. Trejo’s largest work has the viewer encounter a large geographical map of the Americas (North, Central and South) positioned upside down and covered with timely and popular political reference. Trejo’s Flags from Nowhere, a series of raw prints on canvas, present as flags, flags of no actual country or place invented entirely by the artist, effectively “mocking the grandeur of imagined geopolitical identities – artificial places that are made out of borders. Trejo’s flags for non-existent states challenge the way a nation exists as both idea and land.”2

Florence Yee brings cultural reimaginings to Present Tense through her work of various media. Oh, Canada, an embroidered depiction of Tom Thomson’s Jack Pine, reveals its reverse covered in the original British flag of Canada, drawing from the domination of the physical and cultural landscapes of Canada by white men. Yee’s charcoal drawings in A History of Canadian Art History reimagine texts found in her university’s reading room, exposing the the lack of diversity and oftentimes racist perspectives within them. Yee’s other works in the exhibition, Variations on a Tourist Gaze, Finding Myself at the MMFA and Wallflower series all inject her socially-conscious motivations into oil painting. Finding Myself at the MMFA depicts a painted version of the artist interjected between the canvas and paint of a work in the Art Canadien et Quebecois pavilion at the Montréal Museum of Fine Arts/Musée des beaux-arts Montréal, as if the work is projected onto the artist’s body. Yee highlights the lack of institutional representation for people of colour at the museum: “I try to find my place in their space, and decide to insert myself into their paintings.”3

Societal, artistic and nationalistic frameworks are exposed and examined by these three artists, encouraging dialogue on the systems through which our society functions.

1 Kosisochukwu Nnebe, artwork statement
2 Lital Khaikin, curatorial text from these may (not) be places
3 Florence Yee, artwork statement

Text by Rose Ekins, Curator

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Time / Frame – Sharon Katz and Véronique Sunatori at Studio Sixty Six (23/Feb – 25/Mar)

Tuesday, February 21st, 2017

Studio Sixty Six presents Time / Frame –  Sharon Katz and Véronique Sunatori an exhibition running from 23rd February to 25th March.

“Staging in the sense we are talking about is a kind of framing; in theatre, the stage is the frame that allows us to make sense of what is to follow – that the execution wasn’t really an execution, that the newlyweds aren’t really married. While not a part of the performance itself, the frame is what allows us to see it as a performance.”

Chris Fleming & John O’Carroll, The Art of the Hoax, 47

Sharon Katz and Véronique Sunatori, two artists at disparate points in their lives and careers, explore the themes of temporality and materiality through their contrastive but complementary works.

An accomplished animator and filmmaker, Sharon Katz brings her mixed media work incorporating pages of encyclopedias, ink, paint and found objects to the exhibition. Katz’s works depict movement and action, merging the stasis of her painted frames with the vitality in her work, notable in String Theory, where the tennis player yearns to engage below the glass with the ball, finding itself in a “perpetual state of suspended animation.” Katz has only recently begun working with paint and its role in her work varies within each piece – from background to foreground, from heavy touches to light. Also recently designing sets for theatrical production, Katz is cognizant of the ways in which each work becomes a storyboard, a natural extension from animation.

Véronique Sunatori, currently working towards her MFA at York University, creates works that offer alternative perspectives, as can easily be seen in her series of severed and modified frames, effectively reintroducing the “staging” of artwork as the art itself, albeit disjointed from its original purpose and appearance. Sunatori also incorporates her identity, born to a Japanese father and Québécoise mother, to her Portraits series, wherein she has drawn over the glass covering photographic portraits of the artist, and her Skillfully series, which references traditional Japanese wood and paper screens. For Sunatori, invoking sculptural forms allows for her work to breathe conceptually and both asks for and offers up alternative points of view.

Staged together in the juxtaposing space of the gallery, the performativity accomplished through the two artists’ works is present, provoking debate on the functionality of staging and framing and, indeed, of a suspension of disbelief.

Text by Rose Ekins, Curator

For more information click here.

TIME FRAME fb.this is the 1??

Kanata 150? at Studio Sixty Six will explore what it means to be Indigenous in 2017

Tuesday, December 20th, 2016

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Image: Alexandre Aimee’s My Grandmother’s Guilt (Courtesy of the artist and Studio Sixty Six)

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Kanata 150? Studio Sixty Six‘s first exhibition of 2017 will be a group show of emerging Indigenous artists exploring what it means to be Indigenous in 2017, the year of the 150th anniversary of the Dominion of Canada. For more information, click here.

Unholy Objects at Studio Sixty Six, Ottawa (10/Nov-31/Dec)

Tuesday, November 8th, 2016

The objet d’art has often been approached with reverence and veneration in the art world, both physically and conceptually, as something precious and fragile. In Studio Sixty Six’s final show of 2016, emerging local artists Lea Hamilton, Kelsey McGruer, Susan Roston, Allyson Rousseau, Kathryn Shriver and William Staubi play with this sacred notion of the art object, presenting their Unholy Objects.

Lea Hamilton’s metalwork, created by purposefully corroding copper results in destructed yet beautiful double-sided works, actively challenging this perception of preciousness. Kelsey McGruer explores the sanctity of the body with her sculptures inspired by female anatomy, represented both in objects and photographs. The eye-catching ceramics of Susan Roston explore both the beauty and predatory nature of oceanic wildlife, creating fragile yet strong works, her largest to date. Handwoven textiles from fibre artist Allyson Rousseau, while delicate by nature of their composition, play with the textures and traditions of tapestry, resulting in a clean, contemporary aesthetic. Kathryn Shriver’s mixed media beaded works are simultaneously delicate and durable, malleable and static–accurately reflecting her interdisciplinary approach. William Staubi explores the very notion of holy objects with his intricate satirical and comedic assemblages, addressing the function of religion in society and the role of art in personal expression.

Unholy Objects offers three-dimensional work of varying inspiration, sizes, and composition–the perfect addition to your holiday wish list or gift for a loved one’s home or office.

ERUPT: New Exhibition at Studio Sixty Six

Thursday, September 29th, 2016

On Wednesday, October 5th from 6-9PM Studio Sixty Six will hold the opening reception of ERUPT, a group show of new work from recent graduates from the School of the Photographic Arts: Ottawa.

About ERUPT

The concept of “breaking out or bursting forth suddenly and dramatically” is one inextricably linked with photography. Just as their images materialize into being through their chemical and digital processes, the work of Joyce Crago, Judy Morris Dupont, Geneviève Labbé and Katy Lopez carry insight and depth to the surface.

In the work of Joyce Crago it is unyielding curiosity which emerges. In What does it mean to be male in 2016? Crago explores that which defines masculinity in contemporary Canadian society. Furthermore, Crago’s work asks how contemporary semi-nude male subjects confuse the lens of traditional portraiture whereby men were dressed indicating their importance while women were often left exposed. Discovery through questioning also leads Crago to Flotsam wherein the refuse of arts organizations in Ottawa, Berlin and New York City are carefully documented. A contemporaneous nod to the Arte Povera movements, Crago’s flotsam (defined as “the wreckage of a ship or its cargo found floating on or washed up by the sea”) explores overlooked parts of our surroundings and what they might evoke about their origin and originators.

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