Faces

Unlikeness

description

For this year-long installation small watercolour graphite drawings were scanned and printed as large-scale, high resolution prints on watercolour paper. The images were torn out and pasted directly to the gallery walls. 

Unlikeness challenged viewers to consider the complexity of recognition through images that float between the familiar and the strange. How much do we project onto the images we encounter, and from where do these projections arise, especially in this strange time of being physically distanced from each other?

 

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Thy Creature

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This project responds to Mary Shelley’s 1818 novel, Frankenstein. The creature at the heart of this story is an object of both fascination and revulsion. Like all monsters, he exists outside of normative standards and in doing so represents our most fearful selves.

The drawings are based on Boris Karloff’s performance of the monster, within James Whales’ Frankenstein films from the 1930s. Karloff's iconic representation has come to stand for the very idea of a monster.

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The Gaze of History

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The Gaze of History exhibition presented a series of prints and drawings from the Burnaby Art Gallery's collection that considered the gaze and directed looking. The powdered graphite faces I drew directly on the walls of the gallery interacted and responded to these framed works and represented the real and imagined former residents of this building.

“Fairacres,” as it was first known, was built as a retirement estate by Vancouver realtor Henry Ceperley and his wife Grace in 1910. Prior to its conversion to the gallery in 1967, the mansion housed a succession of wealthy families, beginning with the Ceperleys (1910-1939), a community of Benedictine monks (1939-1954), a controversial religious cult (1954-1965) and a university fraternity (1965-1966).

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Geoff and Grace

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Created for Painting:Intro first project.

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