september 04 - november 1, 2015
i see london - Ellinor Stenroos
This series is a visual diary of the artist’s time in England, while studying silversmithing, goldsmithing and jewellery design.
Ellinor attended Kent Institute of Art & Design between the years of 2002 and 2005 and quickly became familiar and accustomed to London, as well as the idea of a future professional career in the city.
This series is based around a physical and emotional map. The journeys that shaped the artist’s evolution and growth in England, but also the ones that didn’t take place -by moving to Canada and eventually calling Calgary home.
The pieces represent a creatively fulfilling, and artistically stimulating period in time, but also a melancholy from the artist's geographical relocation. The pieces speak of experiences gained, but also opportunities lost.
Every piece is connected by the myriad of underground lines and stations. Every journey began by submerging yourself into a beautifully designed system, under ground, getting lost in a crowd, yet propelled forward, in a complete darkness.
There is a vortex that grabs you, as the doors close and you accelerate to your next destination, almost pausing life for a short period of time. And suddenly you emerge again at a new destination, a new moment of opportunity, and life.
The mixed media pieces are stitched together by fabric, in an unconventional metalsmithing fashion, joining two opposite worlds and principles.
As a whole they become weaker as we add newer moments and memories to our conscious and subconscious mind.
This body of work represent short stories of interactions and moments in time, that could possibly be lost forever when the memories creating it, unravel and disintegrate.
It tells a story of passing of time, friendships and relationships come and gone, and life -the way we, at one point in time, remembered it.
i see france - Danielle Bartlette
Danielle Bartlette uses paint and mixed media to examine the complex relationships between place and memory. As she explores the cities she has travelled or lived—here Paris, Versailles, Bordeaux and other French locales—Bartlette plots her memories of a particular place, separating and recombining them into new formations. The materials she uses are chosen based on her sensory experiences with her environment, and the personal geographies that result explicate the selective role of the sensory environment in forming personal memory and subjective experience.
Bartlette’s encounter with France was chiefly architectural: walking its cities’ streets, contemplating its monuments, crossing its bridges, entering its buildings—places that relate to her own ancestry, full of both regular folk and aristocrats, the people who built and administered institutions like the Musée d’Orsay or the Louvre. As she did so, Bartlette used her camera to assemble a personal archive of French architectural accents and ornaments. As though in mimicry of the city’s street grid, Paris’s and other cities’ built structures elucidated their own labyrinthine vocabularies: textured marble, artful brickwork, ventilation grates, airport tarmac symbols, wrought-iron fences, patterned paving stones.
Each large painting in this series arises directly from one of these photos. And each comprises a layering of the architectural colours, textures and patterns of the city, sometimes augmented with textual elements, and then worked and reworked in acrylic, mixed media and accented with real gold leaf. Bartlette’s selection of materials is highly personal, designed to advance a feeling of connection with the places in her works. Drawing upon the rich legacy of more than two millennia of continual construction, this series is a powerful homage to the remarkable visual and textural aggregate that is urban France.