Bricks & Mortar

Or Gallery 30th Anniversary Art Auction and Dinner to Establish a Residency & Project Space in Vancouver 18 October 2013 Vancouver Rowing Club 450 Stanley Park Drive Tickets: $175 Tables of 10: $1500 [email protected] 604.683.7395

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Brian Jungen

Brian Jungen Parachute from Falling Crate shirts, Navajo wool dimensions variable - roughly 35" x 22" in frame 2009

Brian Jungen lives and works between Vancouver and Fort St. John and has shown nationally and internationally in major solo and group exhibitions. Using reclaimed materials and creating a hybridity of meaning in these objects, Jungen's work evokes cultural traditions and points to the link between the social and environmental effects of our globalized trade in mass-produced objects and the power that such commodities transmit. Solo exhibitions include National Museum of the American Indian (2010); Le Frac des Pays de la Loire (Fonds régional d'art contemporain des Pays de la Loire), Carquefou (2009); Casey Kaplan, New York (2008); Museum Villa Stuck, Munich (2007); Catriona Jeffries, Vancouver (2007); Tate Modern, London (2006). Jungen recently presented his large outdoor work Dog Run (2012) in Kassel, Germany for dOCUMENTA (13).

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Annika Rixen

Annika Rixen Consequent Production of Colours digital c-print 35 7/8" x 35 7/8" 2011

Consequent production of Colours (2011) was one of six works created for the exhibition “Sciences of Observation” (Or Gallery Vancouver in cooperation with Goethe Satellite). Each piece in the exhibition was thematically connected to one chapter of the book “Six Lectures on Light”, a compendium of scientific texts on the physical nature of light by the Irish physicist John Tyndall. My interest in Tyndall’s book lies in the joining of its contents with contemporary notions of image making. His lectures, held in 1872, correlated with the debatable creation date of the first color photograph. My dilettante capacity to verify claims of late 19th century physics became a generative process, out of which the artworks were created. All six works function as visual experiments that pose questions about the nature of seeing and recording images.

Annika Rixen lives and works in Berlin and Cambridge, UK.

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Una Knox

Una Knox Never odd or even (b) archival inkjet print 52 7/8” x 43” 2012

In imitation of the way in which the human eye registers colour, this series of images of a museum interior are produced using the trichrome photographic process, in which each wavelength of light is captured on a separate black and white negative and then combined afterwards to produce a single chromatic print. This process renders visitors to the gallery as brightly coloured shadows, as each remained stationary for only one of the three photographs required to produce the colour image. While the sculptures and interior are stable the visitors presence is rendered as a passing glitch in the picture. Mortality and the failings of vision are unravelled in a layering and doubling of the passing time.

Knox graduated from ECUAD (BFA) and Goldsmiths College, University of London (MFA 2010). Recent and forthcoming exhibitions include: Victoria and Albert Museum, London; Whitechapel Gallery, London UK; Or Gallery, Vancouver; Wysing Arts Centre, Cambridge; Cell Project Space, London, UK; Transmission Gallery, Glasgow; Bloomberg New Contemporaries and Whitstable Biennial 2014. This work is written about by Martin Herbert in the September 2012 edition of Art Monthly.

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Kyla Mallett

Kyla Mallett When I Say No I Feel Guilty inkjet print 36” x 21 3/4” 2013

This work is part of an ongoing project in which Kyla Mallett collects, archives, researches and responds to second-hand self-help materials. In the research she delves into its history and context, and its status as a popular, academically ‘unsanctioned’ discourse. The artworks in this ongoing project highlight the promises of enlightenment and well-being in this form of literature, focusing on the cultural interest in the genre as a gesture of hope, tempered by a skepticism about its transformative power. This body of work conflates, rearranges, and reconsiders the sphere of self-improvement, and its role as a social convention.

Kyla Mallett completed her MFA at UBC in 2004, and her BFA at Emily Carr in 2000. Working primarily in photography, text and print media, her practice engages with the intersection of culture and language, using archival and statistical research to examine transgressive activities in such cultural arenas such as adolescence, feminism, academia and art. Past works have examined schoolgirls' notes, girl bullying, gossip, marginalia in library books, hauntings and aura reading. Current projects involving parapsychology and self-help materials focus on marginal and devalued forms of language and communication. Mallett’s work has been exhibited widely, including the Contemporary Art Gallery (Vancouver), Vancouver Art Gallery, Art Gallery of Alberta (Edmonton), Modern Fuel (Kingston), Canadian Cultural Centre (Paris), and The Power Plant (Toronto), with solo exhibitions at Artspeak (Vancouver), Catriona Jeffries (Vancouver), Access (Vancouver), ThreeWalls (Chicago), Mount St. Vincent University Gallery (Halifax), The Southern Alberta Art Gallery (Lethbridge), and Mercer Union (Toronto).

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Kathleen Ritter

Kathleen Ritter Caroline de Bendern (from the series We Must Confront Vague Ideas With Clear Images) watercolour on paper 8.27” x 11.69” 2013

We Must Confront Vague Ideas With Clear Images is an ongoing series of drawings and watercolours of images taken from films, documentary photographs, graffiti and political posters in the months leading up to May 1968 in France. In the visual material produced during this time, there is a curious concurrence between the documentary and the fictive, where reality and its representation intersect.

Kathleen Ritter is an artist and a curator. Ritter is currently an artist in residence at La Cité Internationale des Arts, Paris, as a recipient of the Canada Council for the Arts International Residencies Program in Visual Arts. Ritter was the Associate Curator at the Vancouver Art Gallery from 2007 to 2012, where she organized the exhibitions How Soon Is Now, WE: Vancouver (with Bruce Grenville), Beat Nation: Art, Hip Hop and Aboriginal Culture (with Tania Willard), Rebecca Belmore: Rising to the Occasion (with Daina Augaitis) and commissioned public artworks for Offsite by Kota Ezawa, Damian Moppett, Heather and Ivan Morison, and Elspeth Pratt. Her writing on contemporary art has appeared in ESSE, Prefix Photo, and Fillip as well as in numerous catalogues.

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Shannon Oksanen

Shannon Oksanen Spins (Still) black and white print 30.5” x 30” 2001

This piece is a production still from the movie "Spins", which was shot on 16mm film for an exhibition at the Or Gallery, Vancouver in 2002.

Shannon Oksanen works in a variety of media from video to drawing. She has a growing international reputation and has participated in group exhibitions at the CCA Wattis Institute for Contemporary Art, San Francisco (2004), VTO Gallery, London, England (2004), 303 Gallery, New York (2005) and The Charles. H. Scott Gallery, Vancouver (2006). Oksanen had participated in There are Those: Drawing by Six Artists at the CAG. For her solo exhibition, she presented a new 16mm film and a painting series. The film continues her interest in showmanship sports following in the line of works such as Break Away and Vanishing Point that focus on figure skating and surfboarding. Here waterskiing becomes the subject matter, which Oksanen sets back in time through the filter of the medium and layers of melancholy music. Her painting series continues her interest in portraiture.

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Duane Linklater

Duane Linklater LPpainting+TVproject.jpg digital print mounted on dibond, framed 25” x 37” 2012

A result of a complicated ongoing interaction between artist Joanna Malinowska and Duane Linklater, this jpg photo was sent to Linklater from Malinowska via email at the request of Linklater. The photo depicts Malinowska's installation at the 2012 Whitney Biennial, for which she purchased a painting of Native American political prisoner Leonard Peltier, had a wall built for it and hung it in the show.

Duane Linklater is Omaskêko Cree, from Moose Cree First Nation in Northern Ontario and is currently based in North Bay, Ontario. He received his MFA from Bard College in New York State. Linklater has exhibited both nationally and internationally including the Vancouver Art Gallery, Or Gallery, dOCUMENTA (13) Banff Alberta, Art Gallery of Ontario, Family Business in New York City, and Logan Center at the University of Chicago. He is currently shortlisted for the 2013 Sobey Art Award.

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Dana Claxton

Dana Claxton Sioux Lamp #3 c-print on archival paper 28” x 23” 2010

courtesy of the artist and Windsor Gallery, Vancouver

Taken during a trip to Standing Buffalo Saskatchewan, the artist took 6 images of her auntie's lamp the morning after an intensive 4 day ceremony. White Buffalo is fundamental to Lakota Sioux cosmology and this image was taken while the artist was in still in an altered state. Although, the artist doesn't like to discuss "wakan" - sacred - things too much, it seems that this work needs to be told in truth. Dana Claxton is an interdisciplinary artist whose work includes film and video, installation, performance and photography. Her work is held in public collections, including the Vancouver Art Gallery, Winnipeg Art Gallery and the Art Bank of Canada. Her work has been screened internationally, including the Museum of Modern Art in New York and the Walker Art Centre (Minneapolis). Her work has been screened at Sundance Festival and Microwave in Hong Kong. She has taught at the Indigenous Media Arts Group and Emily Carr Institute of Art & Design in Vancouver and she was the 2003 Global Television Chair at the University of Regina in the School of Journalism where she taught Television and Radio broadcasting from the perspective of critical thinking and experimentation with sound and images. Dana was awarded the prestigious VIVA Award from the Doris and Jack Shadbolt Foundation and in 2007 became an Eiteljorg Fellow sponsored by the Ford Foundation.

She is an active member in the arts community and has participated in panel discussions, juries, curatorial projects, advisory committees, mentoring youth and young artists. She is of Hunkpapa Lakota Sioux ancestry and her family reserve is Wood Mountain.

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Phillip McCrum

Phillip McCrum With Wide Brush acrylic, paper on canvas 10" x 10" x 1.5" 2013

With Wide Brush" is a study from and for a series of paintings ("history of painting"). It combines modern painting strategies, such as those of Josef Albers and Ad Reinhardt, and images gleaned from the New York Times and D.I.Y. Encyclopedia circa 1960.

Phillip McCrum lives and works in Vancouver, and currently teaches at the University of British Columbia. His affiliation with the Or Gallery stems from exhibitions at the Or in 1984, 1986 and 1998. McCrum was director of the Or Gallery from 1985-1987.

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Kathy Slade

Kathy Slade Revolution embroidery on canvas 9 canvases, 15” x 14” each; overall dimensions variable 2007

Revolution consists of nine embroidered panels, or samplers, which represent the guitar tablature for The Beatles song ‘Revolution’ (1966). Tablature is a utilitarian form of musical notation designed for self-learning. The work, produced by machine, apes the traditional embroidery sampler, which was also about self-learning, training the hand to stitch the alphabet.

Vancouver artist Kathy Slade works across various media including film, video, embroidery, sculpture, vinyl records, and books. Her recent exhibitions include It was a strange apartment; full of books…, with Lisa Robertson, (Galerie Au 8 rue saint bon, Paris, and Malaspina, Vancouver) IS EVERYTHING GOING TO BE ALRIGHT? (Audain Gallery, Vancouver), Die Perfekt Austellung (Heidelberger Kunstverein), No Soul for Sale (Tate Modern) and Cue: Artists’ Video (Vancouver Art Gallery). In 2009 she received the VIVA Award.

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Steven Brekelmans

Steven Brekelmans Temporary Structures III inkjet print 36" x 48" 2012

courtesy of the artist

Temporary Structures III includes an excerpt from over four hundred images that present the possibilities of sculpture through photography. Made of craft paper, scraps of wood and cotton balls, these objects are presented as proposals or potential objects, captured by the camera during the brief moment of their existence before they are reconfigured for the next photograph.  Offered for consideration, the individual images document a playful experimentation in form, colour and composition, sometimes succeeding and other times failing.

These works draw on the long history of art education and the relationship between studio exercise, experimentation and the final considered object. They provide the audience two simultaneous perspectives: the potential of each autonomous object and the totality of their collective being. 

Steven Brekelmans was born in Vancouver, attended the Emily Carr Institute of Art and Design and recently graduated from the University of Victoria’s MFA program. Working across a variety of mediums, he has exhibited his work both locally and internationally at the Western Front, Or Gallery (Berlin), The Western Bridge (Seattle) and The Butcher Shop (Toronto).

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Geoffrey Farmer

Geoffrey Farmer Universal Sculpture Series, 5 paper cutouts, wood, glue, sculpture medium 9 1/2" x 5 7/8" x 7 5/8 2013

courtesy of the artist and Catriona Jeffries Gallery

Sniff, shuffle, flutter, crinkle, footstepfootstep footstep.

Geoffrey Farmer (b. 1967, Vancouver) lives and works in Vancouver. He has a forthcoming retrospective at the Vancouver Art Gallery in 2015. His major work, Let’s Make the Water Turn Black, opened at the Migros Museum für Gegenwartskunst, Zurich in June of 2013 and is currently on display at Nottingham Contemporary. The work will also travel to Kunstverein Hamburg and the Miami Art Museum. In September 2013, at the Art Gallery of Alberta, Edmonton Geoffrey organized a project in the form of a haunted house entitled The Intellection of Lady Spider House. In 2013 he was awarded the Gershon Iskowitz Award by the Art Gallery of Ontario, which will mount a solo exhibition of his work in 2014.

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Ian Wallace

Ian Wallace Work In Progress (The Pot of Paint) photolaminate with acrylic on canvas 30" x 24" 2013

courtesy of the artist and Catriona Jeffries Gallery

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Luanne Martineau

Luanne Martineau This is My Name paper collage 12" x 8" 2013

Luanne Martineau is best known for large-scale felted wool sculptures that she creates using, in part, traditional craft techniques. These sculptures engage notions of traditional female work as well as high modernist art and craft, occupying a space between humour and sobriety and the beautiful and grotesque. Refusing to fit neatly into any category, Martineau’s sculptures (as well as her drawings) juxtapose contrasting notions, creating productive confrontations between them. Martineau studied at both the Nova Scotia College of Art and Design and the Alberta College of Art and Design before receiving her MFA from the University of British Columbia in 1995. Martineau’s work has been exhibited across Canada and internationally, including several group exhibitions at the Vancouver Art Gallery and more recently a solo exhibition at the Musée d’art contemporain de Montreal. She received the 2007 VIVA Award for the Visual Arts and was a runner-up for the Sobey Art Award in 2009. Her work is in the collection of the National Gallery of Canada, the Art Gallery of Greater Victoria and the Alberta Foundation for the Arts, among other institutions.

Photograph by Guy L'heureux.

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Marina Roy

Marina Roy Rebus colour ink on opalux paper 25" x 19" 2013

Marina Roy is a Vancouver based artist and writer, and teaches visual art at the University of British Columbia. Her art practice has recently been focused on animation, video and drawing. She was a recipient of the VIVA award in 2010.

In this work, the images are used somewhat hieroglyphically, to stand in for language.

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Laura Piasta

Laura Piasta Black Square on a Metamorphic Ground oil on canvas 30" x 30" 2013

Laura Piasta (b. 1981, Canada) currently lives and works in Vancouver BC. Piasta received her MFA in 2012 from the Umeå Academy of Fine Arts in Sweden and holds a BFA from Emily Carr Univerist of Art and Design. Her work has been exhibited at numerous galleries and institutions including BildMuseet (Sweden), The Contemporary Art Gallery, Blanket Gallery, Autocentre (Berlin), Grimmuseum (Berlin) and the Or Gallery. In November 2012 Piasta was an Artist in Residence at the Fabrikken for Kunst og Design in Copenhagen. 

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Roy Arden

Roy Arden America is Waiting archival pigment print 50.5" x 41" 2007

"America is Waiting" is a digital collage printed in archival pigments on archival paper. One of a group of collages from this period of Arden's work, it is derived from internet sourced images that have been collaged in photoshop. The work borrows its title from a song by Brian Eno and David Byrne from their 1981album "My Life in the Bush of Ghosts" which pioneered a technique of collaging or sampling from vernacular sound sources. Arden's collage incorporates images from American popular culture, vernacular images of technology, landscapes, and various other images overlaid in a quilt-like pattern. The ghostly overlays recall Robert Rauschenberg's work with solvent transfers.