Author Archives: wpadmin

Bodies Engaged

“Bodies Engaged” features tapes centred on performance. Renouer (1987, 9:30), which is cited as Emmeline Debay’s first experiment with video, employs imagery as a visual metaphor for the questions which the artist poses to herself, as she attempts to literally and figuratively unravel the truth. The repetition of frames focusing on knots and strings and extreme close-ups of the artist’s face, married to her careful movements and gestures, create a dramatic tension which holds the viewer captive until the conflict is finally resolved.

Caroline Langill’s Nora (1997, 3:16), from the “Sexual Collusions” program, is a hauntingly beautiful exploration of the overwhelming power of the intimate relationship between mother and child. In this piece, Langill juxtaposes close-ups of a child breast-feeding with footage of a fetus in utero, and speaks to the connection between consuming desire and interdependence. So much stronger than simple biology, Langill proposes that the daily rituals which ensure the survival of the one also serve to nourish and replenish the other.

In the section entitled “Narrating Selves,” Rob Thompson’s tape is a macabre fairy tale played out in the form of recollections by the owner of a bar. Throughout Club ViviSEXtion (1997, 15:00), the hypnotic voice of the narrator recounts the story of her journey from her father’s farm to her mother’s establishment in the city, where she pieces together a relationship with her mother through the remnants of her existence: the bar, the patrons, her papers. Assuming her mother’s role as proprietor, her admiration and even love of the bar’s quirky clientele allow her to come to terms with her own difficult past.

The four works in “Locating Evidence” are documentary in nature, but open up this category to allow for interesting twists and turns. Ngair Blakenburg and Deanna Cadette address the complexity and consequences of fixing female racial identity in their tape The Skin I’m In (1994, 37:38), which features interviews with five women of varying perspectives and ages. What unifies the women is their frank and sometimes poignant discussion of being of mixed parentage. In a candid and often unedited style, the artists not only enable their subjects to speak freely about their personal convictions, but they also refreshingly turn the camera on themselves, and participate in the discussion.

“Moving Targets,” as the title suggests, hinges on the thrill of speed. This pleasure is evident in apparent physical motion, such as in Shawn Sutherland’s A Misty Memory (1984, 6:18), in which stills of urban scenery are superimposed onto a rhythmic skateboard journey through the city. Sandspit to Dildo (1989, 27:00), by Chris Mullington, covers distance on a much grander scale – a frenetic cross-Canada tour. Using dizzying editing and sound, travelling at a breakneck pace through big cities and remote settlements, Mullington’s imagery depicts a country peopled with incredible diversity and excitement.

“Intricate Relations” creates a space for the narratives and recollections of women. The power and beauty of video as a means for storytelling is especially evident in works such as The Thickness of Guidance (1998, 4:10) by Donna James, which blends atmospheric images of waves on the beach and a lush garden with the sound of recollections between generations.

“Strange Attractors” provides the viewer an opportunity to feast on what a local community has created over the past two decades. This is a significant strategy for the telling of local history: a forum for seeing and discussing work. As local history, it acknowledges the contributions of the area’s production centres, such as SAW video and Daimon. From documentary to fiction, and all that lies in between, “Strange Attractors” is an important and rare occasion to see new works and to revisit first forays into the medium.

Strange Attractors

“Strange Attractors: Observations on Video Art in Ottawa-Hull” offers up a sampling of twenty-five works which address the wealth of possibilities, themes and techniques examined on tape, from the sheer exploration of shapes and sounds to the seamless beauty of the most recent visual storytelling. While the exhibition was conceived as a survey of the production of video in the National Capital area from 1980 to 1997, in fact curators Sylvie Fortin and Su Ditta have examined the whole nature of video art. Underscored in their investigation is the experimental aspect of the art form, in that the seven “viewing environments” are not only delineated thematically, but also inevitably demonstrate the range of technical achievements made possible over the span of seventeen years.

Video exhibitions in a gallery setting are problematic, as it is difficult to achieve an environment in which the viewer can become completely engrossed in the material. Moreover, video risks being transformed into installation by situating it too carefully into a particular space. A delicate balance between watching and being watched is necessary. Rather than being consumed by such logistics, Fortin and Ditta have instead seized upon the range of options, by referring spatially to the different relationships that video art has to film and television. In this manner, two groups of videos are projected directly onto the walls, flirting with the is-it-film-or-something-else dilemma. Other selections are to be viewed on televisions in the corners of the rooms, in front of couches that are strangely reminiscent of student furnishings. Two tapes are screened at eye level on a monitor atop a pedestal, forcing the intrigued viewer to stand. Others are screened on state-of-the-art monitors, surrounded by comfortable chairs, each seat equipped with its own headset. The last room of the exhibition is a small, closed interior with an enchanting surprise – a remote control, giving the viewer the illicit pleasure of being able to pause and rewind the tapes. It is unfortunate that the overall experience of the exhibition is marred by slight installation problems, such as sound spilling over from nearby pieces, but nonetheless “Strange Attractors” is a rare opportunity to take stock of video production from a particular location on its multiple levels.

The three tapes in the section “Absurd Abstractions” focus on the sense of experimental play inherent to early work in the medium. Triangle (1980, 6:00) by Kevin Dowler tells the story of havoc inflicted on the victims of a plane crash and a shipwreck by shark attack in the Bermuda Triangle, shot on the budget location of the bathtub. The tape is delightful, at times unintentionally so, in its use of special effects, and yet packs a sting with its critique of the media’s fascination with destruction on a public scale.

Investing in art for your home or your business

When choosing to buy an original oil painting for your home, office or business, and invest a large amount of your hard earned money. There are many places to find of these art pieces other than the big cities, but it is always recommended that you invest in art that you love, and a lot of times it can actually save you a considerable amount of money.

Check out Online Web Sites – roadside hits on art goes away and online sites can be some of the best places to find the biggest selection and the best artwork prices. These sites are useful for viewing an image of a particular art piece on the net, also within a virtual picture or possibly as close as you can get to a physical store.

Entry In-Home Art Display:

So, you have invested a substantial sum of money into buying a painting through an interior home goods store,600 inch wall frame that you must have paid for by a credit card, thinking that today you will have the satisfaction of seeing your investment in wall art and it will be signed and numbered;imagine that! Today with the technology and digital cameras it’s costing almost the same to simply print pictures from canvas to canvas and I find that this sometime faint hope at the back is quickly turned on its head as this no longer seem to be as simple as buying a colorful canvas oil painting and having it shipped to you, it now important to have to pay far more to have a beautiful piece of art displayed exactly where you want or need it, online companies can now offer wonderfully world-class artwork for the budget conscious consumer, how convenient and online art comes along so perfectly, it seems that the price for a digital art piece should not exceed the price that you are prepared to pay for the piece, so how do you tell if an art piece is over priced.

Smoothly framedapped Contemporary floral Art / Photo Print- This is a great way to take that poster you have dedicated to framed shops and transform it into a piece of art that will fit and display perfectly in any room of your home. If you have been searching for that perfect mat color to enhance your (artwork) use that previously unused mat (or matting) to design a stunning collage, or find a fantastic piece at local frame shop, (outdoors most frame shops are now equipped with printing and matting tools) and pull it off in the desired way, to create a work of art with a magnificentrocamination print.

25 Foot Stills of Custom Framed Art / Photo Print- You don’t need to spend a fortune to find a 25 foot canvas print in which you can have your photograph submerged into another frame after printing. Unfortunately there is no online frame shop or online print shop to help you with your custom framing, if you’re lucky and low on cash why not have a look in your local frame shops and stores and find a professional framer to redesign your work. And in today’s system where most shops are online anyway, why not have a look in the Yellow Pages and find a really good framer.