Artist
Exhibition Dates
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Paniz Mani, Fantasy of the west, 2025, inkjet print collage, 50 x 60 cm. Courtesy of the Artist.
David Aquino, Untitled, 2025, transparent shredded analogue film collage in lightbox, 60.9 x 91.4 cm. Courtesy of the Artist.
Sophie Jane-Brindle, Visual Desire, 2025, archival inkjet print mounted on Dibond, 126 x 101.6 cm. Courtesy of the Artist.
Charlie Mahoney-Volk, Queere!, 2025, archival inkjet print, 91.4 x 182.8 cm. Courtesy of the Artist.
Andream, Untitled, 2025, archival inkjet print, 35.5 x 27.9 cm. Courtesy of the Artist.
Laura Ayres, Frank & Al on a Cruise, from the Threads of
Time series, 2024, archival inkjet print and embroidery thread, 25 x 25 cm. Courtesy of the Artist.
Khim Mata Hipol, Canada: The Right Land for the Right Man, from the Canadian Dreams series, 2025, archival inkjet print mounted on plywood, 60.9 x 254 cm. Courtesy of the Artist.
Paniz Mani, Fantasy of the west, 2025, inkjet print collage, 50 x 60 cm. Courtesy of the Artist.
David Aquino, Untitled, 2025, transparent shredded analogue film collage in lightbox, 60.9 x 91.4 cm. Courtesy of the Artist.
Sophie Jane-Brindle, Visual Desire, 2025, archival inkjet print mounted on Dibond, 126 x 101.6 cm. Courtesy of the Artist.
Charlie Mahoney-Volk, Queere!, 2025, archival inkjet print, 91.4 x 182.8 cm. Courtesy of the Artist.
Andream, Untitled, 2025, archival inkjet print, 35.5 x 27.9 cm. Courtesy of the Artist.
Laura Ayres, Frank & Al on a Cruise, from the Threads of
Time series, 2024, archival inkjet print and embroidery thread, 25 x 25 cm. Courtesy of the Artist.
Khim Mata Hipol, Canada: The Right Land for the Right Man, from the Canadian Dreams series, 2025, archival inkjet print mounted on plywood, 60.9 x 254 cm. Courtesy of the Artist.
Selected
Aftertaste
Opening Reception
Thursday, April 2, 6 – 8 pm
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Photography in its vernacular form is inseparable from consumption: we tap and click through digital spaces, endlessly viewing images and sharing them for others to consume. Aftertaste presents works by Poiēsis Collective centred on the active process through which the images we absorb (and the ways images absorb us) shape our understanding and engagement with the world.
The artists in the exhibition explore photography as an act of consumption, desire, and capital, manifested in tourism, advertisement, archives, health care, and photographic material waste. Works by Jaiden George and Khim Mata Hipol challenge the touristic gaze, revealing how landscapes and culturally significant places are reduced to picturesque, consumable images. Collages by Paniz Mani unravel cultural hegemony embedded in circulating imagery, where aesthetics of white beauty are exported and reproduced in advertisements, which resonates with Sophie-Jane Brindle’s examination of commerce as an inextricable force entangled with femininity. Engaging the aesthetics of advertising, Charlie Mahoney-Volk’s billboards challenge westernized masculine archetypes. David Aquino’s discarded negatives visualize the material waste produced by analogue photography. Vanessa Denham explores how media materializes the waste of the infinite scroll. Portraits by Andream assess the personal costs of taking care of one’s health. Laura Ayres reflects on memory, endurance, and the sustaining power of visual remnants through personal archives and found imagery.
As photography is increasingly all-consuming, Aftertaste prompts reflection on how our relationship to images may already be shaped by the logic of consumption, and what it might mean to engage with images otherwise.
Poiēsis Collective gratefully acknowledges the support of the Pendulum Gallery for this exhibition.
