Michael Wesik, Salmonberry Thicket, Composition No. 02, 2021, archival pigment print, 184.2 x 147.3 cm. Courtesy of the Artist.

Michael Wesik, Logging Road, Composition No. 05, 2021, archival pigment print, 64.8 x 83.8 cm. Courtesy of the Artist.

Michael Wesik, Salmonberry Thicket, Composition No. 02, 2021, archival pigment print, 184.2 x 147.3 cm. Courtesy of the Artist.

Michael Wesik, Logging Road, Composition No. 05, 2021, archival pigment print, 64.8 x 83.8 cm. Courtesy of the Artist.

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Selected

Of Light and Nature

On view by appointment, book here.

Since 2009, Michael Wesik has investigated the expressive possibility of nature through large format, analogue photographic processes, as well as mixed media compositions. As Wesik believes art-making to be fundamentally performative, his work seeks to expound the expressional potential of the natural world through intricate manipulations of analogue photography techniques and by drawing from the ethos of earth art practice.

Of Light and Nature is a solo presentation including both photographs and mixed media panels, focusing on Wesik’s obsessive exploration of the small section of British Columbia forest in which Wesik has worked exclusively for the past decade. His continual return to re-photograph the same landscape from varied vantage points and lighting conditions has resulted in a body of work that oscillates fluidly between academic realism and abstraction. The works in Of Light and Nature demonstrate both a profound level of intimacy with this region as well as the pathological commitment required to revisit, re-photograph, and recompose the same subjects incessantly. This exhibition includes silver gelatin prints, colour photographs, and mixed media compositions addressing the same subject, seeking to weave a common thread between these media in which light and surface function as the vehicle through which expression in nature is perceived and communicated. Wesik’s mixed media compositions push even further into abstraction where natural materials found around photographed subjects are transposed onto canvas to create foundations for paintings that literally pull from the forest in which he works.

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