Simranpreet Kaur Anand, A true story of direct action, 2024, woven photo-printed canvas, 104.77 x 95.88 cm. Courtesy of the Artist. Production assistance: Conner Singh VanderBeek.
This artwork is a combination of photographs from the following sources:
Photographer unknown
. Clearbrook, British Columbia, July 17, 1979.
Courtesy of the Canadian Farmworkers Union Collection.
A digital initiative of Simon Fraser University, Library. Photograph by Sunny Arora Naujawan, Support Network protest at Brampton Gateway Terminal, Ontario, June 24, 2024.
Barbara Astman, Woven Stories #34, from the Woven Stories series, 2023, woven cotton, nylon thread, 119.4 x 134.6 cm. © Barbara Astman and Corkin Gallery, Toronto. Photo: Toni Hafkenscheid.
Maya Beaudry, Lattice, 2024, digital pigment print on cotton, acrylic ink, 100.33 x 130.81 x 5.715 cm. Courtesy of the Artist and Towards Gallery.
Dana Claxton, Headdress – Connie, from the Headdress series, 2018, LED firebox with transmounted chromogenic transparency, 152.4 x 101.6 x 20.32 cm. Courtesy of the Artist and Art Gallery of Greater Victoria.
Liz Ikiriko, Facing the Precipitous, 2016, digital pigment print on organza, gold thread and synthetic black braided hair, 76.2 x 91.4 cm. Courtesy of the Artist.
Jayce Salloum, nest, 2016, torn photographs, 213.3 x 17.7 cm. Courtesy of the Artist, Mónica Reyes Gallery, and MKG127 Gallery.
Michaëlle Sergile, Ombre Portrait (Zanni), from the Ombre Portrait series, 2024, cotton, two-shuttle jacquard loom, 264.16 x 121.92 cm. Courtesy of the Artist and Galerie Hugues Charbonneau.
Michelle Sound, Michel Band, 2024, archival photo and map on paper, embroidery thread, rick rack, vintage beads, bugle beads, glass seed beads, caribou tufting, porcupine quills, 91.4 x 182.8 x 5 cm. Courtesy of the Artist and Ceremonial/Art.
Lan “Florence” Yee, PROOF-Community is easy to romanticize (detail), from the How to Give Ghosts a Sunburn series, 2022. hand-embroidery on cotton. 91.4 x 121.9 cm . Courtesy of the Artist. Photo: Darren Rigo
Simranpreet Kaur Anand, A true story of direct action, 2024, woven photo-printed canvas, 104.77 x 95.88 cm. Courtesy of the Artist. Production assistance: Conner Singh VanderBeek.
This artwork is a combination of photographs from the following sources:
Photographer unknown
. Clearbrook, British Columbia, July 17, 1979.
Courtesy of the Canadian Farmworkers Union Collection.
A digital initiative of Simon Fraser University, Library. Photograph by Sunny Arora Naujawan, Support Network protest at Brampton Gateway Terminal, Ontario, June 24, 2024.
Barbara Astman, Woven Stories #34, from the Woven Stories series, 2023, woven cotton, nylon thread, 119.4 x 134.6 cm. © Barbara Astman and Corkin Gallery, Toronto. Photo: Toni Hafkenscheid.
Maya Beaudry, Lattice, 2024, digital pigment print on cotton, acrylic ink, 100.33 x 130.81 x 5.715 cm. Courtesy of the Artist and Towards Gallery.
Dana Claxton, Headdress – Connie, from the Headdress series, 2018, LED firebox with transmounted chromogenic transparency, 152.4 x 101.6 x 20.32 cm. Courtesy of the Artist and Art Gallery of Greater Victoria.
Liz Ikiriko, Facing the Precipitous, 2016, digital pigment print on organza, gold thread and synthetic black braided hair, 76.2 x 91.4 cm. Courtesy of the Artist.
Jayce Salloum, nest, 2016, torn photographs, 213.3 x 17.7 cm. Courtesy of the Artist, Mónica Reyes Gallery, and MKG127 Gallery.
Michaëlle Sergile, Ombre Portrait (Zanni), from the Ombre Portrait series, 2024, cotton, two-shuttle jacquard loom, 264.16 x 121.92 cm. Courtesy of the Artist and Galerie Hugues Charbonneau.
Michelle Sound, Michel Band, 2024, archival photo and map on paper, embroidery thread, rick rack, vintage beads, bugle beads, glass seed beads, caribou tufting, porcupine quills, 91.4 x 182.8 x 5 cm. Courtesy of the Artist and Ceremonial/Art.
Lan “Florence” Yee, PROOF-Community is easy to romanticize (detail), from the How to Give Ghosts a Sunburn series, 2022. hand-embroidery on cotton. 91.4 x 121.9 cm . Courtesy of the Artist. Photo: Darren Rigo
Stitched: Merging Photography and Textile Practices
Festival Launch & Opening Reception
Tuesday, April 1, 7 – 9 pm
RSVP Here
Text by Chelsea Yuill
Photography and textiles are ubiquitous; we continuously add to our personal diary of photographs on our smart phones and are wrapped in and clothed by fabric. Stitched: Merging Photography and Textile Practices explores the intrinsic relationship between these two mediums. Textiles have traditionally been dismissed and undervalued because of the gendered norms embedded within these historically domestic practices, including sewing, beading, embroidery, knitting, lacemaking, weaving, and dyeing. Photography, with its many uses for personal snapshots, evidence, surveillance, advertising, storytelling, and art, is a relatively new medium historically dominated by male practitioners. Although obvious distinctions exist, there are many threads of connection between the materials and processes used in both mediums: the natural and synthetic fibres that compose paper and thread, and the chemical process of creating a photograph or dyeing fabric.
The artists in Stitched proudly collapse the divisions and hierarchies shrouding these two mediums to reclaim, integrate, and assert new critical approaches to lens-based and textile art forms. Including emerging and established artists, the artworks in this exhibition explore ritual, memory, aesthetic inheritance, immigration, technology, and colonial and embodied archives. In a cultural landscape that continues to become more and more digitized, and a political landscape that becomes ever more cruel, their work asks what it means to create images that evoke the desire to touch and feel.
This exhibition is co-presented by the Gordon Smith Gallery of Canadian Art and Capture Photography Festival. It is sponsored by Parc Retirement Living and is generously supported by the Audain Foundation, the Timothy A. Young Family Foundation, the City of North Vancouver, the District of North Vancouver through the Arts and Culture Grants Program of the North Vancouver Recreation and Culture Commission, Artists for Kids, the Gordon and Marion Smith Foundation for Young Artists, and the North Vancouver School District.
