Ryan Peter
BW02
2016
gelatin silver print
42" x 70"

Torrie Groening
Shards of Blue
2018
archival pigment print
36" x 36"

Gerri York
Crane 1
2018
photogram
24" x 24"

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Ryan Peter
BW02
2016
gelatin silver print
42" x 70"

Torrie Groening
Shards of Blue
2018
archival pigment print
36" x 36"

Gerri York
Crane 1
2018
photogram
24" x 24"

Selected

Unearthing, Folding, and Burning

Gallery hours

M–F: 10 am–5 pm; Sa&Su: 11 am–5 pm

Unearthing, Folding, and Burning contains varying approaches to the still life genre through experiments in material, process, animation, and depiction. Torrie Groening unearths fragments of shattered objects, which are then meticulously scanned and arranged into multilayered digital prints. Gerri York folds photosensitive paper into origami shapes, exposes them to light, and unfolds them. Ryan Peter paints onto film and uses cutout shapes to control the exposure of light onto sheets of photo paper.

Groening’s work is centred on pottery shards that she dug up from her yard in Strathcona, Vancouver’s oldest neighbourhood, consisting of pieces of Chinese, Japanese, and English pottery with similar cobalt-blue glazes in very different patterns. These treasures are given new life as physical evidence of local history and a starring role in above-ground still life.

York’s work examines the creation of folds in origami structures made from photo paper and, later, the accidental and phenomenological result of unfolding. These three-dimensional forms are first exposed to light in the darkroom, and then unfolded and processed as two-dimensional photographs. These resulting black, grey, and white abstractions of the original origami forms exploit a simpler and more subjective presentation of interiority and exteriority, resulting in light-infused, open-ended forms, infinite boundaries, and the mere suggestion of the original sculpture, now reduced to its unfolded and abstracted photographic form.

Peter’s work uses a contact photo-printing process, whereby acrylic paints, chemicals, and industrial materials are placed atop translucent plastic film in the darkroom. His enigmatic prints draw on the shifting relationship between physical and digital forms while simultaneously evoking a sense of tension between the natural and urban realms, and exploring the ways humans intersect with them.

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