State of Flux Gallery

Traversing Tableaux

Materialist film experiments, raw video footage, performance-based interpretation, and virtual digitized simulations: Traversing Tableaux is about transitory moments; a fleeting, schizophrenic passage into the eclectism of time. Viewers find a common cenceptual thread that runs through the trajectory of this exhibition: the ephemeral act of being removed into a hallucinatory state, and then brought back to the crude, sensuous nature of consciousness. Featuring the work of eleven emerging artists, Traversing Tableaux waxes hypnotic, an explosion of thirty second to three minute shorts.

Julian Halydyn: Traces of Tea: Broken Vessels

Traces of Tea: Broken Vessels is a series of photographic images depciting portions of doorways and passages, each image exposed only within the random space of a spill. Each of the photographs is a plaque mounted with fragments from a shattered teacup affixed to the surface, optically inferring a cause and effect relationship between the spilt tea and the images that appear. The white surrounding the randomly defined images, along with the white of the teacup fragments, visually blend into the white of the gallery walls on which the works are hung, folding the spaces together.

Portraits of War

An exhibition of paintings, the work seeks to represent the anguish of war torn peoples. Attempting universality, Portraits of War is a general comment on the metahistory of eternal conflict, specific to the effects pf war within species: those who suffer and are sacrificed when balance is displaced by a warring civilization. Portraits of War is presented as a work-in-progress, and was programmed according to conceptual connections to Tobey Anderson's work (Modern Fuel Gallery) and to the theme 'foreign states'.

Salon des Videos

During the time when the 9th Regional Exhibition was appearing in the Main Gallery, Salon des Videos was displayed in the State of Flux Gallery.

Ayaz Kamani: SOMEONE ELSE’S SCENERY

“Someone Else’s Scenery” is a video installation that documents Ayaz Kamani’s interaction with a Fantasy Sci-Fi gaming subculture in Kingston and his manifold exploration of the fallibility of identity through role-playing. Ayaz Kamani lives and works in Kingston, Ontario.

Someone Else's Scenery Photos

All We Leave Behind

Nathan McNinch writes: "All we leave behind was originally conceived of as the sequel to a project I have been working on since 2004, even in a crowd, i was always alone. This was originally intended to be single project which examined both the physical and mental or perhaps philosophical nature of human need for interaction and companionship, manifested in a series of recordings documenting the physical properties of the human voice--verbal communication being the most common form of communication--and recordings made in communal spaces. While developing even in a crowd...

Dave Gordon: A Year in Shanghai

The day before I flew to Shanghai, Hurricane Katrina went through Kingston and took out our backyard umbrella. I didn’t hear about the devastation in New Orleans until I was in Shanghai. I thought it was just your average August hurricane.

There were a lot of great things about life in Shanghai:

-no tipping
-no sales tax
-cheap taxis
-available, affordable Cuban cigars
-a knock-off market where you could buy all the brands: Louis Vuitton, Rolex, Gucci, Ralph Lauren, Cartier, Tag Heuer, Mont Blanc, etc. – all fake, of course, but who can tell?

Slide Show

“Slide Show” presents a series of stained-glass slides with a custom lightbox made by Mark Thompson, a visual artist working predominantly with glass since 1991. Though mainly undertaking large-scale architectural glasswork commissions, he has also generated a steady stream of studio artwork including autonomous glassworks, paintings and mixed media objects. Thompson maintains a glass/art studio-building in Sydenham, Ontario.

Façade

Lynne Wynick writes: "My work propels itself through various media bouncing ideas back and forth, in a practice where the studio process and resultant detritus are embraced. Through investigations of location and scale, in allowing for the unexpected and utilizing the unintentional, I create a situation that is ripe for engagement and interpretation. The work intentionally confounds the perception of scale for the viewer through an ambiguous or skewed context.

we know where we are

With we know where we are, the artists Julia Mensink, and Lisa Visser, examine the nature of their own artistic relationships, both personal and professional, so that their collaboration becomes a microcosm that offers a perspective on other processes of collaboration.

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