ON DISPLAY UNTIL MARCH 11, 2023
In the Main Gallery: Sophie Sabet
Sophie Sabet is a visual artist working in video, sculpture and installation. Her work explores different microcosms as a way of understanding societal relationality and structures of dominance. She approaches sites of conflict through intimate and nonlinear methodologies to offer new ways of being and thinking.
Sabet received her MFA in Documentary Media Studies at Ryerson University in Toronto, Canada in 2016. Her work has been shown across Canada with recent solo exhibitions at The Robert McLaughlin Gallery in 2020 and Bradley Museum in 2019 where she was awarded the Gattuso Prize for outstanding featured exhibition at the CONTACT Photography festival. Her work has been included in group exhibitions at Gallery 1C03, Gallery 44 and Trinity Square Video. More recently Sabet completed a 3 month long residency at the Bemis Center for Contemporary Art in Nebraska, Omaha during the summer of 2022.
About the Exhibition
The break in our shape takes on the qanat, a traditional Iranian water infrastructure, as a point of departure to explore nonhierarchical relationality, land and displacement, and sexual politics.
Geologically, Iran is the meeting point between desert and mountain belts. This renders much of the country uninhabitable, as there are no accessible routes to a water source. A qanat is an underground system of tunnels and aquifers built by the indigenous peoples of this region as a way to direct existing groundwater below the mountain range to the surface of the desert – thus generating an environmentally non-intrusive, reliable supply of water for human settlements.
Each video studies the qanat within a specific context, from the geological conditions, to the transnational migration of the technology, and bodies and sexual dynamics. The ceramic pieces mirror contorted fragments of tunnels that veer into bodily shapes and beings, and embody the dualities that exist in the videos. Collectively, the videos and sculptures present a portrait of the simultaneous ways in which we succeed and fail to exist together.
Visit Sophie's website at sophiesabet.com.
Join us for an Artist Talk with Sophie on February 16th at 6PM! RSVP here
In the State of Flux Gallery: Nic Wilson
Nic Wilson (he/they) is an artist and writer who was born in the Wolastoqiyik territory also known as Fredericton, NB in 1988. He graduated with a BFA from Mount Allison University, Mi’kmaq territory, in 2012, and an MFA from the University of Regina, Treaty Four Territory, in 2019 where he was a SSHRC graduate fellow. In 2021 they were long listed for the Sobey Art Award as a representative of the Prairies and the North. They have shown work across Canada and in Italy, including projects with the Remai Modern in Saskatoon, the Art Gallery of Regina, G44 in Toronto, Art Souterrain in Montreal, and International Performance Art Week in Venice.
Fluent across media, Wilson creates videos, performances and artist books, and writes essays and art criticism.Their work often engages time, queer lineage, decay, and the distance between art practice and literature. Their writing has appeared in publications such as BlackFlash Magazine, PUBLIC, Peripheral Review, NORK, Syphon, and Border Crossings.
About the Exhibition
Throughout the last couple of years, my practice has been vexed by questions of grief and mourning. Who do I mourn for? How do I do it and when? What is an appropriate and acceptable act of mourning? The work in this exhibition traces a few of these instances. They are not all acts of veneration but acknowledge a passing—of an idea or a person or a way of being. Some are references to other artists who I consider part of my queer lineage and others refer to more biological forms of inheritance but I don’t draw a sharp distinction between them. A self is a strange mingling of multiplication and subtraction.
The work in Slow Shadow contemplates memorials and acts of remembrance. Through a constellation of texts, images, and objects I examine different materials associated with monumentation like marble, flowers, candles, and celebrity death merchandise. These objects are a record of duration and change. Some are solemn, some are pathetic, some are opportunistic, and others are failures but each one is an attempt to track the complex ways that people and ideas dwindle and endure through the people left in their wake.
Image: Nic Wilson, David (still), 2022, digital video, 1:15:00.
Join us for an Artist Talk with Nic on February 25th at 2PM! RSVP here
In the Window Gallery: Charlotte Yao
Charlotte Yao is a Chinese-Canadian artist and curator who focus on decentration and identity politics, presenting marginalised perspectives of female, migrant, and even post-human aspects. She adopts the strategy of using minoritarian languages to stress the power of the difference-in-itself in many of her works. Her current research explores ways of building empathetic connections as a confrontational strategy for establishing communication channels under strict censorship and stigmatization.
About the Exhibition
“I moved to 2756 on that street since 2016” speaks on topics of segregation through differing cultural positionings. The subject matter of the hybridized decoration of colonial interiors with objects of Chinese embellishment reflects living experiences of immigrants as individuals who occupy no static belonging. The title “I moved to 2756 on that street since 2016” is a quote from Yao’s father, who is the current resident of the property that appears in the photographs. As a non-English speaker, the absence of the street name reflects his inability to locate himself within the matrix that is orientated by Western civilizations.
This series of photographic installations unfolds the myth of a detached citizen within this multicultured landscape. While she remains intimate with the subject matter, Yao borrows installation techniques from museum displays to present an archaeological study of the subject matter. This exhibition encourages an objective analysis of the fractured individual who undergoes immigration pressures.