ENWORLDING

April 18 - June 6, 2026

Works by Takira Verity Bolton, Bahman Fakouri, Amir Rahsaz, Debra Rushfeldt, Joanne Sale, Jesse Weemering and Sylvia Ziemann, “Enworlding” explores the bringing together of worlds through chunking, entangling, interconnectivity and diffraction. Veering away from an anthropomorphic centralism these artists blend nature in with body, both human and animal. Blending into the discourse, Amir Rahsaz, recently from Iran, reveals an extended definition for enworlding that speaks to the everchanging, pertinent and meddling impact that man has on both the environment and his fellow kind.

By bringing into the world artworks as a new appearance among the already existing appearances, one that has never appeared before, the artwork enworlds. It occupies a space in the world. In conjunction, a temporal element is also introduced. Kant cites space and time as essential, a priori, to our being able to sense and then think on the encounter with the world as it appears to us. Art, as it appears in its newness, can illicit an experience. Since there is the potential for meaning inherent in the encounter, the reception of art is dependant on the viewer's perception. They bring to the experience an expectation that is informed by their own past experiences. And since reception requires a devoted time, they give of themselves.

Here, a Kantian notion is brought into play, that of 'chunking'. The artwork must first sufficiently engage the viewer to cause a pause, for time is now at play in the space before the object that has appeared. If the viewer recognizes an aspect in the art piece to which they intuitively respond, they 'chunk' onto it in a way that allows them to further create connections based on their own experiences. This entanglement brings them in line with meaning and can lead to further associations which reinforce the feeling of identification. It might be the thread that draws them closer to chunk on detail. Sensation in response to a bleeding colour, surprise at the handling of a medium, unique configurations of elements or subject matter striking a personal chord – all involve chunking and, subsequently, entanglement.

From a pragmatic perspective, John Dewey places emotion as a driver in artistic expression. He frames emotion, which leads to expression, within the concept of resistance. Resistance is that which forms the impetus towards change. Kantian essentials appear. Time must be pushed aside to make an artwork. Space must be cleared for the new artwork to occupy.

'Enwolding' (Verwletichung) is a term referenced in transcendental phenomenology, first coined by the German philosopher Eugene Fink-Edmund Hurssel. Verwletichung also seems to relate to 'chunking' but the German phrase that describes the philosophical concept is aufteilen in abschnitte. Whether the exhibition “Enworlding” is approached from the concept of chunking, emotion or expression, the experience of connecting worlds and inventing new realities is foremost.

e Feught

 We look towards the far distant for a sense of something other than the hum-drum existence that often takes over our routine lives. Vacations, videos, reading, music – all become the escape routes to enrichment. Afar Per se fulfills the wanderlust and slakes the thirst for exoticism, transferring a National Geographic mind frame into the refined halls of high culture.

 Amar from Afar is actually residing and working quite close for his studio is in Lumby, BC – yet that fact could translate into a rather exotic imagining for a New Yorker. Headbones Gallery visited the artist’s studio in the fall and were rewarded with a revelation as expanding as that of visiting another country. Amar’s work is not static. It reaches backwards in time as it projects forward and seldom is there only a surface meaning. But this is not a plea for nostalgia or even a reinforcement of exotic otherness for Amar doesn’t let the image rest. He pokes at it, jabs at it with the dissonance of virtual life and in doing so pulls his visual story line into the theatrical realms. There is a taste of intrigue, plot, climax and even the potential for a narrative resolution. He gives us sufficient clues but doesn’t reveal the ending.

 Diane Feught’s actual past, present and future have rarefied beginnings. Feught grew up in an Anglican home. As an adult, she lived in a Buddhist priory in Edmonton for seven years where she experienced the lush overlap of philosophical, spiritual and cultural diversity while still living in the heart of a ‘typical’ Canadian milieu. Her oil paintings and gouaches leave room for study as well as speculation as to their narrative source. Often with a strong composition that supports the drama of the imagery, her technique – impeccable and practiced – supports the strangeness of her subjects by granting an immediate viability to the juxtaposition of elements. The overwhelming perfection and balance take over any doubt at the unusual imagery. Feught also backs her innuendos with information, detailing with a precision to provoke applause.

 Afar Per se - what does it mean? Per se does not only mean “intrinsically” but also, “by, of, for or in itself”. It seems a fitting description of the works of Amar from Afar and Diane Feught with all of the allusions to otherness that they inspire.

 The opening reception for Afar Per se is Friday, November 11, which is Remembrance Day and 11/11/11. Even the date is fittingly evocative yet cryptic.

 Trance and Nilt to cosmic Eastern sounds and melodies during the opening reception with Daniel Stark on sarode, Bill Boyd on cello and Gaz on guitar.