- Through The Screen
Coinciding with the 2012 Okanagan Print
Trienial, March 31 – June 17, Headbones Gallery presents OPT
co-founder Briar Craig - Through the Screen in the
The Drawers Gallery with a series of silk screen prints, vivid
in hue and rich in innuendo.
Finding images from old National
Geographic magazines, memos, notes, street flotsam and media
detritus; Craig layers the coloring so that the end result is as
subtly exquisite as a medieval tapestry.
With a knack for discovering new meanings and associations to
words and phrases, Craig’s work provides opportunity for mind
games that challenge preconceived concepts and perceptions.
Doug Alcock and Ortansa Moraru
- Hammer & Spoon
The rigour of steel will compliment the ethereal lightness of
Japanese paper with Doug Alcock’s and Ortansa Moraru’s exhibition
Hammer and Spoon at
Headbones Gallery, March 20 to April 21.
is a massive crumpled shape enveloping itself. Doug Alcock used
a tool to leverage his task and create the relaxed volumes. He
used a bobcat to shape the pieces.
Printmaker, Ortansa Moraru, will also feature a large scale
installation piece approximately 6 x 18 feet, titled Down on
the Danube. It was accomplished by rubbing a spoon to press
the image from a woodcut onto the handmade Japanese paper. e Feught
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.
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.
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.
- 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.
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.
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.