1 North Square, Cambridge, ON
Our 5th edition of this popular group exhibition brings together the latest and brightest emerging artists working in our province.
Selected from an open call for submissions with over 100 applicants, this show delivers something for everyone. From painting to sculpture and installation to video, the exhibition aims to give a sense of emerging themes among young art makers at this particular moment in time.
Patrick Beh, London | Lisa Birke, Kitchener | Susan Campbell, Oshawa | Claro Cosco, Toronto | Nicholas Crombach, Toronto | Candice Davies, Toronto | Vikki Dziuma, Guelph | Melissa Fisher, Toronto Island | Adam Frank, Kitchener | James Gardner, Toronto | Jacquelin Heichert, Stouffville | Arturo Herrera, Windsor | Mike Marcon, Windsor | Jenine Marsh, Guelph | Jessica Massard, Kitchener | Laura Phan, Hamilton | Anuta Skrypnychenko, Toronto | Guillermo Trejo, Ottawa
Born and raised in London Ontario, Patrick Beh developed interests in both fine arts and biology. He completed his BA at the University of Guelph in 2013. Through the Arts and Science program he was able to major in Studio Art and minor in Biology. Patrick’s studies in biology have always influenced his artwork and vice-versa.
Lisa Birke is an award winning Canadian experimental short film maker who situates between the traditions of painting, digital video and performance art. She has had solo exhibitions across Canada and her short films have been screened at film/video festivals and media centres internationally, including amongst others: Vancouver International Film Festival (Canada), European Film Festival (touring), Athens International Film + Video Festival (USA), InShadow International Festival of Video, Performance and Technologies (Portugal), Cologne OFF X (USA, Israel, India), Cold Cuts Video Festival (Canada), International Short Film Week Regensburg (Germany), SESIFF(Seoul international Extreme-Short Image & Film Festival), POW Fest (USA), and AVIFF (Art Film Festival, Cannes). red carpet was awarded the “Lakehead Juror's Prize” and the “Audience Choice Award” at the Orillia Museum of Art & History in Orillia (Canada) in 2014. The short film Calendar Girls was awarded a “Jury Award for Creative Achievement” at the Arizona International Film Festival (USA), the Jury Award at ForadCamp (Barcelona) and was recently installed at Manif d’/Art (Quebec City Biennale 2017). Birke created projects for CAFKA (Contemporary Art Forum Kitchener and Area), the Kitchener Waterloo Art Gallery in 2016 and has just completed “The Knits” with the support of an Ontario Arts Council Media Artists Project Creation Grant.
Lisa Birke examines notions of ‘self’ through the lens of gender, bringing the cultural tropes of woman into focus and into question. Filmed unaccompanied in the Canadian landscape, absurd yet insightful performative acts become entangled in nuanced and complex narratives in single and multichannel video works that make reference to art history, mythology and popular culture. Revealing what lies beneath the surface of femininity, her work toys with a conclusion that is problematic, comi-tragic, and most essentially, human.
Susan Campbell is engaged in challenging the conventions that have built up within her design practice, and developing art methodologies by combining drawing and notation with digital media. She holds an MFA in Media & Design from OCAD University as well as BA in Design and Digital Media from Athlone Institute of Technology (Ireland).
Claro Cosco received his BA from the University of Toronto in 2012. Working primarily in printmaking, drawing, sculpture, and video, he is interested in exploring embodiment and imaginative reality. He has participated in Nuit Blanche (Winnipeg and Toronto), as well as shows at the Harbourfront Centre (Toronto), the AGO (Toronto), University of Toronto Art Centre, and many other places. His award-winning video work has been screened internationally.
Nicholas Crombach received his BFA from OCAD University in 2012 specialising in Sculpture and Installation. He is the recipient of numerous awards including the Hayden Davies Memorial Award and the Samuel Lazar Kagan Award. This past year, Crombach was selected for his first public commission, the work, Billy, Nanny and the Kids, is located in Appleby Village (Burlington).
Vikki Dziuma completed her BA at the University of Guelph in 2013 and is now living in Toronto. She has exhibited at Xpace (Toronto), Ed Video Media Art Centre (Guelph) and participated in group exhibitions at Trinity Square Video (Toronto), Cambridge Galleries, and at the University of Guelph's Zavitz Gallery.
Melissa Fisher’s practice lies within the realm of sculpture and site-specific installation. Since completing her BFA at OCAD University in 2008, she has become an active participant in the vibrant arts community of Toronto. Fisher has taken part in numerous group shows throughout the city, and has received a significant amount of press for her series of site-specific window installations including lately I’ve been wondering if you feel it too at Xpace (Toronto). In 2012, Fisher participated in a two woman show FIFTY / FIFTY with Teresa Aversa at Sur la Montagne (Berlin), and also received funding to execute her first solo exhibition BE BE PRESENT at Souvenir Gallery (Victoria).
Adam Frank received his BA from the University of Waterloo in 2012, and has shown at Art Mur’s Fresh Paint / New Construction exhibition in 2011 (Montréal). Adam continues to advocate and support student artist projects and spaces in the Waterloo region.
James Gardner is an artist living and working in Toronto. Born in Kitchener, James studied Studio Art and Art History at the University of Guelph, graduating in 2008. Recently, he has been making paintings and sculptures, studying art, reading books, and working with the artist collective VSVSVS.
Jacquelin Heichert is an artist specializing in print media, book works and sculpture. She received her BFA from York University in 2010 and is currently pursuing her MFA in Print Media at Concordia University (Montréal). Jacquelin has shown in solo exhibitions, at such galleries as Atelier Circulaire (Montréal), York University's Gales Gallery and Eleanor Winters Art Gallery (Toronto), as well she has an upcoming solo exhibition at the Latcham Gallery (Stouffville) and La Centrale Galerie Powerhouse (Montréal). Her works are in the collections of KIWA Archives (Japan), York University's Print Media Archives (Toronto) and The Art Gallery of York University’s Artists Book Archives (Toronto).
Arturo Herrera is a visual artist working with notions of identity, migration, and food. He has received his BFA from the University of Windsor in 2012, and a Photography degree from the New York School of Photography in 2006. Arturo’s most recent project includes Daily Bread, with the participation of artist Carole Condé + Karl Beveridge to work alongside migrant workers in Leamington, Ontario; a project to be developed in the upcoming months. His work has been shown in festivals across North America; at Nuit Blanche 2012 (Toronto), CONTACT Photography 2011 (Toronto), Winnetka Chicago Modernism Show (Chicago), 2005. Arturo was born in Honduras, Central America and he has lived in the United States and Canada; he currently lives in Windsor.
Mike Marcon is a multidisciplinary artist from Windsor. His artistic practice encompasses a range of mediums including video, sculpture, photography, and archiving. After obtaining a degree in Visual Arts in 1998, he spent several years living and travelling by ship throughout Melanesia and Australasia before returning to Canada in 2001. In 2005 he completed a diploma in Graphic Arts and Design at St. Clair College (Windsor), and received his BFA in Visual Arts and BA in History from the University of Windsor in 2012. He is currently enrolled in the MFA program at the University of Windsor.
Jenine Marsh was born in Calgary, Alberta. She received her BFA from the ACAD in 2007 (Calgary), and her MFA from the University of Guelph in 2013. She has exhibited her sculptures and installation widely in Canada, has worked on numerous collaborative projects, and has participated in residencies at the Banff Centre (Banff), the Vermont Studio Center (Vermont) and Struts Gallery (Sackville).
Jessica Massard received her MFA from the University of Waterloo in 2013. She holds a BFA from NSCAD University (Halifax) and a Fine Arts Diploma from Fanshawe College (London). She has exhibited nationally and internationally with recent exhibitions at Art Mur (Montréal), The Moore Gallery (Toronto), Meghan Fish Contemporary (Halifax), and the University of the West Indies (Barbados). Her work is in various private international collections. Jessica has received several grants and awards, and as a recipient of The Keith and Winifred Shantz Internship Award she apprenticed with Judy Millar and Katharina Grosse in Berlin.
Anuta Skrypnychenko was born and grew up in Kiev, Ukraine. Her family moved to Canada in 2004. She graduated from the University of Guelph Fine Arts Program in 2010. Before that she attended Cultural Studies at the Kyiv-Mohyla Academy in Ukraine. Anuta's work has been exhibited at the Art Metropole (Toronto), Gallery 44 (Toronto), Gladstone Hotel (Toronto), Toronto Urban Film Festival and Galerie Les Territoires (Montréal). Currently her practice revolves around photo, video and sculpture.
Guillermo Trejo is a Mexican born artist living in Ottawa, since 2007. He completed his BFA with a specialization in printmaking in Mexico City, and received an MFA degree from the University of Ottawa in 2010. Since then, he had a solo show at Saw Gallery (Ottawa), presented his MFA thesis at the Ottawa Art Gallery, and participated in the International Symposium of Contemporary Art of Baie de Saint Paul (Québec) and the Creative Fusion residency (Cleveland). Guillermo is a consultant at the National Gallery of Canada, and teaches at the Ottawa School of Art.
List of Works
Disco Rocks. 2012, paper Mache, spray paint, hand cut glass tiles, series of 5, each approximately 15” x 20” x 20”
red stripe painting; walking the line; red carpet. 2012-13, video, single loop run time: approx. 18min.
Open House Interventions. 2012, 2 Chromira Matte prints mounted on 3mm Dibond and face-mounted on 1/8” clear Acrylic, each 24” x 36”
The Ballad of the Pink Sheep, or, Icarus With a Different Ending. 2011, intaglio print, a three-colour multiplate etching, 22” x 15”
Werewolf Becoming With Antlers. 2011, intaglio print, a two-colour multiplate etching, 22” x 15”
When There Were Teeth In My Head. 2011, intaglio print, a two-colour multiplate etching, 22” x 15”
Bella. 2011, Fiberglass, silicone, hair, feed bags, hide, 60" x 60” x 24”
Indy Plinth. 2012, MDF, 10" wheels, steel rod, semi-gloss and hi-gloss latex paint, series of 2, each 43” x 20” x 20”
All At Once. 2013, installation, mixed materials, dimensions variable
Intrinsic Formal Value of Black String (4 from series of 14). 2011, string, brass hook and Plexiglas, 22” x 4” x 4”, 18” x 4” x 4”, 18” x 4” x 4”, 14” x 4” x 4”
Day and Night #1. 2011-2012, oil on wood, approximately 7” x 10½'' x 3½''
Day and Night #5. 2011-2012, oil on wood, approximately 7'' x 11'' x 3''
Day and Night #6. 2011-2012, oil on wood, approximately 8” x 13'' x 3½''
Choice Spinner. 2011, hardwood, softwood, plywood and metal brackets, 64” x 28” x 28”
A0001159. 2012, photography, part of the series Makeshift Identity, 14” x 11”
A4518247. 2012, photography, part of the series Makeshift Identity, 14” x 11”
A4518359. 2012, photography, part of the series Makeshift Identity, 14” x 11”
Prize. 2012, wood, cast aluminum, 102” x 36” x 36”
Her Soft Focus. 2012, Foam, latex, wood, 58” x 20” x 22"
Responsible Nudity. 2012, Latex on cardboard, 50” x 7½” x 49"
Possibly, Maybe. 2013, acrylic paint, dimensions variable
Patterns. 2013, intervention, dimensions variable
Turnips and Stress Balls on the Beach at Sunset. 2012, photography, 11½” x 11½”
Artificial Pear With Rotting Fruit Implant. 2012, photography, 11½” x 11½”
Lemon Garlic. 2012, photography, 4½” x 6½”
Pear Radish. 2012, photography, 4½” x 6½”
Instigators. 2013, letterpress and wood, 9’ x 8’
by Iga Janik, curator.
Welcome to the SHOW.13; the 5th installment of our biannual exhibition dedicated to promoting the work of emerging artists in Ontario. Over the past decade, the SHOW (formerly SHOWCASE) has played an important role in introducing new artists to the broad art community while foreshadowing sensibilities towards new practices, and thematic preoccupations. It is vital for a public gallery to be able to foster new talent, and as we celebrate 35 years of Cambridge Galleries’ programming, we bring to the forefront the future as well.
A lot is shifting in the art world; the methods of working and ideas explored. It’s a testament to the strength of the province and the schools which have cultivated a well deserved reputation for producing some of the best talent. Selected from an open call for submissions this show provides us with a great amount of observation, social intervention, aesthetic musings, along with humour and commentary about the structure of the art world itself.
The works of Lisa Birke and Patrick Beh are humours and set up a folly of desire and glamour. In her video, Lisa blends the tropes of popular culture, entertainment, and fashion with art historical references and classical notions of the body. It’s a seductive piece full of contradictions. It plays amazingly well against Patrick’s Disco Rocks series that somehow pathetically try to maintain some part of glamour their entertainment industry counterparts provide in night clubs. They fail in a charming way.
There are abstract works, in sculpture and in painting, where the materials themselves are explored. Beautiful and colorful collection of latex paint sculptures by Jessica Massard litters the space and creeps up on other works. There is a nice dialogue between this work and all others that, although quite accidental, does lead to a conversation of art histories, and the development of painting. James Gardner undertakes a similar question of painting exploration in his obsessively reworked mucky and thick objects created with layers of paint, and then abstractly calls each one a Day and Night.
There is a lot of material in this show, undoubtedly influenced by our growing anxiety about the collective consumption of the world around us. Melissa Fisher is an archivist and a collector of sorts in how she treats material in her site specific installations. Her assembled works only live once, but the objects she collects have many reincarnations. Adam Frank plays with string, and sometimes, things such as IKEA straws. Although his process is quite regimented, his methods result in organic and lush complexities of the simple materials. Formally presented, the utilitarian string pieces take on a level of self importance.
Jenine Marsh also has a way with materials. Her minimal sculptures, aesthetically stunning, reference art historical subjects and situate us back within a context of the formal institution and how much artmaking has changed in recent decades. Photographic portraits by Arturo Herrera also reference the classics. His Makeshift Identity series challenge the structure of the historical portraiture with costume like additions to his subjects of the type you find in a junk drawer or an office supply closet.
Vikki Dziuma likes to play with intuitional context and humour! Indy Plinths are not only funny, and pathetic, they also seem stuck within an empty race. I couldn’t resist but include this work to help and frame a number of ideas around the proposition of the banal. The notion of institution and the historical references, particularly to materials, are very present in sculptures by Candice Davies. Unfortunately, the work couldn’t be included here due to unforeseen circumstances, but I have to point out an artist who was selected for theSHOW.13 and carves exquisite stone pieces of items such as bubble wrap, packaging popcorn, and spray foam. They are so well done that it’s easy to mistaken them for the real thing.
These simple gestures encompass much larger issues and spark seemingly simple conversations in how strange and absurd visual systems can sometimes be. Anuta Skrypnychenko’s work fits into this category. It is humble yet so poignant about the very life of objects and in this particular series, fruit, and food culture in general. Laura Phan’s intervention among the library shelves brings a moment of delicate reflection to the books themselves, and Susan Campbell has a way of giving new life to the urban debris she encounters accidentally. These artists in particular have delivered works that reconsider the very nature of an object and give great amount of consideration to its very spirit. This is quizzical and entirely refreshing.
Nicholas Crombach offers a dialogue with animals, their place in industry, and consumption in general. The complexity of animal raising and the farming industry is suggested through a much loving portrayal of Bella, a small scale version of a cow that’s statuesque as much as she is playful. It speaks to individual choices in respect to our animal consumption as we’re faced with a friendly face that mocks just a little bit. Jacquelin Heichert has created a Choice Spinner as a kind of way out of the responsibility of decision making, or so the promise of the title suggests. It’s a pathetic kind of hope, but it does offer a play on how we think about the significance and impact of the endless decisions in our daily lives. As for Mike Marcon, his Prize sets up a series of contrasts in the notion of celebration, achievement, and a very classical desire for recognition and praise. This is the biggest and most absurd trophy I have seen, supported on a pile of skids scavenged from back ends of industry refuse and with metal castings of shims, lumber and debris.
Spirit of power and revolution lies at the core of Guillermo Trejo’s work. In all of his installations the powerful imagery is prevalent. He’s created a very strong set of prints for this show, and I only wish we could have wallpapered the building itself.
I’d like to finish with the abstract, slightly absurd and completely whimsical. Claro Cosco’s prints are a welcomed addition in this body of work. They celebrate the childlike, the fantastical, and the pure spirit of imagination in the creative process itself. Plus, it’s always good to have a wolfman around.
Welcome again to this edition of the SHOW. For all of the right reasons you may leave puzzled.