LET THERE BE LIGHT

The Western Front's 39th Annual Gala Dinner and Auction
*
Saturday March 3, 2012
303 East 8th Ave, Vancouver, BC
For tickets, absentee bids and more information, please contact 604 876 9343 or development@front.bc.ca.

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Jen Weih, “Do you think the fog will be over here after the burger?” , 2012

Monoprint silkscreen

22 x 30” 

Estimated market value $500

Jen Weih’s practice investigates a combination of the rational and the
irrational. The work proposes a dialog between construction and
collapse, elegance and horror, sense and non-sense. Her projects
include a range of aesthetics from “bad” fonts to geometric balance
and can include found, manufactured, or crafted materials.  She also
works with video, sound and performance.

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Angela Grossman, A bit of a mess, 2011

Oil on paper

20 x 25” 

Estimated market value $4800

Artist’s comments : Small painting in a recent  series : The Future is Female

Grossmann has devoted much of her career to examining themes of displacement and social margins through the use of collaged and transferred discarded materials. In an early series titled Affaires d’Enfants (1987), she painted on the insides of suitcases abandoned by an agency in Paris that once sponsored summer camp holidays for orphans. In 1991, she created (Sign)ifying the END of the (Second) 2nd World War using photographs of unknown European children found in second-hand shops.

In her recent work, Grossmann emphasizes coming-of-age themes.  Grossmann is represented by Galerie D’este in Montreal and Winsor Gallery in Vancouver.  Her work has been exhibited widely across Canada, the United States and Europe. It is in numerous public and private collections.

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Casey Wei, untitled, 2012

20 x 22”

Estimated market value $300

Casey Wei is an interdisciplinary artist working through a multi-genre approach of video, text, collage, installation, and music to explore the methods in which identity unfolds as a process of consuming other identities. She often places herself in the work as a performer and/or through diaristic means, weaving together a multiplicity of truths to destabilize any univocal understanding (and therefore complacency) of the art object. She is currently working on her thesis project tentatively titled, Murky Colors, a feature length experimental video/film.

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Glen Lewis, 3 Taxonomies Bowls, 2011

17 1/2 x 9 1/2” each

Estimated market value 2,000 for group of three bowls

Artist’s comments: The bowls were made as part of an installation Taxonomies for the Western Front in 2011 that included the 3 major economic trees of coastal BC – Western hemlock, red cedar and Douglas fir – planted in the bowls, and 3 photo-collages affixed to 3 sheets of plywood made from the 3 species of trees. The photos were portraits of the 3 tree species, wooded buildings in Vancouver, and archival photos of sawmills on False Creek. The bowls were the first pots I had made in 30 years.

Glenn Lewis is a senior Vancouver artist, cultural worker, and teacher. Born in Chemainus, BC in 1935, Lewis attended the Vancouver School of Art ((Emily Carr University of Art + Design) and studied ceramics under the celebrated English potter, artist and writer, Bernard Leach. As a founding member of Intermedia, New Era Social Club, and the Western Front, Lewis was one of an internationally recognized group of artists who established social practice as an artistic medium in Vancouver. Lewis worked with peers to develop alternate channels for artistic exchange such as mail art and performances. Through the course of his 50-year career, Lewis has integrated a material acuity with site-specific performance, video, and installation. The 2004 exhibition and catalogue/book Thrown at the Belkin Gallery, UBC included early ceramic work by Lewis and presented the historical importance of Leach’s legacy within the Vancouver scene. Lewis’ 1969 conceptual loop film was first shown in 2005-06 at Intertidal, Vancouver Art & Artists, MuHKA Museum of Contemporary Art, Antwerp, Belgium. In 2010, Presentation House Gallery (Vancouver) presented Flakey: The Early Works of Glenn Lewis, and plans to produce an eBook monograph to include essays by Dieter Roelstraete and Jordan Strom. Works by Lewis are also included in Traffic: Conceptual Art in Canada 1965 – 1980, a major exhibition currently travelling from Toronto to Halifax. Montreal, Edmonton and Vancouver .

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Michael Drebert, Dance, 2011 Stone litho print 1/1 Michael Drebert graduated with a Master of Fine Arts from the University of Victoria in 2010.  His work has been included in exhibitions at the Vancouver Art Gallery, the Contemporary Art Gallery of Vancouver, the Western Front, Artspeak, Western Bridge, and Blanket, among others.   Dance was part of a recent exhibition at Malaspina Gallery entitled Bear House.  The exhibition consisted of artworks made in response to Drebert’s experience living on Haida Gwaii from March until September of 2011. Each work was printed using lithographic limestone and black ink at Malaspina Studio in October of 2011.  View high resolution

Michael Drebert, Dance, 2011

Stone litho print 1/1

Michael Drebert graduated with a Master of Fine Arts from the University of Victoria in 2010.  His work has been included in exhibitions at the Vancouver Art Gallery, the Contemporary Art Gallery of Vancouver, the Western Front, Artspeak, Western Bridge, and Blanket, among others. 

 Dance was part of a recent exhibition at Malaspina Gallery entitled Bear House.  The exhibition consisted of artworks made in response to Drebert’s experience living on Haida Gwaii from March until September of 2011. Each work was printed using lithographic limestone and black ink at Malaspina Studio in October of 2011. 

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Jonathan Syme, No Bummers Ever, 2012 Water colour and acrylic on canvas 18.5 x 23” Estimated market value $1000 Artists’s comments: No Bummers, Ever is a nod to modernist optimisms of the 1960’s and the laid back West Coast attitude that Vancouver supposedly presents to the world around us. A hopeful and playful image that applies seemingly simple aesthetic strategies compounded to become a more complex visual stimuli that references an era often represented nostalgically as sweet and naive. The title implies facetiously that perhaps our current cynical culture makes this proposition absurd. Jonathan Syme lives and works in Vancouver BC. He is a visual artist working with painting and sculpture. Syme is interested in the effects of colour and form in the pursuit of visually vibrating optical experiments.  Exploring the possibilities of hard edge forms juxtaposed with more intuitive gestural elements, interacting in binary harmony.  View high resolution

Jonathan Syme, No Bummers Ever, 2012

Water colour and acrylic on canvas

18.5 x 23”

Estimated market value $1000

Artists’s comments: No Bummers, Ever is a nod to modernist optimisms of the 1960’s and the laid back West Coast attitude that Vancouver supposedly presents to the world around us. A hopeful and playful image that applies seemingly simple aesthetic strategies compounded to become a more complex visual stimuli that references an era often represented nostalgically as sweet and naive. The title implies facetiously that perhaps our current cynical culture makes this proposition absurd.

Jonathan Syme lives and works in Vancouver BC. He is a visual artist working with painting and sculpture. Syme is interested in the effects of colour and form in the pursuit of visually vibrating optical experiments.  Exploring the possibilities of hard edge forms juxtaposed with more intuitive gestural elements, interacting in binary harmony. 

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Kate Sansom, If We Could Walk On Water They Wouldn’t Dare Shoot at Us (Bear Stearns), 2011 Archival inkjet print, acrylic, acid-free foamcore and linen tape 32 x 40” Estimated market value $1,200 Artist Comments:  The image-based pieces that I create are referential materials and visuals borrowed from the genre of science fiction.  While sardonic, absurd and detached, science fiction often contains predictions that are done critically and with contemporary cognizance.  Likewise, the images that I create contain existentially relevant topics that are arrived at through cheeky means.  A recurring blog sphere and stock desktop imagining aesthetic signals a critical proximity to contemporary information media that is tactically simialr to the use of advertising tropes in Pop Art.  The architectural figure central to this peice is an Internet sourced 3D rendering of Bear Stearns flagship building in New York.  Bear Stearns, on of five major American banks notorious for dangerous practices of speculation and gambling with derivatives and leverage, was integral in setting off the financial crisis of 2008.  The simple act of  mirroring the architectural rendering converts it into an image of a spaceship, or pod, moving what is architecture of of speculation into the language of speculative fiction.  Kate Sansom is currently a Vancouver-based artist.  Since graduating from visual arts at the University of Western Ontario in 2005, she has exhibited in numerous group and solo shows across Canada, her most recent projects at venues including the Or Gallery, and the Charles H. Scott Gallery, Vancouver, and Nuit Blanche, Toronto.  Her work has appeared in international publications such as Artforum and Canadian Art.  In 2009, Kate received her Masters of Applied Arts in Visual Arts from Emily Carr University of Art and Design, where her research was endowed by the Joseph M. Lombardier Masters Research Scholarship. View high resolution

Kate Sansom, If We Could Walk On Water They Wouldn’t Dare Shoot at Us (Bear Stearns), 2011

Archival inkjet print, acrylic, acid-free foamcore and linen tape

32 x 40”

Estimated market value $1,200

Artist Comments:  The image-based pieces that I create are referential materials and visuals borrowed from the genre of science fiction.  While sardonic, absurd and detached, science fiction often contains predictions that are done critically and with contemporary cognizance.  Likewise, the images that I create contain existentially relevant topics that are arrived at through cheeky means.  A recurring blog sphere and stock desktop imagining aesthetic signals a critical proximity to contemporary information media that is tactically simialr to the use of advertising tropes in Pop Art.  The architectural figure central to this peice is an Internet sourced 3D rendering of Bear Stearns flagship building in New York.  Bear Stearns, on of five major American banks notorious for dangerous practices of speculation and gambling with derivatives and leverage, was integral in setting off the financial crisis of 2008.  The simple act of  mirroring the architectural rendering converts it into an image of a spaceship, or pod, moving what is architecture of of speculation into the language of speculative fiction. 

Kate Sansom is currently a Vancouver-based artist.  Since graduating from visual arts at the University of Western Ontario in 2005, she has exhibited in numerous group and solo shows across Canada, her most recent projects at venues including the Or Gallery, and the Charles H. Scott Gallery, Vancouver, and Nuit Blanche, Toronto.  Her work has appeared in international publications such as Artforum and Canadian Art.  In 2009, Kate received her Masters of Applied Arts in Visual Arts from Emily Carr University of Art and Design, where her research was endowed by the Joseph M. Lombardier Masters Research Scholarship.

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Sylvain Sailly, Telescopic #1, 2011 Video projection variable dimensions Estimated market value $600 Artist’s comments on the work:  Telescopic #1 is a 28sec computer generated video loop.  It is the first of a small series of animations that refer to the basic mechanism and principle of the same name.  Besides its common use in mechanical engineering, the telescopic principle is appropriated for its descriptive value in various fields such as linguistics, psychology, mathematics. Telescopic #1 calls attention to the metaphorical quality of this mechanism. Born in Poitiers (France), Sylvain Sailly first studied comics and new media in Angoulême. He subsequently attended classes at the Accademy of Fine Art in Milan and at the École Nationale Supérieure d’Arts of Paris-Cergy. His animations, drawings and installations have been shown in the Apartment, VIVO Media Arts Centre Vancouver, Every Letter In The Alphabet Vancouver, Blanket Gallery, Vancouver, Charles H.Scott gallery, Vancouver and the Or Gallery, Vancouver. Sylvain Sailly is based in Vancouver since 2008. View high resolution

Sylvain Sailly, Telescopic #1, 2011

Video projection

variable dimensions

Estimated market value $600

Artist’s comments on the work:  Telescopic #1 is a 28sec computer generated video loop.  It is the first of a small series of animations that refer to the basic mechanism and principle of the same name.  Besides its common use in mechanical engineering, the telescopic principle is appropriated for its descriptive value in various fields such as linguistics, psychology, mathematics. Telescopic #1 calls attention to the metaphorical quality of this mechanism.

Born in Poitiers (France), Sylvain Sailly first studied comics and new media in Angoulême. He subsequently attended classes at the Accademy of Fine Art in Milan and at the École Nationale Supérieure d’Arts of Paris-Cergy. His animations, drawings and installations have been shown in the Apartment, VIVO Media Arts Centre Vancouver, Every Letter In The Alphabet Vancouver, Blanket Gallery, Vancouver, Charles H.Scott gallery, Vancouver and the Or Gallery, Vancouver. Sylvain Sailly is based in Vancouver since 2008.

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Nicolas Sassoon, Favourites #4, 2011 Inkjet print on PMP3 paper 68 x 48” Estimated market value $1,300 Artist Comments: Nicolas Sassoon’s work often refers to the complex and expansive relationship between computer technology and representations of architecture and landscape. Favourites #4 draws from his vast collection of 3D architectural models sourced from the Internet. These 3D objects have been created and uploaded to the web by amateur architects, designers and programmers—virtual monuments to the dream house or the unfinished home renovation. Three -dimensional imagery, in both concept and production, is the basis of much of Sassoon’s work, manipulating the imagery into animations and prints of minimalist abstractions and impossible environments. Sassoon flattens and manipulates these found 3D representations of space into abstracted domestic facades, conflating their aspirational intention with an artificial reality. Nicolas Sassoon is a Vancouver-based artist member of the online art collective Computers Club. Sassoon publishes an important part of his work online through the format of animated gifs and gets regular reviews on the web. He also exhibits his work internationally, collaborates with architects, artists, electronic music producers and fashion designers. His work has been shown in various international venues and events such as the Miami Art Fair (US), the Tokyo Art Fair (JP), the New York Fashion Week (US), Today Art Museum (CN), Eyebeam (US), Every Letter in the Alphabet (CA), Charles H.Scott Gallery (CA), TINBOX Contemporary Art Gallery (FR), and MU Eindhoven (NL). The work of Nicolas Sassoon revolves around the relations between computer technology and the representations of architecture, landscape and domestic environment View high resolution

Nicolas Sassoon, Favourites #4, 2011

Inkjet print on PMP3 paper

68 x 48”

Estimated market value $1,300

Artist Comments: Nicolas Sassoon’s work often refers to the complex and expansive relationship between computer technology and representations of architecture and landscape. Favourites #4 draws from his vast collection of 3D architectural models sourced from the Internet. These 3D objects have been created and uploaded to the web by amateur architects, designers and programmers—virtual monuments to the dream house or the unfinished home renovation. Three -dimensional imagery, in both concept and production, is the basis of much of Sassoon’s work, manipulating the imagery into animations and prints of minimalist abstractions and impossible environments. Sassoon flattens and manipulates these found 3D representations of space into abstracted domestic facades, conflating their aspirational intention with an artificial reality.

Nicolas Sassoon is a Vancouver-based artist member of the online art collective Computers Club. Sassoon publishes an important part of his work online through the format of animated gifs and gets regular reviews on the web. He also exhibits his work internationally, collaborates with architects, artists, electronic music producers and fashion designers. His work has been shown in various international venues and events such as the Miami Art Fair (US), the Tokyo Art Fair (JP), the New York Fashion Week (US), Today Art Museum (CN), Eyebeam (US), Every Letter in the Alphabet (CA), Charles H.Scott Gallery (CA), TINBOX Contemporary Art Gallery (FR), and MU Eindhoven (NL). The work of Nicolas Sassoon revolves around the relations between computer technology and the representations of architecture, landscape and domestic environment

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Andrew Lee, I Appear Neither On The Present Horizon Nor On The Telescopic Horizon Of The Generation (No.2), 2012 C-print 20 x 20” Estimated market value $2,000 Artist Comments: I think what I am interested in in this photo are the dualisms that I see happening when presented with a landscape. You are looking out into the horizon but are ultimately also looking inward and becoming introspective. Other examples are: out vs. in, you vs. them, time vs. space, trancendence vs. immenence, etc. This all points to meaning making in general and I see language and words to also have that inherent complexity.  The phrase in the photo much like the image itself is just as complicated but I think that words come off with the air of authortative importance. (I guess it’s a Rene Magritte type experiment). It’s not just because words can be translated and defined in a dictionary where as an image might be more subtle – it’s also the way that words look and present themselves that give it its hegemony. So just as one might stare out into the horizon line thinking of something profound – the text in the photo acts to maybe neutralize any sense of the romantic and make it about the materials. – i.e. that it is a photo of a landscape not the landscape itself; and that there is text written over the photo detailing the two dimensional surfaceness. Which hopefully further brings the viewer back to a place of contemplation – asking questions as where am I and why is there funny text written over this photo. Andrew Lee is a Vancouver-based visual artist, writer, and musician. His installations, sculptures, video and photography have explored attitudes of disavowed culture, interlanguage in Canadian families. Lee has a B.A. from Simon Fraser University majoring in Art and Culture. He was a part of the exhibition First Nations/Second Nature at the Michael Audain gallery and CO-LAB: A Workshop + Exhibition Project at Centre A in 2011.   View high resolution

Andrew Lee, I Appear Neither On The Present Horizon Nor On The Telescopic Horizon Of The Generation (No.2), 2012

C-print

20 x 20”

Estimated market value $2,000

Artist Comments: I think what I am interested in in this photo are the dualisms that I see happening when presented with a landscape. You are looking out into the horizon but are ultimately also looking inward and becoming introspective. Other examples are: out vs. in, you vs. them, time vs. space, trancendence vs. immenence, etc. This all points to meaning making in general and I see language and words to also have that inherent complexity.  The phrase in the photo much like the image itself is just as complicated but I think that words come off with the air of authortative importance. (I guess it’s a Rene Magritte type experiment). It’s not just because words can be translated and defined in a dictionary where as an image might be more subtle – it’s also the way that words look and present themselves that give it its hegemony. So just as one might stare out into the horizon line thinking of something profound – the text in the photo acts to maybe neutralize any sense of the romantic and make it about the materials. – i.e. that it is a photo of a landscape not the landscape itself; and that there is text written over the photo detailing the two dimensional surfaceness. Which hopefully further brings the viewer back to a place of contemplation – asking questions as where am I and why is there funny text written over this photo.

Andrew Lee is a Vancouver-based visual artist, writer, and musician. His installations, sculptures, video and photography have explored attitudes of disavowed culture, interlanguage in Canadian families. Lee has a B.A. from Simon Fraser University majoring in Art and Culture. He was a part of the exhibition First Nations/Second Nature at the Michael Audain gallery and CO-LAB: A Workshop + Exhibition Project at Centre A in 2011.  

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Lorna Bauer, The Burroughs File, 2011 Black and white archival pigment print 16 x 24” Estimated market value $1,250 Artist Comments: This is a photograph of items from Hank Bull’s archive on William S. Burroughs; the folder consists of paper and photographic ephemera (letters, photographs, postcards, receipts, 4x5 slides, photo documentation of his exhibitions, newspaper clippings, posters etc). Hank Bull was the organizer of Burroughs’ 1988-89 cross Canada tour of his visual art. Burroughs (born February 5, 1914 died August 2, 1997) was an American novelist, poet, painter and spoken word performer, and one of the leading figures behind the beat generation. Burroughs was an important inspiration for many people involved in the early stages of Vancouver’s artist run culture.  These archival documents highlight Burroughs visual art, something he focused on later in life. Burroughs presented his paintings at Western Front from July 5 to 20, 1988. Subsequently his artwork toured across Canada with exhibitions presented in Montreal (Oboro Gallery and Gallery Roger Bellemare) andToronto (Cold City Gallery and Art Metropole). Bull was a driving force behind this tour facilitating a fundraiser and acting as his Canadian “agent”. This tour helped to define Burroughs as a visual artist separate from his literary output.  As a photographic document - publicly “presented” for the first time in a fundraising initiative at Western Front - the sale of this picture will hopefully find itself completing a circle of exchange generated by and for a community in order to then, in a modest way, contribute to enabling future projects. Lorna Bauer has presented her work in solo exhibitions at Sporobole, Quebec; YYZ Artist Outlet, Toronto; Gallery Les Territoires, Montreal; The University of Toronto Art Centre and in the Projection Access Space at the Art Gallery of Mississauga. Recently, Bauer’s work was included in The Work Ahead of Us at the Musée d’art Contemporain de Montréal, and Decisive Moments, Somewhere Else at Trinity Square Video, Toronto. Her video work has been screened at the Art Gallery of Hamilton and Nuit Blanche Toronto (2007, 2009).  She holds a Masters in Visual Studies from the University of Toronto (2009) and a BFA (with distinction) from Concordia University (2005). In 2012, Bauer will present new work at Art Metropole, Toronto; Galerie Nicolas Robert, Montreal; Convenience Gallery, Toronto; La Vitrine, Montreal; and Daimon, Gatineau Quebec.  For the winter/spring 2012, she will be in residence in New York City as part of the Québec-New York State artist in residence program. View high resolution

Lorna Bauer, The Burroughs File, 2011

Black and white archival pigment print

16 x 24”

Estimated market value $1,250

Artist Comments: This is a photograph of items from Hank Bull’s archive on William S. Burroughs; the folder consists of paper and photographic ephemera (letters, photographs, postcards, receipts, 4x5 slides, photo documentation of his exhibitions, newspaper clippings, posters etc). Hank Bull was the organizer of Burroughs’ 1988-89 cross Canada tour of his visual art. Burroughs (born February 5, 1914 died August 2, 1997) was an American novelist, poet, painter and spoken word performer, and one of the leading figures behind the beat generation. Burroughs was an important inspiration for many people involved in the early stages of Vancouver’s artist run culture.

 These archival documents highlight Burroughs visual art, something he focused on later in life. Burroughs presented his paintings at Western Front from July 5 to 20, 1988. Subsequently his artwork toured across Canada with exhibitions presented in Montreal (Oboro Gallery and Gallery Roger Bellemare) andToronto (Cold City Gallery and Art Metropole). Bull was a driving force behind this tour facilitating a fundraiser and acting as his Canadian “agent”. This tour helped to define Burroughs as a visual artist separate from his literary output. 

As a photographic document - publicly “presented” for the first time in a fundraising initiative at Western Front - the sale of this picture will hopefully find itself completing a circle of exchange generated by and for a community in order to then, in a modest way, contribute to enabling future projects.

Lorna Bauer has presented her work in solo exhibitions at Sporobole, Quebec; YYZ Artist Outlet, Toronto; Gallery Les Territoires, Montreal; The University of Toronto Art Centre and in the Projection Access Space at the Art Gallery of Mississauga. Recently, Bauer’s work was included in The Work Ahead of Us at the Musée d’art Contemporain de Montréal, and Decisive Moments, Somewhere Else at Trinity Square Video, Toronto. Her video work has been screened at the Art Gallery of Hamilton and Nuit Blanche Toronto (2007, 2009).  She holds a Masters in Visual Studies from the University of Toronto (2009) and a BFA (with distinction) from Concordia University (2005). In 2012, Bauer will present new work at Art Metropole, Toronto; Galerie Nicolas Robert, Montreal; Convenience Gallery, Toronto; La Vitrine, Montreal; and Daimon, Gatineau Quebec.  For the winter/spring 2012, she will be in residence in New York City as part of the Québec-New York State artist in residence program.

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Marian Penner Bancroft, Roadside chapel near Schaftlach, Bavaria, 2009. Chromogenic print  20 x 20” Estimated market value: $2,200 Artist’s comments: Roadside chapel near Schaftlach, Bavaria was made while the artist researched the landscapes associated with a number of German and Austrian composers including Brahms and Schubert for her 2009 exhibition CHORUS.  Marian Penner Bancroft is a Vancouver artist working with primarily with photography, video, text, sculpture and sound. Recent work in the form of medium format analog colour prints addresses issues of landscape, public history and the construction of the visual imagination. Bancroft studied at the University of British Columbia, the Vancouver School of Art and Ryerson University. National and international exhibitions include those at the Vancouver Art Gallery and in Paris at the Centre Culturel Canadien  She is represented in the collections of the Vancouver Art Gallery, the Canadian Museum of Contemporary Photography and the Canada Council Art Bank. Bancroft  is an associate professor at Emily Carr University and is represented in Vancouver by the Republic Gallery. View high resolution

Marian Penner Bancroft, Roadside chapel near Schaftlach, Bavaria, 2009.

Chromogenic print 

20 x 20”

Estimated market value: $2,200

Artist’s comments: Roadside chapel near Schaftlach, Bavaria was made while the artist researched the landscapes associated with a number of German and Austrian composers including Brahms and Schubert for her 2009 exhibition CHORUS.

 Marian Penner Bancroft is a Vancouver artist working with primarily with photography, video, text, sculpture and sound. Recent work in the form of medium format analog colour prints addresses issues of landscape, public history and the construction of the visual imagination. Bancroft studied at the University of British Columbia, the Vancouver School of Art and Ryerson University. National and international exhibitions include those at the Vancouver Art Gallery and in Paris at the Centre Culturel Canadien  She is represented in the collections of the Vancouver Art Gallery, the Canadian Museum of Contemporary Photography and the Canada Council Art Bank. Bancroft  is an associate professor at Emily Carr University and is represented in Vancouver by the Republic Gallery.

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Raymond Boisjoly, A World on the Wane, 2011 Book soaked in the Willamette River 21.5 x 31 x 3.5cm Estimated market value $400 Artist Comments: A World on the Wane consists of a copy of Claude Levi-Strauss’Tristes-Tropiques (translated as A World on the Wane) that has been soaked in the waters of Oregon’s Willamette River–a river whose name is derived from the language of the Clackamas people. Raymond Boisjoly is an Aboriginal artist from Chilliwack whose work engages issues of Aboriginality, language as a cultural practice, and the experiential aspects of materiality. Boisjoly presented The Writing Lesson at Republic Gallery (Vancouver, BC), The Ever-Changing Light at Access Gallery (Vancouver, BC), The Spirit of Inconstancy at Lawrimore Project (Seattle, WA), and has participated in numerous group exhibitions and projects including How Soon Is Now at the Vancouver Art Gallery and House Systems: Fort Club at the Hedreen Gallery at Seattle University. Boisjoly was awarded a Fleck Fellowship from the Banff Centre in 2010 and participated in the thematic residency La Commune. The Asylum. Die Bühne. at the Banff Centre in 2011. Boisjoly lives and works in Vancouver.  View high resolution

Raymond Boisjoly, A World on the Wane, 2011

Book soaked in the Willamette River

21.5 x 31 x 3.5cm

Estimated market value $400

Artist Comments: A World on the Wane consists of a copy of Claude Levi-Strauss’Tristes-Tropiques (translated as A World on the Wane) that has been soaked in the waters of Oregon’s Willamette River–a river whose name is derived from the language of the Clackamas people.

Raymond Boisjoly is an Aboriginal artist from Chilliwack whose work engages issues of Aboriginality, language as a cultural practice, and the experiential aspects of materiality. Boisjoly presented The Writing Lesson at Republic Gallery (Vancouver, BC), The Ever-Changing Light at Access Gallery (Vancouver, BC), The Spirit of Inconstancy at Lawrimore Project (Seattle, WA), and has participated in numerous group exhibitions and projects including How Soon Is Now at the Vancouver Art Gallery and House Systems: Fort Club at the Hedreen Gallery at Seattle University. Boisjoly was awarded a Fleck Fellowship from the Banff Centre in 2010 and participated in the thematic residency La Commune. The Asylum. Die Bühne. at the Banff Centre in 2011. Boisjoly lives and works in Vancouver. 


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Carol Sawyer, The Borscht Belt, 2008 Colour photograph mounted on aluminum 67 x 39” Estimated market value $3,200 Artist Comments: This work was created in response to a residency at the central branch of the Vancouver library. The resulting videos, photographs, and music performance were exhibited at the library in Trace Ingredients, part of a trio of shows called Memory Palace, curated Karen Love. The works grew out of my responses to conversations with staff, the material qualities of the collection, and the complex social space of the library. Book Stack Poems is a suite of eight photographs (three of which were shown on large banners in the atrium of the library) inspired by the often eccentric combinations of books left by other patrons on library study carrels. Working with the whimsical idea that there might be a “guerilla poet” leaving enigmatic verse sculptures in the library for staff and other patrons, I built an extensive visual database of book spines that could serve as possible ingredients before making my final compositions and photographing them. Carol Sawyer is a singer and visual artist working primarily with photography, installation, video, and improvised music. Since the early 1990’s her work has been concerned with the connections between photography and fiction, performance, memory, and history. She has exhibited widely in both solo and group shows across Canada and in the U.S., and been the recipient of numerous Canada Council and BC Arts Council grants. Her work is in the collections of the Canada Council Art Bank, Microsoft Corporation, SFU, and the Museum of Fine Arts in Houston Texas among others. She has completed four projects for the City of Vancouver Public Art Program, the most recent of which is a series of seven short videos based on archival footage of logging and sawmill workers in the Vancouver area, titled Wood Work, which played in summer 2011 on large screens in downtown Vancouver. She has designed and taught courses in interdisciplinary studio, photography, and the social history of photography at ECIAD and SFU. Sawyer performs regularly with her improvising ensemble ion Zoo, the quintet Sound Image Net, and in other ad hoc ensembles.  Her work is represented by Republic Gallery, Vancouver. View high resolution

Carol Sawyer, The Borscht Belt, 2008

Colour photograph mounted on aluminum

67 x 39”

Estimated market value $3,200

Artist Comments: This work was created in response to a residency at the central branch of the Vancouver library. The resulting videos, photographs, and music performance were exhibited at the library in Trace Ingredients, part of a trio of shows called Memory Palace, curated Karen Love. The works grew out of my responses to conversations with staff, the material qualities of the collection, and the complex social space of the library. Book Stack Poems is a suite of eight photographs (three of which were shown on large banners in the atrium of the library) inspired by the often eccentric combinations of books left by other patrons on library study carrels. Working with the whimsical idea that there might be a “guerilla poet” leaving enigmatic verse sculptures in the library for staff and other patrons, I built an extensive visual database of book spines that could serve as possible ingredients before making my final compositions and photographing them.

Carol Sawyer is a singer and visual artist working primarily with photography, installation, video, and improvised music. Since the early 1990’s her work has been concerned with the connections between photography and fiction, performance, memory, and history. She has exhibited widely in both solo and group shows across Canada and in the U.S., and been the recipient of numerous Canada Council and BC Arts Council grants. Her work is in the collections of the Canada Council Art Bank, Microsoft Corporation, SFU, and the Museum of Fine Arts in Houston Texas among others. She has completed four projects for the City of Vancouver Public Art Program, the most recent of which is a series of seven short videos based on archival footage of logging and sawmill workers in the Vancouver area, titled Wood Work, which played in summer 2011 on large screens in downtown Vancouver. She has designed and taught courses in interdisciplinary studio, photography, and the social history of photography at ECIAD and SFU. Sawyer performs regularly with her improvising ensemble ion Zoo, the quintet Sound Image Net, and in other ad hoc ensembles.  Her work is represented by Republic Gallery, Vancouver.

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Elizabeth Milton, Patron Saints of my Mother’s House (Patron Saint of the Staircase, Patron Saint of the Powder Room, Patron Saint of the Entryway), 2012 C-print 12 x 24” Estimated market value $400 Artist’s Comments: Patron Saints of My Mother’s House is a series of character-portraits depicting Milton’s mother as she masquerades as a series of Catholic saints within her home of 47 years. Building costumes and props solely out of objects found on site and basing each character on religious imagery displayed within the home, Milton utilizes the inherent theatricality of the domestic environment to investigate notions of self-transformation and the ornamental refuse of commercial culture. Elizabeth Milton is a Vancouver-based performance and media artist who explores the construction of individual and collective identity through character-play and collaboration. She holds an MFA in Studio Art from the  University of British Columbia (2007) and a BFA in Visual Art from Simon Fraser University (2003). Elizabeth currently instructs courses in Digital Media, Photography and Contemporary Culture at Simon Fraser University, Emily Carr University of Art and Design and Langara College. She was granted a Visual Art Development Award from the Contemporary Art Gallery and Vancouver Foundation (2004) and sat on the Executive Board of the Unit Pitt Society from 2009-2011. Her work has been exhibited throughout Canada including This Is Uncomfortable, TPW Gallery (2010), Auditions, Access Gallery (2011), re-LIVE Vancouver,  Live Biennale (2011) and developed through residencies at the Banff Centre and Access Gallery. View high resolution

Elizabeth Milton, Patron Saints of my Mother’s House (Patron Saint of the Staircase, Patron Saint of the Powder Room, Patron Saint of the Entryway), 2012

C-print

12 x 24”

Estimated market value $400

Artist’s Comments: Patron Saints of My Mother’s House is a series of character-portraits depicting Milton’s mother as she masquerades as a series of Catholic saints within her home of 47 years. Building costumes and props solely out of objects found on site and basing each character on religious imagery displayed within the home, Milton utilizes the inherent theatricality of the domestic environment to investigate notions of self-transformation and the ornamental refuse of commercial culture.

Elizabeth Milton is a Vancouver-based performance and media artist who explores the construction of individual and collective identity through character-play and collaboration. She holds an MFA in Studio Art from the  University of British Columbia (2007) and a BFA in Visual Art from Simon Fraser University (2003). Elizabeth currently instructs courses in Digital Media, Photography and Contemporary Culture at Simon Fraser University, Emily Carr University of Art and Design and Langara College. She was granted a Visual Art Development Award from the Contemporary Art Gallery and Vancouver Foundation (2004) and sat on the Executive Board of the Unit Pitt Society from 2009-2011. Her work has been exhibited throughout Canada including This Is Uncomfortable, TPW Gallery (2010), Auditions, Access Gallery (2011), re-LIVE Vancouver,  Live Biennale (2011) and developed through residencies at the Banff Centre and Access Gallery.

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