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NOTE OF
GRATITUDE Congratulations to the DP Visual Arts Students of 2020! In the short time that I have known you, I have been so impressed with your creativity, resilience, and dedication. Navigating this complex and demanding course is no easy feat, and I thank you for giving me the chance to jump in and guide you through your second year of the programme. It has been a joy watching you grow as artists, and I can’t believe we have already made it to this milestone moment. Furthermore, In the face of adversity, you unanimously embraced the challenge to take your exhibition online. I applaud you for your courage and your enthusiasm to share your gift with all of us. There are a good number of people from the Stratford Hall community who deserve recognition for their roles in helping this exhibition come together. Michelle Douglas, thank you for your organizational support, encouragement and unwavering can-do spirit. Aldrich Tan, thank you for your stunning work on the promotional materials, and for rolling with all the changes with positivity and grace. Thank you to Michelle Stafford and the Facilities team for your support with preparing for a physical exhibition before we knew this would have to move online. Ellis Herbert, thank you for helping sort out the technical practicalities of a live online exhibition. Thank you, Andrea Ryan, for assisting us with your technical expertise and brilliant problem-solving throughout the year. Thank you to Nathan Lew for stepping up to design a fresh and contemporary catalogue cover. Caitlin Shepard, thank you for being the most patient, helpful and good-humoured DP coordinator imaginable. Thank you to Dean Croy for your enthusiastic support of the Arts! Finally, I would like to thank all the people who kindly volunteered their time at the Feedback Fair in February. Your engagement with the students helped them to resolve their final artworks and present this week with confidence. These people are Lobat Fateh, Philip Brownhill, Mariah Chan, Andrea Ryan, Hazel Chee, Cristina Uroni, Dean Croy, Hanna Lewis, Quinn Casey, Caitlin Shepard, Adam Underwood, Ivy Chee, Michelle Douglas, Will Bravar, Adrienne Rempel, and Ebony Rose. With enduring gratitude, Melanie Dueck DP Visual Arts Teacher
Stratford Hall | 3000 Commercial Drive, Vancouver, BC Canada V5N 4E2 | www.stratfordhall.ca
ARTISTS
table of contents
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Adaptation
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Int. Connor’s House - Bedroom - Night
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Don’t Let Go
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แม่บอกว่า That’s What My Mommy Said
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Memories Faded
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Changing Seasons
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synthesis
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Georgia’s Wonderful World of Art
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Everything I See is Red
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Thought Room
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Covered Up
Jaya Athwal
Matthew Boulter Owen Chan
Mik Chayapinum Amrit Dhillon
Veronica Leung Nathan Lew
Georgia Turner Sahiba Ubhi
Kirsten Wong Faith Young
DP Arts Reception Thursday, April 23, 2020 11:00am - 12:00pm Online via Zoom
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ADAPTATION This exhibition aims to critique human adaptation, specifically surrounding different social and political issues in society. Whether this was based on my personal experiences or issues prevalent in today’s society, I wanted to transmit a common idea though my pieces about how humans have adapted to tragedy and different issues in the 20th and 21st centuries. I was interested in exploring a wide variety of media such as mixed-media paintings, photography and sculpture to represent the diversity of ideas I explored. While all my pieces differ in method, they all aim to uncover the realities of the human condition.
The driving force behind my pieces is my aspiration to spark dialogue, celebrate, and critique specific issues in society. I was inspired by Vikky Alexander, whose artwork incorporates plexiglass and found images to uncover a critique on the nature of desire in media. Alexander fuelled the concept behind my piece 54, which celebrates diversity and freedom of expression in a time where there were mass amounts of discrimination towards marginalized communities. I used spray-painted plexiglass and a variety of found images of people in the night club Studio 54 to capture the liveliness and expressiveness of the space. I was also inspired by my personal experiences as an Indo-Canadian female. An issue prevalent in the Indian community is colourism, which is a topic explored in my pieces Fair & Lovely. I found that in the media, discrimination is often perceived to be between two communities, but amongst the Indian community lies deeprooted self-inflicted prejudice surrounding the complexion of one’s skin tone. As the audience moves through my exhibition, I want my viewers to consider to what degree they have adapted to these issues. Through the use of a diverse range of media and topics, this exhibition allows the audience to reflect on the many ways adversity has led to progress in order to provide an optimistic perspective towards current affairs.
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JAYA
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INT. CONNOR’S HOUSE BEDROOM - NIGHT This exhibition works as an artistic extension of a short film I have been working on for the past 15 months. The flow between works is linear, as each supersedes the former in an evolving process that works to bring myself—the filmmaker—closer to the final product: the final scene for my short film, “Glass Half Cracked.” As I consider it the most ambitious in technical qualities— cinematography and production design—this scene required extensive preparation to craft it effectively: screenwriting, floor planning, set decorating, storyboarding, filming, and editing. The film chronicles a day in the life of a queer teen at high-school, exploring themes of intersectionality, perception, privilege, and the different ways oppression is manifested. This exhibition chronicles my filmmaking journey in a way that is accessible to everyone. Often efforts behind-the-scenes are shrouded in secrecy.
My exhibition acts as an entry point to those who seek to understand more about filmmaking. In a world where even the artistic merits of feature films are questioned, this exhibition further reveals the intrinsically artistic nature of filmmaking, no matter the scale and budget. To draw the viewer in I hid the complexities of the art under a layer of clarity and coherence. As they walk around the space, the viewer may comprehend what is being depicted, and how it is being depicted, but the why cannot be fully understood until the entire exhibition is processed. Two concurrent narratives exist here: one encompassed by the presentation of the pieces, and one that exists within the narrative of the film for which the works act as pre-production stages. The more time the viewer constrains themselves to this confined room to decipher my creative decisions, the clearer my creative decisions become in constraining the viewer to this confined room.
matthew
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the process
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DON’T LET GO As I progress through my adolescence, I have noticed that my life has become different than when I was younger. My body of work relates to a central topic of childhood, with underlying concepts such as loss, appreciation and joy being explored in this exhibition.
The show revolves around impactful experiences I remember, and objects like toys that I gravitated towards. In addition, the idea of celebrating childhood through my art, while also not wanting to let go completely is an overarching concept. Over the past two years, I have delved into a variety of mediums including acrylic inks, sculpture, and digital photography. Digital photography was definitely one of my favourite mediums to work with because it presented enticing challenges for me. Cars are a dominant motif throughout my works as they have been a fascination to me when I was younger, as well as the present day. My interest in cars has grown through experiences like going to the auto show with my father as well as video games. In addition, Lego is another recurring motif since it’s a toy that is universally loved. I have also chosen to include pieces on opposite ends of the emotional spectrum to represent the duality of joy and sadness one experiences during childhood. This exhibition is an amalgamation of different aspects of childhood, through the lens of my interests. What I hope makes this exhibition engaging is that there is a sense of universality since people can experience much of the same emotions present in the pieces, but through drastically different ways.
OWEN
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แม่บอกว่า แม่บอกว่า (That’s what my mommy said) is my journey through adolescence;
coming of age. I have experienced a transition, from my home in Thailand to life in Canada, which has had a big impact on my emotions and personal growth. All of the concepts behind my work are inspired by what my mom told me from afar throughout the hard times. I did not quite understand back then why my mom shared those harsh truths when I was feeling so down. However, when I look back and reflect on her words, it allows me to grow. Words, in this case, are very important for me because they are the only things that can stay with me when I cannot be with my family.
The way that my pieces are displayed in the exhibition represents the sayings my mother has said throughout my hard times. The visual representation of my art is mostly inspired by the work of artists, musicians, and authors. There is also an irony within the visual and the true meaning of my pieces. Through my pieces “Boo-Boo”, It’s Peachy, The Corner/ Two-faced, The Bubbles, Finding my Missing Piece, “Burn out”, Pink Bathroom, Man child, Mind your own business, Ewwie, and Fay, I hope that my exhibition will make the audience think back about their memories with family and understand their point of view. Their critiques might feel unpleasant to hear, but sometimes you need to get slapped by the truth to wake up.. that’s what my mommy said.
MIK
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MEMORIES FADED My body of work was created to reflect on past memory and their influences on me currently. As I get older, I understand the importance of memories and different ways of perceiving them and making them last forever.
Throughout my art journey at Stratford Hall, I wanted to explore how emotions affect how we display our memories in an art form. This inspired my pieces, fading and colourful pain. To add on throughout this journey, I have learned to develop my artistic skills with different mediums. Such as acrylic paint on canvas, printmaking, photography, sculpture, and many more. They have influenced my pieces as each medium has a different meaning when communicating and using them, for example, acrylic painting is much bolder than watercolour painting. Throughout my artworks, I was inspired by multiple artists such as Gathie Falk, Debbie Smythe, Mike Kelley and Roy Lichtenstein. However, the most dominant artist that inspired me was Frida Kahlo and her technique of using symbols to present her emotions. Kahlo is able to communicate her feelings indirectly and in complex ways, which intrigued me from Grade 11 to Grade 12. I chose to display my artwork in an open room as it allows the viewer to view all my pieces as a whole without having to go around the room. When looking at the arrangement of pieces, they are arranged in a way that somewhat groups them together, like the grouping of natural elements or important places together due to something we see physically every day or the grouping of the superstitious sayings because of the bad luck that comes with it. When considering the arrangement of the pieces in the chosen open room space. I hope while viewing my exhibition the viewer is able to see a common theme throughout all of the pieces.
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AMRIT
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CHANGING SEASONS Everyone sees the world differently. A season is a division of the year defined by certain weather patterns which we translate into our perceptions as a result of experience, memories, and activities of that season. Therefore, seasons allow me to explore the concept of perception through its complex range of emotions that can be felt. Take for example, a rainy day. Most might say that the rain dampers their day and makes people sad, but I would say that rain is very calming.
The art pieces chosen present each season in a different light using different materials to support the various perceptions and the memories associated with them. I am mainly influenced by the weather and nature. Other times I am influenced by art styles that I find would fit well into my collection of art pieces such as Ebony Rose’s Pitch Dark (2019) which utilizes the solubility of ink to create a dreadful piece, or Shae Salmon’s art style. In the beginning, I knew I wanted to make pieces related to nature – not exactly common topics like environmental damage, but more based on what I see. I eventually found my interest in seasons and the perceptions of each one. While doing so, I became interested in others’ views and how they differ. The pieces are arranged in seasonal chronological order starting with winter and ending with the interactive clock piece to reflect on experiences. Having a range of display styles, digital, sculptural, and hanging pieces, it allows for many different viewers to connect and understand each piece. Through the use of literal images, colour, and brightness, I can develop a relationship between the art piece and the viewer. The multiple views accumulated from the opinions of others allow for a wide range of opinions that are not bound to one person, therefore, the viewer will be able to understand the message and emotions behind at least one art piece. Lastly, I want the audience to decide what they feel for themselves – whether it is happy, sad, nostalgic, or another emotion because I do not want to direct nor influence what people feel from my exhibition. If anything, I want the audience to consider their own opinions about the seasons and their memories associated with them as they enter and exit my exhibition.
VERONICA
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synthesis My body of work has acted as self-reflection on internal and external factors that have influenced who I am today. As I’ve grown up, I’ve felt that there has been an emerging emphasis on the importance of self-care.
Throughout my creative process, I wanted to explore a personal struggle with self-acceptance due to social expectations and the generally high standards I set for myself. This inspired my use of sculptural and digital mediums that seemed either minimal or industrial. I felt it was important to experiment with new techniques such as VR, and vector design as these more technical processes are analogous to my portrayal of development. I emphasized the importance of mediums by reducing my overall colour palette to tones of grey, attempting to create objective representations of emotional issues. I converted the space into a white cube gallery, eliminating distractions to encourage contemplation of the works. Not only is this stylistically continuous with my pieces, but also the expansive nature of the room allows viewers to see larger pieces at a distance. Since doubt and failure are inherently universal experiences, the public nature of the gallery acts encourages reflection about one’s development. When considering arrangement, I often put works in close proximity to each other to pair representations of an issue and their effect on me. For instance, I made two sculptural works to tangibly present the process and failure in rationalizing emotional adversity. I created these works to be more vulnerable as I often find myself trying to maintain a professional and strong image. By representing failure and development as a multifaceted idea, I hope that walking through the gallery allows each idea to build on each other for a more engaged reflection.
NATHAN
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GEORGIA’S WONDERFUL WORLD OF ART My exhibition explores issues that we have all acknowledged but never addressed, and the shields that have been created to obscure the relative truth. What I mean by this is: there are problems in our society that we know about but do nothing to prevent or solve. Instead, we are dismissive towards them.
This idea is examined through several different issues and lenses. Some pieces touch on the idea of human interaction, while others explore the impact of technology or pollution. With Natural Environment, I display the impact of pollution on our world and how garbage has integrated itself into our surroundings through the use of plastic, metal, and wood to create a natural setting. Conversely, in my piece Mirror Image, my artistic intention is to convey the effect work has on individuals as we get older; how we disconnect from the moment and instead treat it as an inconvenience. This is shown by not only the silhouettes on the floor, but the characters in the movie they are watching. This idea is accentuated by the attitude of both the children in the piece contrasting that of the adults. In partial contrast to this, where we see the mother disconnecting from her present experience. My wood piece Desensitized covers disconnect from our past. This piece portrays the topic of technology, and how we have made weapons into objects of admiration despite their destructive purpose: through video games, wall decorations, and even camp activities. Each of these pieces along with all the others connect to a consistent leitmotif; that some messages are hidden or veiled. The way we represent ourselves or our world is not always entirely true or honest.
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GEORGIA
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EVERYTHING I SEE IS RED Everything I See is Red is an exploration of issues that are faced today, on both a societal level and individual basis, that could have been avoided. I feel that the most effective way to successfully problematize or communicate an idea is through the provoking of intense emotion in the viewer, which is present throughout my works. Simultaneously, I have attempted to incorporate an element of tenderness, inviting the viewer to think past their initial reaction and empathize with the figures.
I encourage my viewers to decipher the eerie and challenging imagery that I present. For example, through the motif of blood and vivid eyes, most notably in Happiness, which are often in distress. To further highlight these elements, I provide emphasis on my central figures, most often through leading lines and or the enlargement of certain elements. Despite not working in the medium, my most significant inspiration is film. Across many of my works, the ambiguity and lack of context is inspired by the films of David Lynch and David Cronenberg. In D.I.Y, the central stick-like figure was inspired by the inhuman qualities of Lynch’s two-dimensional works. The fleshiness of the embracing figures in California (Lazarus) was partly inspired by the body horror featured in many Cronenberg films, which is often paired with a sense of intimacy. Outside of film, I gathered inspiration from the kaleidoscopic Takashi Murakami, as seen in Ephemerality is Opalescent and text-based feminism of Barbara Krueger in Scopophilia, my examination of the male gaze. Despite the dark imagery which is seen on the surface of my works, I strive to push the viewer to reach below the surface, and instead, allow themselves to be challenged into adopting a new perspective.
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SAHIBA
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THOUGHT ROOM Thought Room explores the human psyche; responding to pressures it is a visual for turmoil through the distortion of space and reality.
Using a range of mediums: digital art, painting, collage, sculpture and printmaking, each piece exposes aspects of a person’s psychological state. Apathy Beware warns the viewer on exposure to anxiety. The background’s circular strokes direct attention towards the figure and the surrounding ringlets. Detracting the viewer’s attention from the face, it expresses how onlookers are unlikely to notice sufferers of apathy, as they mask their vulnerability. Inspired by Op artist Bridgette Riley, Limbo is an extension of Apathy Beware. Riley’s use of lines create illusions of moving pictures. In Limbo, lines are arranged to trick the viewer into thinking the image is moving. They create a mesmerizing image that mirrors the mental experience of apathy. Referencing the film, Inception, “limbo” is the dimension between dreams and reality. The large scale is meant to overwhelm the viewer. Contrasting previous works, my piece Under the Sheets, the multi-dimensional awning creates a sheltered and intimate experience between the view and the artwork. The viewer goes inside the awning and sees the painting up close, experiencing a simulation of hiding under bedsheets which reminisces of a place of comfort and safety. Similarly, in Paradise Hidden, the uniform lines contrast the waving lines in Limbo. Despite being constructed using the same principles, the print creates a sense of tranquillity as they get lost in the field of lines, creating an illusionary and lulling experience. The unique perspective highlights the importance of acknowledging things being taken for granted. Through my art, I hope to immerse the viewer in a sensory experience as a way to highlight the vulnerable facets of emotion and bring awareness to the complexities of the psyche.
KIRSTEN
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COVERED UP The theme of covering/uncovering is what ties the seven pieces I have created and selected for my exhibition. These pieces out of all the others display more technical competence and conceptual depth, and the messages conveyed are more personally significant. I explore a variety of art forms and techniques to represent different instances where hiding, camouflaging and attempts to go unnoticed happen. The main ideas that are being examined and critiqued are the covering up of humility, fear, lack of energy, the body, beliefs, important world issues, and physical imperfections.
My hope for the audience is to relieve the pressure to cover up certain aspects of themselves. As the audience enters my exhibition, Shield is viewed first. This piece signifies the physical aspect of uncovering, and from there, more intangible aspects of life in other pieces are uncovered. The pieces Sheep, What Matters, At the End of the Day, and Energy follow. The exhibition ends with Smooth that has a bucket of spackle next to it. This piece invites the audience to partake in the action of smoothing over the cracks and dents in the wall, symbolizing the covering of imperfections. This reflects the difficulty present with exposing one’s emotions or beliefs and how the need to hide this can be felt. This act helps the audience reflect on how they see the meanings of the work in their own life.
FAITH
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