Emergence

BELLA JIANG

JORDAN M ac DONALD

EMILY-JAYNE MAY MYATT

JULIA PEARSON

ANGELA WOOD

Vernon Public Art Gallery

May 25 - July 12, 2023

EMERGENCE

Bella Jiang

Jordan MacDonald

Emily-Jayne May Myatt

Julia Pearson

Angela Wood

Vernon Public Art Gallery

MAY 25 - JULY 12, 2023

Catalogue of an exhibition held at the Vernon Public Art Gallery, 3228 - 31st Avenue, Vernon, British Columbia, V1T 2H3, Canada May 25 - July 12, 2023

Production: Vernon Public Art Gallery

Editor: Lubos Culen

Layout and graphic design: Vernon Public Art Gallery

Front cover: Julia Pearson: They sold me all the BLAH (detail), screen print installation: spray paint, inkjet film, paint pen, found objects, 161 x 170 cm

Printing: Get Colour Copies, Vernon, British Columbia, Canada

ISBN 978-1-927407-77-6

All rights reserved. No part of this work may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying and recording, or by any information storage or retrieval system, except as may be expressly permitted by the 1976 Copyright Act or in writing from the Vernon Public Art Gallery. Requests for permission to use these images should be addressed in writing to the Vernon Public Art Gallery, 3228 31st Avenue, Vernon BC, V1T 2H3, Canada, Telephone: 250.545.3173, website: www. vernonpublicartgallery.com

The Vernon Public Art Gallery is a registered not-for-profit society. We gratefully acknowledge the financial support of the Greater Vernon Advisory Committee/RDNO, the Province of BC’s Gaming Policy and Enforcement Branch, British Columbia Arts Council, the Government of Canada, corporate donors, sponsors, general donations and memberships. Charitable Organization # 108113358RR.

This exhibition is sponsored in part by:

EXECUTIVE DIRECTOR’S FOREWORD

Emergence

I am pleased to introduce the work of several artists through the exhibition titled Emergence. This exhibition has evolved through a seven year partnership with partnership with the Department of Creative Studies at the University of British Columbia Okanagan (UBCO). Each year the Vernon Public Art Gallery hosts a selected group of graduates who have earned their Bachelor of Fine Arts degrees at the UBC Okanagan.

This year’s exhibition features artists Bella Jiang, Jordan MacDonald, Emily-Jayne May Myatt, Julia Pearson and Angela wood. Collectively the artwork includes paintings, sculpture and screen-print installation. Some of the themes addressed by the various artists works include art history, gender identity, mental health and the human condition.

Emergence provides us with the opportunity to share with the community contemporary works of art from vibrant young artists as they embark on the next stage of their artistic career.

I’d like to thank Lubos Culen, Curator for the Vernon Public Art Gallery and the faculty of UBC Okanagan for their collaborative efforts in making this exhibition a reality each year. I’d also like to acknowledge the Province of British Columbia for their financial support along with the Regional District of the North Okanagan and the British Columbia Arts Council.

Regards,

Dauna Kennedy Executive Director Vernon Public Art Gallery

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EMERGENCE - INTRODUCTION

Emergence is a group exhibition featuring the works of five recent graduates from UBCO’s BFA program. The exhibition showcases a range of art forms, including painting, sculpture, and mixed media printmaking installation. The various artworks explore themes related to art history, the human condition, mental health and gender identity.

The artists in the exhibition draw on a variety of influences, including art history and traditional modes of artistic production, but include contemporary art forms as well as street graffiti and sculptural installation. Many of the works are based on research, and some are also informed by personal experiences and exploration.

The exhibition Emergence offers a diverse and thought-provoking collection of works that highlight the talent and creativity of these emerging artists, as well as their engagement with important social and cultural issues.

BELLA JIANG

Bella Jiang’s work is centered around the transience and fleeting nature of existence and the idea of capturing ephemeral moments of daily life. Her use of hazy, dream-like imagery and soft colors adds to the sense of impermanence and evokes a mood that is both contemplative and introspective.

Jiang focuses on capturing moments of introspection in order to explore deeper philosophical questions about the meaning of existence. Her contemplation of the fleeting and impermanent nature of existence is a deeply human experience that has inspired artists for centuries and continues to be a rich source of artistic expression today.

Overall, these themes offer a powerful way to explore the human experience and encourage viewers to embrace the present moment and appreciate the beauty of the world around us.

JORDAN MACDONALD

In her studio practice, Jordan MacDonald address issues of the human condition and raise awareness about mental health. Her practice involves working with a variety of materials and techniques to create mixed media abstract pieces that encourage themes of meditative space and introspection.

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The focus on contemplative space suggests that MacDonald is interested in creating work that encourages the viewer to slow down and engage with the piece on a deeper level. This could involve creating pieces with a minimalist aesthetic that invite contemplation by using materials that have a tactile or sensory quality that encourages the viewer to visually interact with the work.

MacDonalds studio practice is centered around exploring the intersection of visual art and mindfulness, creating work that encourages viewers to reflect on their inner experiences and engage with the present moment.

EMILY-JAYNE MAY MYATT

Emily-Jane May Myatt’s current body of work explores the intersection of gender, art history, and the painted image, with a particular focus on the social construction of gender and subverting binary systems. She uses source images from photographs and the internet to create digital compositions, which she then translates onto canvas using various techniques including paint washes, mark making and texture.

This approach to image-making allows her to bring together diverse source materials and create layered, complex works that challenge traditional notions of gender representation in art and society. By working with both digital and physical media, she can explore the relationship between technology and the human body, as well as the ways in which gender is constructed and performed in different contexts.

Myatt’s interest in art history suggests that she is drawing on a range of artistic traditions and visual languages in her work to question and challenge established hierarchies and power structures in the arts and, by extension, in society. Overall, Myatt’s approach seems to be characterized by research, experimentation, and a willingness to push the boundaries of what is traditionally considered “art.”

JULIA PEARSON

Julia Pearson’s studio practice has a strong focus on identity and the relationship between selfidentification and expression. Her art is a journey of self-discovery, which is reflected in the wide range of techniques she uses, including interdisciplinary methods combining photography, screenprinting, and installation.

Pearson’s work is influenced by street graffiti, which is known for challenging the status quo and pushing boundaries. As a result, Pearson’s art is challenging and inspiring, encouraging viewers to think critically about their own identity and the world around them. Overall, she is using her practice to explore important themes and ideas that are both personal and universal.

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ANGELA WOOD

Angela Wood perceives painting and dance as art forms that involve movement, rhythm, and expression. While they are distinct art forms, there may be some similarities in terms of the way they communicate and evoke emotions.

Wood’s paintings are based in Formalist art theory that emphasizes the formal qualities of art, such as line, color, and composition, over its content or subject matter. This approach to art is often associated with modernism and abstract art movements.

Wood’s lyrical interpretation of the painting process refers to an approach to painting that emphasizes the flow and movement of paint on the canvas, rather than a strict adherence to representational or figurative techniques.

Her large-scale paintings provide a powerful visual impact and create an immersive experience for the viewer. The scale of the artwork also emphasizes the physicality and materiality of the paint and invites the viewer to engage with the artwork in a more physical and sensory way.

Lubos Culen Curator Vernon Public Art Gallery

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ONE THING LEADS TO ANOTHER

While it is often challenging to uncover a single unifying thread among the disparate practices of students in UBC Okanagan’s graduating Bachelor of Fine Arts program, the artists presented in this year’s Emergence exhibition have all elected to engage with traditional media in innovative ways. One possible theory for why this cohort profoundly leaned into painting and sculpture is to form a counterrevolution to our day-to-day preoccupation with digital information and the intangible.

There is a unique satisfaction in toiling over a large canvas, in the case of Angela Wood’s abstract paintings that take the ephemeral form of blown bubbles as a point of departure, or Emily-Jane May Myatt’s works, which recontextualize concepts of gender within art historical compositions. These artists are invested as much in the technique as in the cathartic process that artistic production provides.

Questioning constructed identity offers a meaningful outlet for some of these emergent artists to situate their practices within a complex space, which continues to favour the clichés of the past. This concept is at the forefront of Julia Pearson’s site-specific installation works, which respond to constantly shifting paradigms in the artist’s sense of self. The audience will never know what to expect from Julia’s work until the final installation, and it may move in different directions even after that. In other artworks by Jordan MacDonald and Bella Jiang, making oneself vulnerable is foregrounded, as narratives of mental health and comfort are revealed.

Another critical attribute uniting these five artists is their fierce independence. While acting as their course instructor, they taught me as much as I taught them about finding one’s place in the world through art. I am incredibly pleased to witness this next step in what will undoubtedly be brilliant careers as creative minds.

Andreas Rutkauskas Lecturer, Faculty of Creative and Critical Studies UBC Okanagan

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ARTISTS AND THEIR WORKS IN THE EXHIBITION

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Bella Jiang

My paintings explore the theme of the fleeting and impermanent nature of existence, as seen through the lens of Gautama Buddha’s teachings. He described life as “a drop of dew, a bubble floating in a stream; a flash of lightning in a summer cloud, or a flickering lamp, an illusion, a phantom, or a dream.” The concept of everything being a phantom resonates deeply with me.

In my paintings, I want to capture the ephemeral moments of daily life through the use of still life, figures, and landscapes. These ephemeral moments are presented in a hazy, dream-like manner.

This approach aligns with my broader interest in exploring the fleeting and impermanent nature of existence, which is reflected in the use of soft colours and blurred boundaries between objects. By layering and wiping colours and shapes, I wish to create this moody and atmospheric feeling that expresses the transience and emptiness of life. Overall, I hope this series can offer virtually a deeply contemplative and introspective view of the world around us.

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When Everything Falls Back to Silence, 2023, oil on canvas, 122 x 91 cm

Until We Meet Again,

2023, oil on canvas, 122 x 91 cm

When Everything Falls Back to Silence (detail), 2023,oil on canvas, 122 x 91 cm

JORDAN MACDONALD

My art is a bold and honest response to the highs and lows of my personal journey towards better managing my psychological health. As someone who has firsthand experience with anxiety, major depressive disorder, and post-traumatic stress disorder, I utilize my artwork to raise awareness of the intricate and overwhelming interplay of a broad spectrum of mental conditions.

By combining sculpture and painting in my practice, I am able to convey the essence of my experiences, which have involved a great deal of introspection and reflection. In many ways, my art is a form of therapy—a way for me to work through my emotions and find healing.

Using minimalism, I create subtle and nuanced representations of my mental health journey through mixed-media abstraction. This approach emphasizes the importance of decluttering the mind, focusing on what is truly important, and promoting overall well-being by reducing stress and anxiety. It also encourages mindfulness, and being present in the moment, reducing worry about the past or future. Through minimalism, I aim to create pieces that are both beautiful and meaningful, conveying the depth and complexity of my lived experiences.

My art is an exploration of my emotions and experiences in a transformative and cathartic manner. By delving into psychological wellness, bereavement, and therapeutic strategies, I shine a light on difficult topics that are often shrouded in shame and stigma while also discovering new opportunities for personal growth and healing. Overall, my work is deeply personal, drawing connections to my own journey, struggles, and uncertainties, as well as emphasizing the exploration and processing of these experiences through an abstract lens.

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Motionless Melancholy, 2023, mixed media, 213 x 122 cm

Barren Landscape #1, 2023, mixed media on cradleboard, 213 x 91 cm

Barren Landscape #2, 2023, mixed media on cradleboard, 213 x 91 cm

EMILY-JAYNE MAY MYATT

My current body of work combines issues surrounding gender, art history, and the painted image. I am interested in the social construction of gender and how it has evolved over time. The gender binary that permeates the western world is a result of European colonisation of North America. It was enforced as a means of protecting patriarchal norms and upholding European nationalism. In my research, I am interested in subverting that narrative to expose the harmful effects that binary systems enforce upon us. I do this by embracing a full spectrum of visual sources; from neoclassical sculpture, to queer art history, to my own staged photographs, to online 3D models. I am interested in collapsing the time and space between these seemingly varied sources, to mimic that of a gender construct. Part of my research involves collecting images; whether my own, from the internet, or elsewhere. I must see some potential in the image for me to inject an alternative narrative, in order for me to keep it. From there, I work digitally to construct compositional studies. Working digitally in my studies provides me with the flexibility to change out compositional elements relatively easily, while providing me with an entry point to commit to a painting. I am increasingly interested in the space in between the digital study, and my hand. In some areas, I consciously work to replicate the study, whereas in other areas I allow the paint’s materiality to take over through washes, mark making, and texture. This contrast allows me space to explore meaningful relationships between the spectrum of gender, and the spectrum of paint application.

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Three Graces, 2022, oil on cradled panel, 152 x 101 cm

Construct, 2023, oil on cradled panel, 152 x 244 cm

Construct (detail), 2023, oil on cradled panel, 152 x 244 cm

JULIA PEARSON

My artistic practice is centered on exploring my own identity, with a particular emphasis on the intricate relationship between gender self-identification and expression. I utilize props, clothing, and self-portrait photography, to create works that reflect my journey of self-discovery and offer insights into the nuances of gender and sexuality.

To further examine these themes, I employ a range of techniques, including photography, silkscreen printmaking, and installation. This interdisciplinary approach allows me to merge multiple modes of inquiry, each of which contributes to the overall impact and meaning of the final piece. The repetition of images through the printmaking process reinforces the notion of active identity construction and allows for a more in-depth exploration of the performative and creative aspects of my practice.

I am heavily influenced by street graffiti art and its innovative use of colour. I believe that colours possess the ability to elicit strong emotions and convey complex feelings, making them indispensable to my artistic expression. I incorporate this belief into my work, guiding the placement of objects with consideration of colour and composition. This approach reflects my broader interest in exploring the intersection between art and emotion.

Ultimately, my goal is to create work that challenges and inspires, encouraging viewers to reflect deeply on the complexities of the human experience. By dispensing colour in a deliberate and meaningful way, I create installations that transcend traditional boundaries and invite the viewer to engage on a deeper level.

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They sold me all the BLAH, screen print installation: spray paint, inkjet film, paint pen, found objects, 161 x 170 cm

Yeah, I’m LOATHSOME, screen print installation: spray paint, inkjet film, paint pen, found objects, 182 x 243 cm

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guess I’m the JOKE (detail), screen print installation: spray paint, inkjet film, paint pen, 161 x 170 cm

ANGELA WOOD

Painting is a form of dance – a careful choreography of brush strokes and colour mixing that comes together to capture the ideas of my mind on a canvas. My intention is for my paintings to serve as a form of escapism. In the moment of viewing my works, one will be entranced by the playful movement of elements within them. My works transform the act of viewing into a visual symphony, or a dance for the eyes.

My paintings consist of vibrant abstract forms that are lighthearted and playful in nature. The organic forms of my works appear to flow both within the confines of their individual frames and beyond. Over the development of this project, I have discovered that these works speak to one another through unintentional continuities in form and line. The final arrangement of the works speaks to these continuities, with each work flowing into the next. The act of arranging the works for display is intuitive and unplanned, a final step in the choreography prior to exhibition.

These works are intended to be viewed both as a collection, like a segmented mural of interconnected flowing lines, and individually, with each work being unique in the ideas that they evoke. Though abstract, the forms of my work are tangible. Their tangibility is enhanced through scale, which creates the sensation of a portal that the viewer can step inside to become immersed in the works completely.

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Rhythm and Flow - Cascade, (detail), 2023, oil on canvas, 213 x 91 cm