Emergence

emergence moozhan ahmadzadegan arden boehm mathew glenn sarah kapp kara sikora

Vernon Public Art Gallery May 24 - July 11, 2018

emergence Moozhan Ahmadzadegan Arden Boehm Mathew Glenn Sarah Kapp Kara Sikora Vernon Public Art Gallery May 24 - July 11, 2018

Vernon Public Art Gallery 3228 - 31st Avenue, Vernon BC, V1T 2H3 www.vernonpublicartgallery.com 250.545.3173

This publication was produced in conjunction with the exhibition: Emergence Vernon Public Art Gallery, May 24 - July 11, 2017 Production: Vernon Public Art Gallery Editor: Lubos Culen Text editing: Kelsie Balehowsky Photography: Courtesy of the artists and Yuri Akuney: Digital Perfections Printing: Get Colour Copies, Vernon BC, Canada ISBN 978-1-927407-45-5

copyright Š 2018, Vernon Public Art Gallery 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 - fax: 250.545.9096 - 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

Vernon Public Art Gallery 3228 - 31st Avenue, Vernon BC, V1T 2H3 250.545.3173 vernonpublicartgallery.com

table of CONTENTS

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Executive Director’s Foreword · Dauna Kennedy

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Introduction: Emergence · Lubos Culen

8

Message from the Directors of Advanced Art Practices, UBC Okanagan

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Moozhan Ahmadzadegan

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Arden Boehm

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Mathew Glenn

22

Sarah Kapp

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Kara Sikora

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executive director’s foreword

The VPAG is pleased to present Emergence, an exhibition derived from a selection of students who are part of the UBC Okanagan BFA graduating class of 2018. Artists Moozhan Ahmedzadegan (painting/collage figurative), Arden Boehm (conceptual sculpture/installation), Mat Glenn (printmaking), Sarah Kapp (painting - geometric abstraction) and Kara Sikora (conceptual sculpture/installation) have contributed works from their studio practices during their final year of the BFA program. As an annual exhibition here at the VPAG, we are pleased to showcase the creative, dynamic work being produced locally at the post-secondary level.

I would like to thank Myron Campbell and Katherine Pickering (Co-Directors of the Advanced Art Practices courses, University of British Columbia, Okanagan Campus, Creative Studies) for assisting with the communication and studio visits between the VPAG curatorial staff and the featured artists in this exhibition. I’d also like to thank them for their written contributions to this catalogue. We appreciate this partnership between our two organizations.

Dauna Kennedy Executive Director Vernon Public Art Gallery

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introduction: Emergence

The exhibition Emergence features works of five artists who have completed their studies at UBC Okanagan’s BFA program in 2018. The ending of their studies marks the beginning of their artistic journey into the realm of individual creativity, critical thinking and an active studio practice. This exhibition exemplifies various approaches to research and studio practice, but it also asserts an active hands-on attitude while creating their work despite the presence of the many digital technologies that are present in the contemporary means of artistic production. For the most part, the works in the exhibition were hand-made and as such carry strong associative elements. The works communicate ideas based on human experience and existence, our apprehension of physical and psychological spaces, but the conceptual strategies used by these artists also highlight the materiality while erasing the pretentious artifice of an art object; what you see is what you get.

Moozhan Ahmedzadegan positions his work on the intersection of painting and collage, yet he often uses somewhat non-art materials which become elements in his work. Instead of applying paint to the canvas, in his creative process strategy he manipulates the individual collage elements until they are distilled to shapes which he applies to dyed canvas. Ahmedzagadan’s work is based in figurative abstraction which result in a figure-like appearance, yet the facial features are not articulated. They are at once anonymous and without a suggestion of an identity, yet the perfect outlines of the figures carry a strong emotional impact addressing the issue of real identity.

Arden Boehm’s work addresses a wide array of topics, not only artistic and conceptual, but also on social and individual levels. Boehm’s work re-contextualizes the concept of an art object by using a conceptual strategy where she turns a utilitarian object into an art object through the employment of a hydraulic press. In the process of creating a piece she crushes three-dimensional functional objects into flattened elements which then constitute the elements of her installation. In the process of creating an element, Boehm created fitted plywood containers for every element assigning it a designation of unique art object, now permanently separated from the mass produced originals and their utilitarian function.

Mathew Glenn’s artistic research and creation always contemplates the interrelationship of an object and its potential to create an image in an inherently non-artistic manner. In this sense Glenn’s conceptual strategy is akin to processes used by artists associated with the Arte Povera movement in that he uses non-art materials, but applies artistic processes to create a work of art. His works are implied signifiers of innovation achieved by working outside of artistic conventions, aesthetics, or structure. Glenn’s work does not carry a specific message or narrative; it is an open ended record of the history of physical manipulation of an image and its propensity to communicate in a non-verbal visual structure.

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Sarah Kapp’s works bridge the past and the contemporary exploration within the painting medium, its materiality, colour and form. Devoid of any gestural brush marks, her paintings are closely linked to the Post-painterly abstraction and the Colour Field painting which followed Abstract Expressionism. Kapp’s paintings are composed largely of linear - and for the most part - geometric elements with carefully calibrated colour juxtapositions of the pictorial elements. The paintings place an emphasis on the visual tension created by dynamic compositions and the use of colour. Despite Kapp’s choice of linear elements which tend to affirm the flatness of the picture plane, the viewers get to perceive the glimpses of a deeper space created by the overlapping and often diagonally oriented forms.

Kara Sikora’s studio practice is guided by a clear understanding and her choice of inspiration is grounded in concepts of Minimalism, architecture and direct hands-on involvement in the creative process. Her work is the result of an exploration of industrial materials, unembellished and raw, in a combination with staging of the installation elements which imply a narrative that might have transpired. Sikora builds the installation elements from basic industrial materials, but she often incorporates simple additional hand tools which imply a human involvement in the process of making. The elements often appear somewhat distressed and under strain in contrast to the often monolithic depersonalized objects created during the Minimalist era.

The Vernon Public Art Gallery has been hosting group exhibitions of graduates from the BFA program at UBC Okanagan since 2007. The exhibition Emergence continues this tradition and provides the artists with an opportunity to present their undergraduate thesis in the setting of a public gallery.

Lubos Culen Curator Vernon Public Art Gallery

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a message from the co-directors of the Advanced art practices

It is an honour to introduce the selected work from five of our twenty students from the 2018 UBC Okanagan BFA Graduation Exhibition, ‘Twenty’.

We had the pleasure of working closely with this exceptionally talented cohort of students as they produced their final body of work for their Bachelor of Fine Arts degree. It was inspiring to see these students fully commit to the development of their individual projects, resulting in truly innovative work.

These five students in particular, whose work explores themes as varied as the students themselves, have all set incredibly high standards for themselves to achieve a remarkable level of excellence. We are very proud of the artists these students have become, and of the tremendous commitment they have made to their artwork. We can’t think of a better way to celebrate their success than to see this work attain a larger audience, thanks to the generous support of the Vernon Public Art Gallery.

Myron Campbell and Katherine Pickering Co-Directors of the Advanced Art Practices courses University of British Columbia, Okanagan Campus, Creative Studies

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artists and a selection of works in the exhibition

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Moozhan Ahmadzadegan

My artistic practice is engaged with critical thinking, personal discovery, and experimentation. Influenced by social and political themes, my current work explores ideas of identity such as gender and sexuality. Additionally, I am interested in experimenting with materials and abstraction.

In this body of work I experiment with materials such as raw canvas and bed sheets and apply colour to them using dyes, inks, UV screen-printing, and other methods, later collaging them together after stretching them. In combining these materials I compose abstracted anonymous figures. These silhouettes convey ambiguity through abstraction and allude to the complex, often times uncertain, nature of identity in a fast-paced shifting social and political climate. This process introduces me to alternative methods of applying colour and pigment to material and allows for experimentation.

I am interested in utilizing these materials as a means of exploring themes of identity in relationship to the ongoing discourse in society. The conversations surrounding identity politics are not new, yet they are still relevant and current. The intention of this work is to investigate ideas about gender and sexuality in regards to my own identity. By creating abstract self-portraits I am able to depict a sense of anonymity in regards to the male identity. I am uncertain of what questions I am asking specifically, but through the process of abstraction I am able to explore that uncertainty.

The objective of this series and my broader practice is to create pieces that require contemplative thinking; not only to operate as personal, but socio-political as well. Additionally, I want viewers to identify with my work, by creating abstracted anonymous figures, I am inviting viewers to recognize themselves and to contemplate their own identities.

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Untitled Portrait #1, 2018, ink, bed sheets, 60 x 48 in; photo: Yuri Akuney: Digital Perfections

Untitled Portrait #2, 2018, ink, bed sheets, UV screenprint ink and acrylic, 60 x 48 in; photo: Yuri Akuney Digital Perfections

Untitled Portrait #3, 2018, fabric dye, ink, bed sheets, UV screenprint ink, 60 x 48 in; photo: Yuri Akuney Digital Perfections

Arden Boehm

In a culture that is controlled by material accumulation, we are continually encouraged to look for gratification in the form of attainment. My work investigates the relationship that we humans have with everyday objects. I am dealing with concepts of production as well as categorization and the notion of the archive.

The seeming banality of everyday objects countered by the emphasis designated to them and how that relates to the duality of life and art is the basis of my exploration. I am so fascinated by the value placed upon specific objects, as well as the act of casting away of the seemingly useless when something newer comes along. The social concern of an ever-growing mess of mass produced things that are considered at the end of their life, fuels my investigation.

The articulation of these ideas happens through the preserving and archiving of objects. The idea is framed by first removing an object’s function. In Crushed, items are altered through the use of hydraulic pressure.

Following the change from their familiar form, each has a specific case created to suit its new identity. In Sealed, objects are preserved in a way which alters them and renders them almost unrecognizable, yet does so in a non-destructive fashion. The intent is rooted in a global concern about waste as well as an interest in human nature and tendencies toward the keeping, collecting and archiving of materials.

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Crushed, 2018, asorted metal, birch plywood, dimensions variable, photo: Yuri Akuney: Digital Perfections

Crushed (detail), 2018, asorted metal, birch plywood, dimensions variable, photo: Yuri Akuney: Digital Perfections

Crushed (detail), 2018, asorted metal, birch plywood, dimensions variable, photo: Yuri Akuney: Digital Perfections

mathew glenn

I am interested in the physical relationships between objects and the images they produce. My process is object-oriented; mundane, found commercial and consumer objects are used to create images that are manifestations of their physical interactions. The printed images are composed of the layering and distorting of materials, each matrix is a ghostly reference to their process. They are ambiguous vibrations somewhere between substance and absence; objects meld and resist each other throughout the process, creating tensions, isolations and wholesome material relationships.

Influenced by themes of objecthood and objectoriented philosophy, the body of work explores the production of nonhuman material relationships and processes. By using primarily black ink and low-contrast compositions, the images feel like space, or noise, or something not limited to ink and paper. Like a fear frequency, the sound of context, the agential vitality of the materials in the process express themselves in dark and mysterious ways.

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Untitled (Dull Matter), 2017, monotype, 40 x 29.5 in, photo: courtesy of the artist

Untitled (Dull Matter), 2017, monotype, 40 x 29.5 in, photo: courtesy of the artist

Untitled (Dull Matter), 2017, monotype, 36 x 24 in, photo: courtesy of the artist

Sarah kapp

The essence of my body of work is the symbiotic relationships of form and color. I am fascinated by the sensory relationships that color creates, within visual communication.

I am creatively influenced by the artistic genres of contemporary color field painting, abstract expressionism and neo geometry, but also characterize the purposeful direction of my work as a take on contemporary collage. I find myself challenging fundamental color theory relationships by placing particular colors next to each other to evoke a specific sense in all my work (vibrancy, luminosity, opacity, temperature). Striving to suggest an optical experience through refining hues and tone, I build up color intensity through traditional painting techniques such as glazing and underpainting. My work is void of personality, or emotion, yet tense selections of color create the feeling of uneasy or unrested visual dominance. Much of my work features a minimal color palette and a flat application of medium; this is intentional, as I wish to encourage viewers to identify how the work communicates as a whole. I activate specific colors, through arranging them strategically, layering for example, to create a depth of space. Equally as intentional as the color, are the forms in my work. Often displaying linear elements and repetition, I tent to create relatively simple compositions that encourage an infinite space off the confining edges of the canvas.

My research of visual forms began some years ago, with an interest in urban and industrial architecture, drawing inspiration from sharp geometry and repetition. I am considerably drawn to the patterns found in the materials used in these settings.

I invest myself, first and foremost, in the bare and basic roots of each work, making the research the key component and execution the last step. I study relationships dependent upon forms within a plane, by arranging and rearranging the compositional design on a canvas. In the past year, I have begun to expand my research process to include technology, using computer programs to carefully manipulate works, before physically creating them.

My artistic philosophy lies in the emphasis of design. I feel that research and exploration of color, form, and arrangement of composition unequivocally leads me to the production of critically charged work; art that can be continuously evolving and advancing, whilst embodying traditional and meaningful artistic integrity.

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Untitled #179, 2018, acrylic on canvas, 42 x 42 in, photo: courtesy of the artist

Untitled #170, 2018, acrylic on canvas, 42 x 42 in, photo: courtesy of the artist

Untitled #182, 2018, acrylic on canvas, 42 x 42 in, photo: courtesy of the artist

kara sikora

I locate my artistic practice at the intersection of three conscious decisions: exploring key principles of Minimalism as a departure point for experiments with industrial materials; using abstract architectural forms to showcase the physical properties of these industrial materials; and employing a hands-on and interactive process for a body of work that emphasizes materiality.

While I do not consider myself a Minimalist artist, I value the historical context of the minimalist art movement and am particularly interested in the work of Donald Judd - an artist whose work places the materiality of the art object at the forefront of its conceptual meaning. Similar to Judd, my artwork places emphasis on clean lines, and on industrial materials and their materiality. In my practice I am influenced by the aesthetic of modern architecture, particularly the International Style (developed in the 1920s and 1930s) and the movement’s use of industrial materials - forms that privilege clean, simple lines and the elimination of all decoration.

The value that I place on hands-on and interactive process is where I separate myself from Minimalism; specifically, I reject Minimalism’s privileging of objects that are industrially manufactured. A hands-on approach is key to my development as an artist: through the process of creation I remain connected to the properties of each material. I begin my process by placing an importance on exploring and understanding, and do not approach the manufacturing process with any prior knowledge of the material I am using. Driven by curiosity and repeat experiments my ideas evolve and mature.

I intentionally incorporate straps or clamps within my work to allow my viewer to see into my process as the artist. It is a way I can insert myself as the artist, as my hands-on approach is not always visible in the completed work. My intention is to elevate the original observed nature of these industrial materials; by organizing them with straps and clamps the narrative of the object becomes present. In this manner, I can reveal their overall properties and their functionality.

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Untitled #6, 2018, concrete, wire fencing, plywood, ratchet strap, dimensions variable, photo: Yuri Akuney: Digital Perfections

Untitled #2, 2018, concrete, wire fencing, plywood, 39 x 26 in, photo: Yuri Akuney: Digital Perfections

Untitled #1, 2018, concrete, wire fencing, plywood, 31 x 28 in, photo: Yuri Akuney: Digital Perfections

Vernon Public Art Gallery 3228 - 31st Avenue, Vernon BC, V1T 2H3 250.545.3173 vernonpublicartgallery.com